The Scandinavian crime fixation currently sweeping non-Nordic nations shows no signs of abating, every piece with big screen potential — TV series, book or otherwise — seemingly earning a filmed adaptation. Jussi Adler-Olsen's Department Q series provides the latest instance, a four-instalment-to-date police procedural setting a duo of detectives in search of answers to dead cases. The Keeper of Lost Causes is the first feature to result. All the usual elements exist in director Mikkel Nørgaard and writer Nikolaj Arcel's version of the novel. (They're both veterans of the burgeoning genre with resumes that encompass television's Borgen and the Swedish-language The Girl with the Dragon Tattoo as evidence.) An odd couple, an against-the-odds task, brooding backstories, a pretty prey and a cat-and-mouse game with the perpetrator furnish a feature that stays within the confines of the expected — except for one significant deviation. As well as tracking the law enforcement quest to uncover the truth, the film gifts viewers with the victim's perspective, her tale told as a parallel to the investigation. So it is that the taciturn Carl Mørck (Nikolaj Lie Kaas) and lively Assad (Fares Fares) trawl through discarded clues about the disappearance of personable young politician Merete Lynggaard (Sonja Richter), long considered a suicidal jumper who consigned herself to a watery end five years prior. The inter-spliced chronicle of Merete's plight provides a different account, one that the police must piece together as they delve deeper into her mystery. Though the choice to reveal what would've otherwise been a considerable source of dramatic tension is questionable (albeit, a decision that remains faithful to the book), The Keeper of Lost Causes evokes the requisite ominous atmosphere through its appearance and performances. The customary grey aesthetic colours every scene to cement the creepy mood, just as the main pairing fittingly bristles with discomfort even as Mørck and Assad work towards an accord. Cinematographer Eric Kress impresses in the film's shadowy imagery, a feat also achieved by Kaas and Fares. Adopting a chalk and cheese approach to their portrayals, the two actors bounce off each other with an earned rapport that makes their standard contrasting characters all the more interesting. Indeed, as beholden to formula and the familiar as The Keeper of Lost Causes is, Nørgaard endeavours to invest intrigue into the assembly of predictability the movie becomes. Where it all threatens to come undone is in the feature's inability to overcome its overt status as a set-up for further films. In an episodic manner obviously better served on television, The Keeper of Lost Causes wallows in the establishment more than the outcome. What eventuates is an entertaining enough initial chapter in a what will hopefully evolve into a more satisfying saga. https://youtube.com/watch?v=68sO1s9Hy70
For most folks, starring in one of the best new shows of 2022 so far would be the highlight of their resume for the year. But, of course, most folks aren't Taika Waititi. After getting streaming viewers swooning over warm-hearted pirate comedy Our Flag Means Death, he's about to unleash a little movie called Thor: Love and Thunder upon cinemas. And, based on the just-dropped first teaser trailer for his second contribution to the Marvel Cinematic Universe as a director, the goofy vibes, old-school rock tunes and delight that is Chris Hemsworth firmly in comedic mode are all back this time around. In fact, if you watched Thor: Ragnarok, laughed along heartily, lapped up the looser mood and instantly wanted more of Waititi's take on the MCU, you're in luck — because he also co-wrote the script for Thor: Love and Thunder with Jennifer Kaytin Robinson (Sweet/Vicious). In the trailer, that results in a comic look at Thor (Hemsworth, Extraction) dealing with the aftermath of Avengers: Endgame by reassessing his future and opting for retirement. But, if that was all there was to the story, it wouldn't be a Marvel movie. As shot in Australia, Thor: Love and Thunder sees its namesake come up against Gorr the God Butcher (Christian Bale, Ford v Ferrari), a galactic killer with a world-changing plan: eradicating the gods. So, Thor has to give up his search for inner peace, and call upon help from King Valkyrie (Tessa Thompson, Passing) and Korg (Waititi, doing triple duty) — and his ex-girlfriend Jane Foster (Natalie Portman, Vox Lux), who is now in possession of Mjolnir. Thor: Love and Thunder marks Portman's return to the MCU after appearing in the first Thor flick back in 2011, but sitting out the rest. Given the path her character has taken, it's easy to see why she's back. As set to the sounds of Guns 'N Roses' 'Sweet Child 'O Mine', the trailer makes the most of her new ownership of the god of thunder's magical hammer — understandably. Also popping up in the initial sneak peek for the fourth Thor flick: the Guardians of the Galaxy crew (as played and/or voiced by Chris Pratt, Pom Klementieff, Dave Bautista, Karen Gillan, Bradley Cooper and Vin Diesel), and a lightning-bolt wielding figure who it's safe to expect is Russell Crowe (Unhinged) as Zeus. When it hits cinemas Down Under on Thursday, July 7, following Doctor Strange in the Multiverse of Madness in early May, Thor: Love and Thunder will mark the 29th MCU movie overall. And, it mightn't be the last big-screen release Waititi has for us this year, either, with his documentary-to-feature adaptation of soccer story Next Goal Wins also in the pipeline. Check out the teaser trailer for Thor: Love and Thunder below: Thor: Love and Thunder opens in cinemas Down Under on Thursday, July 7.
Watch a Mark Wahlberg-starring movie, tuck into a burg from Wahlberg's burger chain Wahlburgers, get the words 'burger' and 'Wahlberg' stuck in your head for days: that's now on the menu in Australia. After first announcing plans to open Down Under back in 2021, Wahlburgers has just launched its first Aussie store — so, Sydneysiders, it's time to pair a burger with some Sunkist. Because there's a reality TV show for everything, you've probably heard of the chain thanks to the 2014–9 series Wahlburgers, which turned its lens on the burger joints owned by the actor formerly known as Marky Mark and his brothers. Now — in Sydney from Thursday, February 17, at least — you can also eat the Wahlburgers' fast-food fare, rather than just watch a show about it. As also announced last year, Wahlburgers has now made its home at Sydney's Circular Quay, with its first Aussie outpost joining more than 50 stores in the US, Canada and Germany. Folks in Melbourne, Perth and Brisbane can all look forward to munching on the brand's bites to eat, too — and in New Zealand as well — with the chain expected to launch 20 stores across Australia and NZ. On the menu: burgers, obviously, including a meat-free Impossible burg that's been dubbed 'Mark's choice', plus a barbecue bacon burger that bears his fellow actor brother (and ex-New Kids on the Block member) Donnie's tick of approval. There are 13 burg options to choose from in total, with two types of chicken schnitzel burger, a crispy fish option, and a truffle burger — which pairs a beef patty with truffle aioli — also available. Or, you can opt for salads, sides that span everything from French fries and sweet potato fries to onion rings and bacon mac 'n' cheese, and loaded versions of your favourite fries and potato gems. There's also a breakfast menu, complete with avocado on toast, granola, pancake stacks, breakfast burgers and French toast sticks. And, for dessert, you can pick from fried dough — yes, that's what the menu says — and three types of lamington from Tokyo Lamington. View this post on Instagram A post shared by Wahlburgers Australia (@wahlburgersau) To answer the most important question, at least if you happen to remember that Mark Wahlberg was in the music business before he started acting and, as part of his hip hop group Marky Mark and the Funky Bunch, he released the 1991 single 'Good Vibrations': yes, Wahlburgers serves Sunkist, as referenced in that track's lyrics. Drinks-wise, there's also other soft drinks, coffees, shakes and spiders in both boozy and booze-free varieties, 17 types of cocktails, a small wine list, and beers that include Wahlbrewskis, the chain's signature beer. If the Wahlberg name has you thinking about movies — with Mark starring in everything from Boogie Nights to Joe Bell, and co-owner Donnie also featuring in The Sixth Sense and the Saw franchise — then that won't change with Wahlburgers' Aussie jaunt. In fact, the chain's entire venture Down Under is a collaboration with United Cinemas, and some of the former's sites will be located within the latter's picture palaces. United Cinemas now operates the cinema at Opera Quays that used to be a Dendy, for instance. The picture palace brand also currently runs venues at Narellan, Collaroy, Warriewood and Avalon in Sydney, Katoomba in the Blue Mountains, Craigieburn in Melbourne, Indooroopilly in Brisbane and Rockingham in Perth, so that's where you might be getting your Walhburger fix in the future, too — but Walhburgers will be opening stand-alone stores as well. Just when the chain will launch more locations around Australia and NZ hasn't yet been revealed. Wahlburgers is also co-owned by chef Paul Wahlberg — another Wahlberg sibling — and, given its name, the chain decks out its sites with photos and memorabilia from the brothers' lives. Wahlburgers is is now open at Opera Quays, 18a/7 Macquarie Street, Sydney, operating from 7am–10pm Sunday–Wednesday and 7am–11pm Thursday–Saturday. Further stores in Sydney, Melbourne, Perth, Brisbane and New Zealand are also set to open in the future — we'll update you with exact locations and dates when they're announced, and you can keep an eye on the chain's website and Facebook page in the interim. Top image: Michael Rivera via Wikimedia Commons.
In 2012, Imogen Heap appeared on a Wired stage wearing what seemed to be magical gloves. Every time she moved, the music responded. One sweeping gesture would incite a dramatic crescendo; one wiggle of the index finger would provoke a shift from major to minor; one flick of the wrist would mute an entire string section. Liberated from laptops and mixing decks, Heap was transformed into a wizard/conductor/interpretive dancer who seemed to have every sound in the universe at her command. She liked it so much that she wants to pass her superpowers onto the world. She and a team of tech-experts have been hard at work creating a set of electronic gloves that anyone can use. Having come up with a prototype, they’re now looking for Kickstarter support to raise the £200,000 necessary to facilitating a first production run. The gloves, dubbed Mi.Mu, allow the user to interact with their computer through gestures. A series of sensors measure the hand’s position, direction and force of movement and this data is transported wirelessly, then transformed into musical elements. Heap has been developing the technology for four years, initially motivated by a desire to inject more expression into her live performances. "In order to free myself up on the stage from my various bits of technology and to bridge the gap between what’s going on on stage and the audience, I wanted to create something where I could manipulate my computer on the move wirelessly so that music becomes more like a dance rather than a robotic act like pressing a button or moving a fader," she told Dezeen. Early versions of the gloves were connected to a pack worn on the upper body and required elaborate set-up procedures. But the latest are much more accessible. The inclusion of an x-IMU board containing an accelerometer, gyroscope, magnetometer and wifi has rendered the pack unnecessary. "It's really simple," Heap explains. "It just sees this exoskeleton as a device and then it comes up on your computer as a wifi device and you're ready to go. It's super simple and it's great." It’s expected that Mi.Mu’s uses will expand beyond music, to include design, sign language and, um, driving a vehicle. "I suppose as long as you can access your computer inside your car, there's no reason why you couldn't just sit in the back of your car and indicate right or left," Heap muses. "It's a remote control. It feels like an expressive musical instrument sometimes but it's essentially a remote control and anything that you could potentially do with your hands, you could do with your gloves." With Heap at the wheel, that could be one interesting ride. [via Dezeen]
Having recently returned from a spot of European travel-on-a-shoestring, I think I can hyperbolically decree that the Sleepbox may well be one of the greatest things I have ever seen. Sleepbox, designed by the Arch Group, does essentially what it says on the tin: it's a pod wide enough for a bed and a drop-down desk. This means that the days of sleeping on rows of metal chairs while clutching your belongings for dear life or sitting slumped over coffee-flavoured hot water in an airport food court may well be behind us. The first Sleepbox has recently been installed in Moscow's Sheremetyevo Airport, and can be rented out from half an hour to many hours. Kitted out with an LED reading light, WiFi and electrical outlets for you to charge your phone or get your ironing done or whatever it is you need to do, the pods also come with a mechanism which automatically changes the linen once each guest checks out. Which means there is less chance you will have to come into close contact with the bodily odours of others before you have to sit wedged beside them for fourteen hours in a flying tin can. Arch Group is proposing Sleepbox as a contemporary staple of urban life, with plans to set them up in other airports, railway stations. large shopping spaces, and even on the streets in warm climates. Genius. https://youtube.com/watch?v=3qxnqy37KPc [Via PSFK]
Liberty Hall comes to Moore Park from the team behind Mary's. While the 1200-capacity concert venue only opened its doors in late 2022, you may recognise it as its former iterations — Hi-Fi and Max Watt's. The longstanding music venue has been taken under the wing of burger bros, Mary's founders Jake Smyth and Kenny Graham, who have given it a refurbishment and a fresh genre-spanning music program. "We are humbled at another opportunity to take the reins of yet another fallen live music venue and pour energy and hard work into creating an exciting creative space for Sydney's arts community," Graham said back when the venue was first announced. Upon opening, Liberty Hall kicked things off with a sold-out show from dance music legend Moodyman and an intimate last-minute show from The Killers while they were in town, setting the tone for big-name acts and fun surprises. This unlikely pair of acts signposted the variety of performers popping up in the hall or outside in its openair gig space. Local party collectives, world-conquering DJs, serene folk singers, Christian hard-rock acts and even pro wrestling events have all made use of the venue in its opening months. Next door, you'll find an all-new Mary's dining establishment boasting the classic menu items that Sydneysiders have come to love. The Mary's Burger, the buttermilk fried chicken (which we rate among the best fried chicken in Sydney), veggie burgers, mash with gravy, trash can bacon and plenty of vegan options all grace the menu. Next time you're heading to a match at the SCG or the newly revamped Allianz Stadium — or a gig at the Liberty Hall or Hordern Pavilion across the road, you can now stop in and get a juicy burger topped with crisp lettuce, tomato and Mary's famous sauce. Top image: Harpreet Singh
Film festival envy: it's a real thing. If you've spent the past week or so wishing that you were sitting in a darkened room in Austin, Texas, then you know what we're talking about. South by Southwest is fast becoming that other American film fest worth paying attention to at this time of year — if a potential indie hit or buzzy title isn't ready for Sundance, it'll likely turn up here. Indeed, the 2017 program featured more than 125 films on 13 screens over 9 days. Now that's some epic viewing. When you consider some of the movies that made the cut, you might agree. Edgar Wright's Ansel Elgort, Jon Hamm, Jamie Foxx and Kevin Spacey-starring Baby Driver made its debut at SXSW, as did the John Wick-meets-Lucy sounding Atomic Blonde with Charlize Theron. They're among the flicks we know we'll see in Australian cinemas, although we'll have to wait until August to do so. With the festival also highlighting a wealth of potential future cinematic classics, here's ten others we're hoping make it to Aussie screens too. SONG TO SONG Featuring an all-star cast that includes Ryan Gosling, Michael Fassbender, Rooney Mara, Natalie Portman, Cate Blanchett and Val Kilmer, put Song to Song in the safe bet category. Terrence Malick's movies usually find their way to Australia, even if they only make it to a handful of screens in a handful of capital cities like his last two features, To the Wonder and Knight of Cups. Here, the always divisive, suddenly prolific filmmaker behind Badlands and The Tree of Life tells a tale of two couples set against the Austin music scene, complete with appearances by Florence Welch, Patti Smith, Iggy Pop, The Black Lips, Tegan and Sara and more. As for whether he's balanced his usually gorgeous visuals with a meatier narrative, all signs point to no — but, love him or hate him, that's one of the things that has made his recent work absolutely unmissable. THE DISASTER ARTIST Oh hi, The Room fans. Now, before anyone starts throwing a football back and forth, add The Disaster Artist to your list of must-see movies in 2017. It's another movie certain to hurtle towards an Australian cinema soon, and to have spoons hurtled at it as a result. James Franco (who else?) not only stars as Tommy Wiseau in this behind-the-scenes look at the film everyone loves to not really love, but also directs a cast that features Dave Franco, Seth Rogen, Alison Brie, Sharon Stone, Jacki Weaver, Zac Efron, Bryan Cranston… the list goes on. If you lapped up Wiseau's so-bad-it's-still-bad flick, there's a very big chance that you'll do the same with this as well. MOST BEAUTIFUL ISLAND First things first: Most Beautiful Island won SXSW's narrative feature competition, an honour that the likes of Short Term 12 and Lena Dunham's Tiny Furniture previously achieved. The first feature from Spanish actress turned writer/director Ana Asensio, it follows one day in the life of Luciana — played by Asensio — as the immigrant to the US tries to make ends meet. Sounds timely, doesn't it? How could it not. With a game afoot, and the chasm between the privileged and the struggling part of the story, it also sounds like an intriguing thriller INFLAME Critic turned filmmaker Ceylan Ozgün Ozçelik makes her feature debut with a partly crowdfunded thriller that's both immersed in modern-day Turkey in its story and universal in its themes. Screening at SXSW after its Berlinale premiere, Inflame explores a subject the world has had to hear too much about of late, and often in all caps tweets. No prizes for guessing that we're talking about fake news. Here, a television news video editor is forced to tow the line when the powers-that-be decide that the station should no longer comment on politicians. To say that paranoia starts to set in is quite the understatement. SMALL TOWN CRIME If there's one thing that Small Town Crime boasts in spades, sight unseen, it's an interesting cast. Deadwood and Winter's Bone star John Hawkes plays an ex-cop turned unlikely detective when he comes across the body of a dead young woman, and he's joined by two-time Oscar nominee Octavia Spencer, plus Anthony Anderson, Robert Forster, Clifton Collins, Jr. and Michael Vartan. More Hawkes on screen is always a good thing. More Hawkes in the lead, even better. Writer/director siblings Eshom and Ian Nelms clearly agree, and you can bet their pulpy effort is all the better for it. [caption id="attachment_614358" align="alignnone" width="1920"] Noël Wells/Twitter.[/caption] MR ROOSEVELT Watched Saturday Night Live in recent years, or Netflix's Master of None? If so, you should recognise Noël Wells. As well as doing great things on screen, she's made the leap behind the camera, writing and directing the feature Mr Roosevelt. Actually, she stars too, playing a struggling comedian who returns to Austin after a loved one falls ill, and does what everyone does when they're forced to head back home: runs into an ex. Yes, films set in Austin are a trend at SXSW. And yes, the premise sounds familiar; however expect Wells to give everything some extra spark. FITS AND STARTS In 2015, Laura Terruso co-wrote the script for the endearing Hello, My Name Is Doris, which was actually based on her short film. With Fits and Starts, she takes on helming duties on her first feature — and, if you haven't already guessed it, providing ace up-and-comers with a platform for their debut efforts is something else that SXSW excels at. Story-wise, the movie follows a struggling writer and his much more successful wife as they attend a gathering at her publisher's home, with hijinks ensuing. It has been compared to Martin Scorsese's '80s comedy After Hours, which is great news indeed. GEMINI Sorry, Girls fans — Lola Kirke is fast becoming the family's standout screen talent, with Gemini the latest piece of evidence to support that inevitably controversial opinion. This neo-noir casts the Mozart in the Jungle star as a personal assistant to Zoe Kravitz's Hollywood celebrity, then plunges the two into the middle of a crime mystery, complete with John Cho as a detective. Sure, Los Angeles and seedy happenings seem to go hand-in-hand in film, but the combination seems to work. And, in this case, it seems primed to showcase Kirke's talents, with folks at SXSW well and truly singing her praises. DAVID LYNCH: THE ART LIFE With season three of Twin Peaks less than two months away from hitting our TV screens (yes, of course we're counting), there's never been a better time to delve into all things David Lynch. Let's grab some cherry pie, a cup of coffee and call it a damn fine time, actually, although this documentary isn't about his recent efforts. Instead, watch and listen as the filmmaker takes you on a tour of his upbringing, efforts to make Eraserhead 40 years ago, and artistic and musical output. Don't expect any answers — Lynch famously likes to let his work speak for itself, rather than speak about it — but do expect to spend an enjoyable time in the inimitable master auteur's company. I AM ANOTHER YOU After making this year's Academy Award shortlist for Best Documentary for her debut Hooligan Sparrow, Chinese filmmaker Nanfu Wang returns with I Am Another You. Meeting 22-year-old homeless man Dylan is just the beginning of her second effort, with the charming drifter taking her on a journey — not only through his life in Florida or his rejection of society's norms, but through that much-sought-after idyll known as the American dream. If it takes an outsider's eye to tell this tale then Wang has it, with her own experience as a newcomer to the US forming part of the package. Airing in SXSW's doco competition, the end result received special jury recognition for excellence in documentary storytelling.
With every innovative project, we're discovering more about crowdfunding's potential to change the world. Large-scale malaria prevention, ultra-accessible tech and ethically manufactured clothing have all inspired generous donations from the pockets of the people. Rather than waiting for cashed-up corporate giants to give us what we want when it comes to socially conscious products and services, we've been taking matters into our own hands. Now, not-for-profit organisation Immunity Project has turned to Crowdhoster for help in the development of a HIV/AIDS vaccine. Partnered with the Until There's a Cure Foundation and supported by Y Combinator, the venture has some heavyweight backing in its favour. Here's how the vaccine works: A team of Stanford, Harvard and MIT scientists has been studying 'controllers' — the 1 out of every 300 people who can catch HIV yet never develop full-blown AIDS. The virus stays in their system in an inactive state. To cut a long (and complex) story short, controllers are the way they are because the 'rifles' in their immune systems are able to accurately attack HIV's biological markers, rendering the virus dormant. Non-controllers have the 'rifles' but their targeting skills are amiss. Through advanced machine learning, the scientists have managed to reverse engineer the controller's biological processes. Over the past few years, a vaccine prototype has been developed and successfully tested in laboratories. The next step is to prove that it can immunise human blood. Enter crowdfunding. Once that's taken care of, Phase I clinical trials will begin with the FDA. First dosing is scheduled to happen in Africa in June 2015. And the even more excellent part? The vaccine will be distributed for free. In fact, the Immunity Project team is committed to saving lives in sub-Saharan Africa, where access to retroviral drugs just isn't financially viable. More than 35 million individuals worldwide live with HIV. Every single day, another 7,000 are infected and more than 4,000 die. Since 1983, almost 30 million people have been killed by AIDS. https://youtube.com/watch?v=V231hDemqeo Via PSFK.
Among the many ideas that the Marvel Cinematic Universe has conjured up, and the array of casting choices that've been involved as well, tasking Pedro Pascal (Materialists), Vanessa Kirby (Napoleon), Joseph Quinn (Gladiator II) and Ebon Moss-Bachrach (The Bear) with suiting up in a Fantastic Four movie sounds particularly, well, fantastic. Audiences have had more than a year to soak in their excitement, but now discovering how this lineup of actors fares in The Fantastic Four: First Steps is almost upon us — and, as the film's July 2025 release date approaches, Marvel has unveiled a new trailer. Here's your latest look at Pascal, Kirby and company's battle against Galactus (Ralph Ineson, Nosferatu) — and at the space god's herald, aka the Silver Surfer (Julia Garner, Wolf Man), bringing ominous tidings. This is your newest sneak peek at Mister Fantastic, The Invisible Woman, The Thing and The Human Torch's beginnings in the 1960s, too, as alarms keep going off figuratively and literally. In a massive year for Pascal on the big screen — Down Under, first came Materialists, then arrives First Steps, then Ari Aster's (Beau Is Afraid) Eddington, all in a three-month span — The Last of Us star is getting stretchy as Reed Richards. Kirby is bending light as one of the Storm siblings, Sue; Quinn is proving fiery as Johnny, her brother; and Moss-Bachrach is no one's cousin here, but huge, rocky and super strong as Ben Grimm instead. The latter also knows what everyone wants him to say in the new trailer, but isn't eager to oblige. This is the third glimpse at The Fantastic Four: First Steps — and family dinners, big life changes, the worries that come with that, facing stresses together and world-threatening foes all keep popping up. WandaVision, Monarch: Legacy of Monsters and Succession's Matt Shakman directs, with Paul Walter Hauser (Cobra Kai), John Malkovich (Ripley), Natasha Lyonne (Poker Face) and Sarah Niles (F1) co-starring. And yes, Pascal, Kirby, Quinn and Moss-Bachrach's characters have hit cinemas before. Before there was a MCU, there were Fantastic Four movies. The first two to earn a big-screen release arrived in 2005 and 2007, with the latter hitting the year before Iron Man kicked off the Marvel Cinematic Universe. As Deadpool and Wolverine did 2024's Deadpool and Wolverine, the Stan Lee- and Jack Kirby-created superhero quartet now join the list of characters who are being brought into the MCU fold, as has been on the cards ever since Disney bought 20th Century Fox. Pascal and company are taking over from two batches of past film takes on the superhero team. In the 2005 and 2007 flicks, Ioan Gruffudd (Bad Boys: Ride or Die), Jessica Alba (Trigger Warning), a pre-Captain America Chris Evans (Materialists) and Michael Chiklis (Accused) starred. Then, in 2015, Chronicle filmmaker Josh Trank gave the group a spin — still outside of the MCU — with Miles Teller (Top Gun: Maverick), Kate Mara (Friendship), a pre-Black Panther Michael B Jordan (Sinners) and Jamie Bell (All of Us Strangers). Check out the final trailer for The Fantastic Four: First Steps below: The Fantastic Four: First Steps releases in cinemas Down Under on Thursday, July 24, 2025. Images: courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © and 2025 MARVEL.
Sure, the animal heads adorning the walls of Shady Pines are pretty cool. And I like the faux Andy Warhol studio decor of the Oxford Art Factory as much as the next person. But when it comes to mind-boggling designs, wacky themes and unique going-out experiences then these ten bars are a cut above the rest. For many bar-owners, the humble "pub" is not simply a local watering hole or after work hideaway but a sanctuary for unreal creative expression and a place where your most bizarre and bewildering fantasies can become a reality. Here we present ten of the weirdest and most wonderful bars from across the globe with themes ranging from a mental asylum to under the sea and unbelievable locations such as inside a 6,000 year-old tree to a giant coffin. Check out the photos below to see what a little bit of imagination, an incredible locality and a whole lot of money can do to transform your average bar into something straight out of a Stanley-Kubrick-on-LSD dream. HR Giger Bar Where: Chur, Switzerland Designed by the manic genius that is Swiss artist H.R. Giger, Switzerland's two Giger bars are modeled on the artist's most famous creation: the nightmarish, intergalactic creatures in Ridley Scott's sci-fi masterpiece Alien. With its giant skeletal arches and torture device chairs, a trip to the Giger bars is an eerie and unnerving experience and provides customers with the distinct feeling that they have been transported into the belly of one of Giger's grotesque alien creatures. Alux Lounge Where: Playa del Carmen, Mexico If descending into the belly of the beast is not your idea of a good time then perhaps descending into a bar carved into an underground cave is more tempting. The bar is not one but a whole system of interlocking caves, with each cave playing host to a different form of nocturnal entertainment, and every room filled with an arresting array of stalactites and stalagmites that surround you on all sides. The Clinic Bar Where: Singapore As the name suggests, the Clinic Bar is a hospital-themed pub that pushes the boundaries of the imagination almost as much as it pushes the boundaries of taste. Some of the medical-themed highlights of this strange establishment include gilded wheelchair seats, hospital bed booths, operating room light fixtures and most peculiarly, drinks served in IV bags and test tubes. Red Sea Star Bar Where: Eliat, Israel While oceanic themed bars and restaurants can be found in just about every seaside town, the Red Sea Star Bar not only resembles an underwater palace but it is in fact located six metres under the Red Sea. Although it may sound camp and kitsch, the combined effect of the sand and sea urchin decor along with the panoramic views of the Red Sea's beautiful coral and sealife provides for an enchanting and fantastical experience unlike any other bar in the world. The Sunland Pub Where: Limpopo Province, South Africa The pub itself is really not much to look at. Consisting of a dusty old dart board, a collection of rusted knick-knacks and the tiniest of bar tables, the Sunland Pub resembles nothing more than a derelict family bar. Yet travelers and locals alike have been known to line up for hours at a time to get a peak of The Sunland Pub thanks to the fact that this remarkable pub is located in a giant Baobab tree. The tree is estimated at being more than 6,000 years old making it one of the world's oldest living trees. Sky Bar Where: Bangkok, Thailand Bangkok has become globally renowned for its beautiful collection of rooftop bars scattered across its sprawling metropolis. None of these bars however bare any comparison to the most famous of them all: the super-ritzy and unbelievably spectacular Sky Bar. Suspended above the city at a staggering 63 floors, the Sky Bar provides visitors with 360 degree views of the city and the majestic Chao Phraya River. Alcatraz ER Where: Tokyo, Japan The weird and wacky tastes of Japanese party-goers has meant that Tokyo has become a hotbed for some truly bizarre themed bars. One of the city's oldest and undoubtedly one of its most deranged is Alcatraz ER, which provides visitors with an experience somewhere between a One Flew Over the Cuckoo's Nest style mental asylum and a medieval dungeon (no, actually). Customers are locked and chained up in prison cells, while waitresses dressed as nurses serve cocktails with names like "Acute Mental Stabilizer" and men with giant syringes terrorise the unsuspecting visitors. A class act through and through. Eternity, The Coffin Bar Where: Truskavets, Ukraine On the theme of politically incorrect bars is the Ukraine's disturbing and aptly named "Eternity", which was designed to resemble a giant coffin. If the thought of drinking away your sorrows in the world's largest coffin doesn't scare you off then perhaps its equally chilling interior might, with the bar decked out with a highly tasteful collection of small coffin tables, novelty sized wreaths and cathedral-like lighting. Ice Bar Where: Stockholm, Sweden The thought of an ice cold drink in an ice cold bar has taken the world by storm with ice bars popping up in major cities all over the world (including Sydney's very own Ice Bar and Minus5). The original, however, was Stockholm's Ice Bar, in which everything from the bar stools to the glasses you drink from are made from ice harvested from Sweden's Torne River. With the bar set at a frosty -5 degrees celsius and surrounded in Stockholm's stunning winter wonderland, this bar is the perfect place to chill out and grab a couple of cold ones. NASA Pub Where: Bangalore, India With waiters and bartenders that wear spacesuits, spectacular laser shows and all exits and entries shaped like space shuttle doors it is hard not to love Bangalore's most famous novelty pub. While most of us will unfortunately never get to experience what it is like to live aboard a NASA spaceship, this remarkable bar will take you on a celestial and otherworldly experience faster than you can say "open the pod bay doors, HAL".
As warmer weather starts to make its presence known, including an unseasonably hot September patch in Sydney and Brisbane, we're all clamouring for our favourite cooling devices. Fans, air conditioners, pools, any patch of water you can find, frozen drinks, boozy icy poles, all the ice cream you can handle: if it can combat the heat, even for a brief instant, it's a spring and summer staple. Imagine, however, just slapping on a temperature-regulating smartwatch rather than camping out under your aircon or getting comfy in a paddling pool with an esky filled with cold beverages. Or, in addition to all of the above. That's the idea behind the Aircon Watch, a device two years in the making. It claims to offer a reprieve from feeling too warm — or, in winter, too cold — by sending hot or cool signals to the wearer's brain through its special pulsating wrist strap. If you're a little skeptical, that's understandable, though the folks behind the watch point to the instant cooling effect that running an ice cube over your wrist can have — as well as a 2012 research study by Stanford University, which used a cooling glove to indicate that heat exchange can occur through the extremities. And if you think it sounds like a winning idea, you're not alone. Currently running a Kickstarter campaign, the Aircon Watch has already reached its funding goal more than 26 times over. At the time of writing, it's still accepting backers for 18 more days, with the watches expected to start shipping in December. Image: Aircon Watch.
In a perfect world, cinephiles from all around Australia would currently be converging upon Melbourne to attend the city's always jam-packed annual film festival. Going to MIFF is an experience. In its pre-pandemic form, the festival ran for 18 days every year, screened hundreds of movies, and had film buffs constantly hopping between the Forum, ACMI, Hoyts Central and whichever other venues happened to be in use at any given fest. It's an ordeal. It's glorious. It a movie-lover's dream. It's a way of life. It also now feels like a treasure from a completely different time. The Melbourne International Film Festival is still on the agenda for 2021, thankfully. It's quite a bit different to MIFFs gone by, though, and — at least according to current plans at the time of writing — to the fest's online-only version last year. Ideally, there'll still be an in-cinema experience after Melbourne's latest lockdown ends on Thursday, August 12; however, from Thursday, August 5, the fest is also playing more than 90 titles digitally (and nationally) via its new online platform MIFF Play. Accordingly, whether you're a locked-down Melbourne resident who's gearing up for the usual MIFF fun in a week's time, or you're a movie fan also in lockdown in Sydney or Brisbane, a heap of films from around the world are now available to stream. Some have done the rounds of prestigious international fests, and arrive with a reputation. Others you mightn't have heard of yet, and you definitely won't find streaming anywhere else. That's this year's MIFF, digital-style, and we've watched and reviewed ten standouts from the online program that you should pop on your must-see list. FRESHMAN YEAR A college-set rom-com about stumbling forward — literally and emotionally — Freshman Year sounds rather familiar on paper. Alex (Cooper Raiff, Madeline & Cooper) has moved to Los Angeles for school, has struggled through six months so far and is still finding it hard to fit in, especially with his constantly drunk roommate Sam (Logan Miller, Escape Room: Tournament of Champions). When he isn't eating alone, he's video-chatting with his mum (Amy Landecker, Bombshell) and younger sister (Olivia Scott Welch, Fear Street) in Dallas, and wishing he was there himself. Then, after a party at a frat house called "shit house" — which was also the movie's original title when it won the Grand Jury Prize for best narrative feature at the 2020 SXSW Film Festival — Alex connects with Maggie (Dylan Gelula, Unbreakable Kimmy Schmidt) over a night spent drinking, walking, talking, burying a dead pet turtle, spilling secrets and more. Raiff, who writes and directs as well as stars, has clearly seen Before Sunrise, Before Sunset and Before Midnight, plus Dazed and Confused. He's seen all the flicks they've inspired over the past couple of decades, too. Thankfully, the talented young filmmaker and actor crafts a romance-meets-coming-of-age film that's both laden with Gen Z specifics and steeped in universal emotions, as aided by his dreamlike visual eye and stellar performances — yes, from Raiff himself, and also from the always-excellent Gelula. LA VERÓNICA When Mariana Di Girólamo starred in the astonishing Ema, filmmaker Pablo Larraín didn't want to look away from her fierce and unflinching performance, and rarely did. With La Verónica, fellow Chilean director Leonardo Medel (Harem) goes one better — because only once throughout the entire feature does he let someone other than his star linger in the centre of his frame. Di Girólamo plays the titular character here, too, and she's an influencer married to a famous soccer star (Ariel Mateluna, Amanda). Vero spends her life putting herself in the middle of every image, including the daily snaps she poses for her by her pool with her model pals. Yes, she's that determined to always be the centre of attention. Accordingly, Medel uses one big and bold stylistic flourish to constantly remind viewers about what's important to his protagonist, what she seeks and how she goes about it — and it's just one of the movie's pitch-perfect touches. Also outstanding: Di Girólamo, of course, with her portrayal effortlessly conveying Vero's carefully manufactured facade, the at-any-cost drive always lurking underneath, and the way that a life spent courting the spotlight can both hide and augment a person's struggles and flaws. The script bubbles with smarts and insights, too, as the eponymous figure finds it hard to balance motherhood, a secret from her past, her jealousy over her husband and the need to notch up two million Instagram followers to become the face of a lipstick brand. BALLAD OF A WHITE COW During its in-cinema program, MIFF will screen There Is No Evil, the exceptional 2020 Berlinale Golden Bear winner that ponders the costs and weight of the Iranian justice system — and its penchant for the death penalty specifically. Also on the bill: A Hero, the latest movie from acclaimed Iranian director Asghar Farhadi, who is known for Oscar-winning domestic drama A Separation and other such thorny fare about the reality of life in his homeland. Helmed by filmmakers Behtash Sanaeeha and Maryam Moghaddam (The Invincible Diplomacy of Mr Naderi), and starring the latter, Ballad of a White Cow slides in seamlessly alongside the fest's other Iranian titles. It too explores the impact of executions, and also the unfair disadvantage at which the Middle Eastern nation places its female citizens. It's also moving, insightful, compelling, potent and excellent all-round. In a determined, resilient, often-silently heartbreaking performance, Moghaddam plays Mina, a Tehran resident struggling with the stigma of being a widow after her husband was killed by the state for a crime that he's now been posthumously found innocent. That's a wrong she isn't just willing to stomach, even as simple things like finding somewhere to live and caring for her young daughter keep proving all the more difficult because she's seen as a single woman. THE WITCHES OF THE ORIENT Even if the tail end of the 2020 Tokyo Olympic Games didn't coincide with the beginning of MIFF, The Witches of the Orient would be must-see viewing. The story it covers is just that engaging, fascinating and important. Back in 1964, when the Japanese capital last hosted the event, the country's women's volleyball team were one of the games' sensations. They didn't just win gold, beating the USSR to claim glory — the team of former textile factory workers managed to nab that coveted medal as part of a 258-game winning streak that lasted from 1960–1966. Fresh from serving up another sports snapshot with John McEnroe: In the Realm of Perfection, director Julien Faraut assembles the remaining living members of the squad to tell their tale. Starting with an anime sequence about enchanted women, and peppering in a large array of other animated clips that were actually inspired by the team's success (yes, volleyball anima is a thing), this is no ordinary sports documentary. With circling camerawork, Faraut turns roundtable chats over bento boxes into eye-catching clips. He weaves in archival footage with mesmerising and rhythmic flair, cuts to the heart of his interviewees' recollections while also surveying Japan today, and sets his footage and discussions to the likes of Portishead and K-Raw. One training montage is nothing short of hypnotic, and the big game itself is a masterclass in tension. COMING HOME IN THE DARK Peering across New Zealand's gorgeous landscape as far as the camera can see, Coming Home in the Dark starts with a recognisable setup. Hoaggie (Eric Thomson, The Furnace), Jill (Miriama McDowell, Waru), and their teenage sons Maika and Jordan (debutants Billy and Frankie Paratene) have hit the road from Wellington for a scenic trip — stops at quaint service stations, family photos with striking backdrops and cosy little picnics all included. It's during the latter that two men suddenly and unexpectedly cross their paths, and it's apparent immediately that the gun-toting Mandrake (Daniel Gillies, Occupation: Rainfall) and his offsider Tubs (Matthias Luafutu, Ghost in the Shell) aren't there to make friends. Adapting Owen Marshall's short story, first-time feature director James Ashcroft doesn't waste a second in jumping from an idyllic getaway to holiday horrors. He basks in NZ's vast natural splendours, then shows how isolating it can be when things go awry, too. And, he doesn't flinch at splashing bloodshed across the screen as his central family soon find their slice of happiness shattered forever. As a thriller, Coming Home in the Dark is tense, nerve-wracking and unrelenting; however, as masterfully handled by Ashcroft and his co-screenwriter Eli Kent (The Seagull), it finds an even deeper pool of terror in pondering the abuse of children in government-run facilities, the scars it leaves and, here, the retribution it inspires. An exacting genre piece and a weighty musing on trauma all in one — and a feature that's constantly shifting — this riveting film isn't easily forgotten. NINJABABY When Rakel (Kristine Kujath Thorp, Betrayed) learns that she's pregnant, it isn't exciting news. It's a shock that the aspiring artist isn't thrilled about, especially given that it'll require a drastic change to her usual drinking- and partying-heavy lifestyle. That's also how New Zealand comedy Baby Done started, but Norwegian gem Ninjababy boasts a particularly raucous sense of humour, an animated foetus — the titular infant — that talks to and slings plenty of savage comments at its mum-to-be, a guy with the unfortunate but also amusing nickname of Dick Jesus (Arthur Berning, Neste Sommer), and a look and feel that makes plain its graphic novel origins. As savvily adapted from Inga Sætre's Fallteknikk, its protagonist is fiercely her own person as well. Rakel completely refuses to fit anyone's idea of how a young expectant mother should act, or a woman in general for that matter, and steadfastly defies every expectation thrust her way at all steps along her maternal journey. Thorp turns in a raw, rich, resonant and relatable leading performance, all in a memorable movie that also earns those terms with gusto. And director Yngvild Sve Flikke (Women in Oversized Men's Shirts) doesn't so much find the right balance between crude and affecting as embrace the fact that those extremes, and everything in-between, should always be a part of any cinematic bundle that examines motherhood. SISTERS WITH TRANSISTORS As her stellar 2015 documentary Heart of a Dog demonstrated, the great Laurie Anderson should really narrate everything. Clearly, director Lisa Rovner feels the same way. Making her feature-length doco debut with Sisters with Transistors, she enlists the visual artist to talk through a history that's essential but also barely known: the history of women in electronic music. This thorough and illuminating ode to the female pioneers that have helped make the field what it is — including when it didn't even exist, and was met with derision — explores and celebrates ladies like Clara Rockmore, who was handy with a Theremin; Delia Derbyshire, who helped create the distinctive theme tune for Doctor Who; and Suzanne Ciani, the first solo female composer of a Hollywood film score. Also earning attention: Daphne Oram, Laurie Spiegel, Eliane Radigue and Pauline Oliveros, all legends in the field — and with achievements that include creating a technique to draw electronic sound, making a famed piece of musical composition software, and pushing the arena forward in leaps and bounds. Anderson's voice and an unsurprisingly magnificent soundtrack are paired with must-know details about iconic women that each deserve several movies devoted to them. Of course, we shouldn't need films like this to fill in ignored and overlooked gaps, but this a glorious and informative tribute. CELTS Every 90s kid that ever wanted or attended a Teenage Mutant Ninja Turtles-themed birthday party has an instant entry point into Serbian drama Celts. Everyone who has ever made their way to a friendly or family get-together, navigated heated conversations about the state of the world and felt a sense of malaise seething through the room is similarly well-primed for this striking film. In Belgrade in 1993, Minja (first-timer Katarina Dimic) is looking forward to celebrating turning eight by donning a homemade green costume and being showered in attention. It's an event that requires significant preparations on her unhappy mother Marijana (Dubravka Kovjanic, Underneath), doting taxi-driver father Otac (Stefan Trifunovic, The Living Man) and ever-present grandmother Saveta's (Olga Odanovic, Radio Mileva) parts, though. But the child-friendly festivities are just a backdrop for debut director Milica Tomović — because, as she charts the events of a single day in this bustling household, she explores not only the dynamics festering among the kids and the discontent infecting the adults, but also the effect that the political turmoil seeping through Yugoslavia at the time has upon everyone gathered. As a result, Celts delivers a relatable portrait of domestic chaos and a fictionalised snapshot of a particular moment in time, and in an engaging and textured fashion. WIFE OF A SPY As he's demonstrated in movies as varied as Journey to the Shore, Daguerreotype and Before We Vanish, Japanese filmmaker Kiyoshi Kurosawa makes features with patience — and with a mood that hangs around like an unforgettable memory. He jumps into both marital dramas and period-set wartime espionage antics with Wife of a Spy, and therefore into new territory for him, but his precise approach and affecting tone remains very much intact here. In fact, he won the Best Director prize at the 2020 Venice Film Festival for this sumptuously handsome and emotionally complicated effort. As this film about a wealthy silk merchant and his wife in 1940s Japan unfurls, it's easy to see why. From the painterly imagery to the potent performances — and including the layered script, as co-written with Ryūsuke Hamaguchi (Asako I and II) and Tadashi Nohara (Happy Hour) — every element is brought to the screen with meticulous care and impact in Kurosawa's hands. When Yusaku (Takahashi Issey, Romance Doll) visits Manchuria, Satoko (Aoi Yu, They Say Nothing Stays the Same) thinks it's just an ordinary business trip. But then she's visited at home in Kobe by her childhood friend Taiji (Higashide Masahiro, Before We Vanish), who tells her that her husband's jaunt abroad mightn't have been as straightforward as it sounds. A woman has turned up dead, Taiji has his suspicions, government secrets are involved and, soon, everything surrounding Satoko and Yusaku is under several shadows. DRY WINTER For Australian directors, the country's distinctive landscape is the gift that keeps on giving. A sizeable portion of our national cinematic output puts its blazing ochre hues to great use, and its sprawling outback expanses as well (see: everything from Wake in Fright and Walkabout to Mystery Road, The Rover, The Dressmaker and High Ground). Dry Winter isn't one of those movies, however. It makes the most of its rural backdrop, of course, but by roving over it with the same probing and naturalistic eye that it affords its listless characters. As first-time filmmaker Kyle Davis follows twenty-something couple Jake (debutant Andrew Phillips) and Kelly (fellow first-timer Courtney Kelly) as they go about their ordinary lives on the Eyre Peninsula, he sees the shades of browns that remain evident in every patch of dirt around them. In their routine, he spies the many shades of grey that have infused everything from the odd jobs they work to get by to their nights spent finding mundane ways to pass the time, too. An observational feature that ticks by at a leisurely pace, Dry Winter hones in on detail. It sees the repetition, the minutiae, and the sights and sounds — and lets them build an immersive story. This is a sublime portrait of not knowing what the future holds that makes its audience feel like they're there in the frame with its yearning protagonists, even across its brief 62-minute running time. The 2021 Melbourne International Film Festival runs from Thursday, August 5–Sunday, August 22 — screening online for the festival's entire duration via its streaming platform MIFF Play. Depending on the current lockdown, the festival is also aiming to play at a variety of venues around Melbourne from Thursday, August 12–Sunday, August 22. For further details, visit the MIFF website.
Over the last couple of years while getting your morning cup of joe at cafes around Sydney, you may have spotted a bag of beans emboldened with bright red text behind the counter. Originating in New Zealand, Coffee Supreme's beans and instant coffee are available in locations across the country and are used in Sydney favourites including Paramount Recreation Club and Deus Ex Machina. While you can find Supreme beans in dozens of cafes across Australia and New Zealand, the coffee brewer also has its own cafes and roasteries, with five in New Zealand, one in Brisbane, one in Melbourne, one in Tokyo and now, one in Sydney. Sydney's first Coffee Supreme opened in early 2022 in the northern beaches. Located on Mitchell Road in the industrial area of Brookvale, the venue has converted a warehouse into a bustling cafe, decorated with touches of forest green and Coffee Supreme's signature red. Alongside the cafe is a 12-kilogram Probat roaster, making coffee on-site to be delivered to cafes and homes around the city. "We don't like to favour one city over the other, but the growing coffee culture in Sydney is really exciting, so the search to grow our presence here has been on for a few months now," Coffee Supreme's Sydney and Canberra Sales and Customer Development Manager Jen Le says. "When we visited 11 Mitchell Rd, we knew it was the site for us — heaps of natural light, sufficient space for a roaster and most importantly, a strong sense of community; a key pillar at Coffee Supreme." At the heart of the venue is, of course, the coffee. The baristas are taking Coffee Supreme beans and turning them into espresso, batch brew and cold filter. Alongside the classic beans on offer, there will also be seasonal blends that pop-up as they become available. Food-wise, there's an all-day breakfast menu available until the cafe closes at 2pm. Avocado on toast, bagels and bacon and egg rolls are all here. For lunch, you can also nab an array of burgers and sandwiches. If you're looking to tuck into something heartier, turn your attention to the bolognese toastie. Images: Jessica Nash Appears in: The Best Cafes in Sydney
Who hasn't wanted to care less about all the things that really don't matter? Since long before self-help was even a book genre — since before there were books — humanity has been desperate to devote less of its attention to matters that simply aren't worth it. That's easier said than done, though, which is why there's so many texts about living your best life and forgetting pointless strife, including Mark Manson's 2016 hit The Subtle Art of Not Giving a F*ck. If giving less fucks is your ultimate goal — and it should be everyone's — then you've probably read The Subtle Art of Not Giving a F*ck. Or, you've heard at it at least. It was absolutely everywhere back when it first hit bookshelves, with people glued to it on buses, everyone's mates spouting its advice and more than 15-million copes sold. In early 2023, it's also going to be hitting screens. The tome dedicated to living more contented and grounded lives has been turned into a doco, with Manson himself featuring to lead the way. As the just-dropped sneak peek at the movie shows, he's on-hand to chat viewers through his brutally honest and raw but refreshing philosophy — and help you learn, if you haven't already, that it's wise to choose where to direct our fucks, what to give a crap about and what genuinely bloody matters. Couldn't be arsed reading the book? Clearly, this is the quicker way to soak in its contents, as shot in New Zealand during the pandemic. When NZ-based producer Matthew Metcalfe (Dawn Raid) came across the text — drawn to its bright cover, like plenty of folks have been — he was fascinated by its anti-self-help-book vibe, as well as its take on life's difficulties. Manson had been approached about adapting The Subtle Art of Not Giving a F*ck for the screen before, but Metcalfe got him interested in giving a fuck about his offer. If you're new to Manson's brand of advice, the book's chapter titles are as telling as its overall moniker, boasting names such as 'Don't Try', 'Happiness is a problem', 'You are not special', 'You are wrong about everything (But so am I)', 'The importance of saying no' and 'And then you die'. The appropriate mood comes through in the film version's trailer, with experienced commercials director Nathan Price behind the lens. No doubt timed for New Year's resolutions — especially if not giving a fuck is one of yours — the film debuts in Australia via digital and in New Zealand in cinemas on Wednesday, January 11, 2023. Check out the trailer for The Subtle Art of Not Giving a F*ck below: The Subtle Art of Not Giving a F*ck will be available to watch via digital download from Wednesday, January 11, 2023 in Australia, and in NZ cinemas on the same date — head to the film's website for further details.
It's been 14 years since Danny Rogers and Jerome Borazio decided to fill a Melbourne alleyway with tunes in 2005. Thankfully, Laneway Festival has just confirmed it will be heading back to its collection of unconventional venues for another year, revealing its jam-packed 2019 lineup. Returning to Sydney next February, Laneway will raise a plastic cup to the middle of summer with one heck of a lineup. This year's eclectic program is headlined by two huge Aussie names: indie rock group Gang of Youths and acclaimed singer-songwriter Courtney Barnett. A few big artists are heading Down Under for the first time, too, including English R&B superstar Jorja Smith, neo-soul singer Rex Orange County and American rapper Denzel Curry. You'll also be able to get down to Camp Cope, Middle Kids and Mitski and sway along to Mansionair, What So Not and Skeggs. If you want to catch Jorja Smith and NYC rapper A Boogie Wit Da Hoodie, you'll have to head along to Laneway — they'll both be playing exclusively at the festival, with no sideshows. But, enough chit-chat — here's the full 2019 lineup. LANEWAY 2019 LINEUP Gang of Youths Courtney Barnett A Boogie Wit Da Hoodie (exclusive) Baker Boy Camp Cope Charlie Collins* Clairo Cosmo's Midnight Crooked Colours* Denzel Curry* DJDS G Flip Jon Hopkins Jorja Smith (exclusive) KIAN Mansionair Masego Methyl Ethel Middle Kids Mitski* Parquet Courts Ravyn Lenae Rex Orange County Ruby Fields Skeggs Smino What So Not Yellow Days *East Coast only Laneway Image: Anthony Smith.
Instead of Gen V, you could call this spinoff The Boys Jnr and it'd fit in an array of ways. The superheroes are younger, with the series' eight-episode first season focusing on students attending Godolkin University, rather than adults who've been there, done that and are weathering the brutalities of life as grown caped crusaders. The minutiae of Gen V's characters' lives is firmly teen-centric as a result, including dates and crushes, dorms and lectures, making new friends and peer pressure, and the like. Obviously, their worries largely aren't of the world-weary, years-of-existential-malaise kind, but span making friends, scoring the right classes, wanting to be popular, breaking curfew, navigating social media, body image, sex positivity, morning-after regrets, dealing with overbearing parents and plotting out the future. There's nothing smaller about the hefty, hearty, utterly gleeful splashes of gore and violence, however — the eager amounts of guts and penises, too — in the latest show inspired by Garth Ennis and Darick Robertson's comic book. Streaming from Friday, September 29, Prime Video's next dive into this satirical superhero world is The Boys but in college, the same chaos, carnage and characteristic raucousness all included. Slotting into the Vought Cinematic Universe after the OG series (which has dropped three seasons, with a fourth on the way) and the animated The Boys Presents: Diabolical, Gen V stems from the 'We Gotta Go Now' storyline, sporting youthful leads but zero tone and vibe changes. So springs an OTT coming-of-age tale that's gruesome, irreverent, subversive, funny and, yes, filled with bodily fluids. Set at the same time that The Boys' fourth season will take place when it hits — its episodes have been filmed, but no release date has been locked in yet due to Hollywood's 2023 strikes — Gen V follows the blood-bending Marie Moreau (Jaz Sinclair, Chilling Adventures of Sabrina) as she scores a university place that could change everything that she knows. Stuck under the cloud of a past tragedy until now, her scholarship to the Vought-approved God U is the ticket to her dreams, with becoming the first Black woman in The Seven her ultimate aim. Her approach going in: putting her head down, working hard and securing a path beyond the facility that's been her home for much too long. She's warned what will occur if she doesn't succeed, with more time spent institutionalised the only other option that superhero organisation Vought foresees. Before Marie arrives at God U, Gen V begins with her backstory, plus with the reason that doing her best is so important. The show's developers Craig Rosenberg, Evan Goldberg and Eric Kripke, all The Boys alumni, also establish that their adolescent angle is as essential as caped crusaders and diving back into havoc caused by the corrupt mega-corporation that is Vought. When a young woman has Marie's distinctive powers, how do they manifest? When she reaches puberty and gets her first period. In opening moments set eight years earlier, just as A-Train (Jesse T Usher, Smile) is welcomed into Vought's top-tier superhero crew, there's a body count, emotional scars that Marie will never get over, and also an ultraviolet start to the series' exploration of compound V-dosed kids who were given the drug by their mums and dads to turn them into something special, only to be forced to live with the consequences. Accordingly, college's everyday trials and tribulations were never going to be the only challenges in store once Gen V steps foot on campus, and Marie with it; more follow. Academic disappointment comes early, when hotshot Crimefighting Department head Professor Rich Brinkerhoff (Clancy Brown, Ahsoka) won't let her into her dream course, but that soon seems like a minor woe. As Marie rooms with Emma Meyer (Lizze Broadway, Based on a True Story), who can scale down her size, fitting in doesn't come easily. And when she meets the resident cool clique, including literally hot number one-ranked pupil Luke 'Golden Boy' Riordan (Patrick Schwarzenegger, The Staircase), his persuasive girlfriend Cate Dunlap (Maddie Phillips, Teenage Bounty Hunters), the magnetic Andre Anderson (Chance Perdomo, also Chilling Adventures of Sabrina) and the gender-shifting Jordan Li (Never Have I Ever's London Thor and Shining Vale's Derek Luh), she swiftly discovers that everything at her new school isn't what it seems. There will be blood by the bucketload — even if Marie's powers weren't tied to it, this is a VCU entry — plus secrets, lies, class clashes and life-and-death stakes. And, in a show that also gives its characters a mystery to chase, there's also a creepy underground facility known as The Woods that Marie, Emma and their pals keep being drawn to. Gen V delivers a savvy balance of wild fun and perceptive smarts as well, in a series that plays like The Boys mixed with The Sex Lives of College Girls, Scooby Doo, Wednesday and Buffy the Vampire Slayer. Like the latter pair, it's highly cognisant that growing up is weird and hellish. It similarly knows how to use fantasy and horror — here, being a caped crusader at a sinister uni that specifically trains them, rather than the ultimate goth girl or vanquishing the undead while living on a hellmouth — to explore the many struggles that accompany facing maturity. While a few key cameos pop up from its predecessor, Gen V's is 100-percent focused on the franchise's newbies, their supe and uni experiences, and the shady happenings around them — which is a pivotal move. Indeed, that's what makes it a perfect The Boys spinoff, and never an easy facsimile, lazy wannabe or unsubtle reminder of what else exists in the broader saga. Gen V dwells in the same realm with the same atmosphere and same bite, but always dons its own personality, is committed to telling its own characters' tales and proves genuinely keen to broaden the Vought Cinematic Universe. Tearing into what's become the biggest type of on-screen stories right now is still the same mission, complete with blatant Marvel digs, yet it's done in a story that puts the ups and downs of being a teen in this situation first and foremost. It's no wonder, then, that Gen V is as entertaining as The Boys to watch. It's also no surprise that Marie and her classmates easily earn the same investment as Billy Butcher (Karl Urban, Thor: Ragnarok), Hughie (Jack Quaid, Oppenheimer), Frenchie (Tomer Capone, One on One), Kimiko (Karen Fukuhara, Bullet Train) Mother's Milk's (Laz Alonso, Wrath of Man), Starlight (Erin Moriarty, Captain Fantastic), Maeve (Dominique McElligott, The Last Tycoon) and company. Alongside confidence, strewn-around viscera and its sense of humour, casting remains one of this core franchise's talents, especially with Sinclair, Broadway, Perdomo, Thor and Luh. And any X-Men or The New Mutants comparisons? Just as The Boys knowingly smashed through its Avengers and Justice League commonalities, so does this new sharp, cynical and imaginative chip off the old block. Check out the trailer for Gen V below: Gen V streams via Prime Video from Friday, September 29.
Our city is constantly changing and evolving, with longstanding Sydney streets being treated to makeovers, new pavilions being built and multi-million dollar snow resorts coming to Penrith. Among all these big infrastructure changes, small and carefully designed spaces are always popping up as well. 2021 has seen an awe-inspiring concert venue open in Chippendale, a new food and drink precinct finally welcome in patrons in South Eveleigh and two new multi-storey venues add new bars and restaurants to historic buildings. We've compiled a list of our six favourite spaces that have emerged in Sydney this year. These are the spaces that are pushing things forward with breathtaking visuals, sustainable community spaces or exciting new areas to explore.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=COrqRKMZ2KM&feature=emb_logo EMA Before 2021 comes to an end, Pablo Larraín will have given the world Spencer, a new biopic about Princess Diana featuring Kristen Stewart as the royal figure. Also on his hit list this year: Lisey's Story, a Julianne Moore-starring TV adaptation of a Stephen King book that has been scripted for the screen by the author himself. But with the release of Ema in Australian cinemas, he's already gifting viewers something exceptional. A new project by Larraín is always cause for excitement, and this drama about a reggaeton dancer's crumbling marriage, personal and professional curiosities, and determined quest to become a mother rewards that enthusiasm spectacularly. In fact, it's a stunning piece of cinema, and one that stands out even among the Chilean director's already impressive resume. He's the filmmaker behind stirring political drama No, exacting religious interrogation The Club, poetic biopic Neruda and the astonishing, Natalie Portman-starring Jackie — to name just a few of his movies — so that's no minor feat. For the first time in his career, Larraín peers at life in his homeland today, rather than in the past. And, with his now six-time cinematographer Sergio Armstrong (Tony Manero, Post Mortem), he gazes as intently as he can. Faces and bodies fill Ema's frames, a comment that's true of most movies; however, in both the probing patience it directs its protagonist's way and the kinetic fluidity of its dance sequences, this feature equally stares and surveys. Here, Larraín hones in on the dancer (Mariana Di Girólamo, Much Ado About Nothing) who gives the feature its name. After adopting a child with her choreographer partner Gastón (Gael García Bernal, Mozart in the Jungle), something other than domestic bliss has followed. Following a traumatic incident, and the just as stressful decision to relinquish their boy back to the state's custody, Ema is not only trying but struggling to cope in the aftermath. This isn't a situation she's simply willing to accept, though. Ema, the movie, is many things — and, most potently, it's a portrait of a woman who is willing to make whatever move she needs to, both on the dance floor and in life, to rally against an unforgiving world, grasp her idea of freedom and seize exactly what she wants. Di Girólamo is magnetic, whether she's dancing against a vivid backdrop, staring pensively at the camera or being soaked in neon light. Bernal, one of the director's regulars, perfects a thorny role that ties into the film's interrogation of Chile's class and cultural divides. And Larraín's skill as both a visual- and emotion-driven filmmaker is never in doubt. Indeed, this film's imagery isn't easily forgotten, and neither is its mood, ideas, inimitable protagonist, or stirring exploration of trauma, shock and their impact. Ema opens in Sydney and Melbourne cinemas on May 13, and in Brisbane on May 20. Read our full review. https://www.youtube.com/watch?v=sV6VNNjBkcE THOSE WHO WISH ME DEAD A smokejumper stationed to a Montana watchtower, plagued by past traumas and forced to help a teenage boy evade hired killers, Those Who Wish Me Dead's Hannah Faber actually first debuted on the page. Watching Angelina Jolie bring the whisky-swilling, no-nonsense, one of the boys-type figure to the screen, it's easy to assume otherwise. The part doesn't quite feel as if it was written specifically for the smouldering movie star, though. Rather, it seems like the kind of role that might've been penned with Liam Neeson or Denzel Washington in mind — see: this year's The Marksman for the former, and 2004's Man on Fire for the latter — then flipped, gender-wise, to gift Jolie a new star vehicle. On the one hand, let's be thankful that that's not how this character came about. Kudos to author Michael Koryta, who also co-writes the screenplay here based on his 2016 novel, for conjuring up Hannah to begin with. But on the other hand, it's never a great sign when a female protagonist plays like a grab bag of stock-standard macho hero traits, just dressed up in a shapelier guise. It has been six years since Jolie has stepped into a mere mortal's shoes — since 2015's By the Sea, which she wrote and directed — and she leaves no doubt that Hannah is flesh and blood. There's still an iciness to the firefighter, and she still has the actor's cheekbones and pout, but Maleficent, she isn't. She's bruised, internally, by a fire that got away and left a body count. After hanging out with her colleagues, parachuting out of cars and brooding in her tower, she's soon physically in harm's way as well. As Those Who Wish Me Dead's plot gets her to this juncture, it also cuts back and forth between forensic accountant Owen Casserly (Jake Weber, Midway) and his son Connor (Finn Little, Angel of Mine), plus assassins Patrick and Jack (The Great's Nicholas Hoult and Game of Thrones' Aiden Gillen). Thanks to a treasure trove of incriminating evidence against important people that no one was ever supposed to find, these two duos are on a collision course. When they do cross paths — while Owen is trying to take Connor to stay with Ethan (Jon Bernthal, The Peanut Butter Falcon), his brother-in-law, a sheriff's deputy and one of Hannah's colleagues — it also nudges the boy into the smokejumper's orbit. Read our full review. https://www.youtube.com/watch?v=nuINvoFAnng&t=3s SPIRAL: FROM THE BOOK OF SAW With Spiral: From the Book of Saw, what came first: the decision to call its protagonist Ezekiel, or the casting of Samuel L Jackson as said character's father? Either way, the film's creative team must've felt mighty pleased with themselves; getting the Pulp Fiction actor to utter the name that's been synonymous with his bible-quoting, Quentin Tarantino-penned monologue for more than a quarter-century doesn't happen by accident. What now four-time franchise director Darren Lynn Bousman (Saw II, Saw III and Saw IV) and Jigsaw screenwriters Josh Stolberg and Pete Goldfinger mightn't have realised, though, is just how clumsily this choice comes across. The Saw series has made almost a billion dollars at the worldwide box office, but now it's resorting to winking and nodding to one of its latest stars' past movies. Perhaps Bousman and company didn't notice because almost everything about Spiral feels that forced, awkward, clunky and badly thought-out. Jackson and Chris Rock might gift the long-running franchise a couple of high-profile new faces; however, this ostensible reboot is exactly as derivative as you'd expect of the ninth instalment in a 17-year-old shock- and gore-driven saga. Focusing on a wisecracking, gung-ho, about-to-be-divorced police detective known for exposing his dirty colleagues, Spiral tries to coil the series in a different direction, at least superficially — and pretends to have meaty matters on its mind. Ezekiel 'Zeke' Banks (Rock, The Witches) has been crusading for honesty, integrity, fairness and honour in law enforcement for years. Starting back when his now-retired dad Marcus (Jackson, Death to 2020) was the precinct's chief, he's been vilified by his peers for his efforts. When a killer appears to be targeting rotten cops, too, Zeke is desperate to lead the case. Initially, he just wants to avenge the death of the first victim, one of the only co-workers he called a friend, but he's soon trying to track down a murderer that seems to be following in franchise villain Jigsaw's footsteps. A lone wolf-type not by choice but necessity, Banks also happens to be saddled with a rookie partner (Max Minghella, The Handmaid's Tale) as he attempts to stop the bodies from piling up. Read our full review. https://www.youtube.com/watch?v=sBFvpz_Tlrs&feature=youtu.be THE MAN IN THE HAT Throughout his four-decade-plus career, Ciarán Hinds has appeared in everything from Excalibur and The Phantom of the Opera to There Will Be Blood and Harry Potter and the Deathly Hallows: Part 2 — and in Game of Thrones and First Man as well. But his expressive face never been put to as a great use as it is in The Man in the Hat, which tasks the Irish actor with staying silent for its duration, save for a rare word here and there. As the titular figure, he potters around France in a small Fiat 500. What might've been a leisurely journey just because (its purpose is never explained) becomes somewhat frantic when a car filled with five bald men starts following his every move. The headwear-donning protagonist witnesses them up to no good, drives off quickly and attempts to take the scenic route, but wherever he goes, his pursuers cross his path eventually. That doesn't stop either the eponymous man from whiling away the time on his travels, whether dropping into cafes, helping the people he meets along the way, seeing the sights, having a swim or flirting with a red dress-wearing, bike-riding woman (Sasha Hails, Quiz). Often, the man in the hat simply listens to his short-term companions, including a fellow lonely soul (Stephen Dillane, Mary Shelley) initially spending his time under a bridge and a biker (Maïwenn, DNA) at a makeshift campsite. Written and directed by Oscar-winning Shakespeare in Love composer Stephen Warbeck with TV travelogue veteran John-Paul Davidson (Stephen Fry in America, Brazil with Michael Palin), The Man in the Hat is undeniably slight. It's also doused in the same type of Gallic whimsy that made Amelie a delight to some and an utter chore for others. And, with its jaunty score, episodic antics, smatterings of slapstick, and gorgeous small-town and countryside backdrop, it can play like a fever dream you might have after eating too much cheese, pairing it with a few healthy glasses of wine, making European holiday plans and falling asleep watching great silent comedians from decades ago. None of the above is a bad thing, however, if you're on the film's wavelength. Indeed, surrendering to The Man in the Hat's charms — and appreciating its exacting staging and choreography — happens both quickly and easily. It wouldn't be the same feature without Hinds, though, who adds an enchanting wordless performance that owes a clear debt to Charlie Chaplin, Buster Keaton, Marcel Marceau and Jacques Tati, but is never an act of miming mimicry. https://www.youtube.com/watch?v=O-d92kJUisU CARMILLA Premiering at the Edinburgh International Film Festival back in 2019, Carmilla first reached the screen shortly after Portrait of a Lady on Fire made its maiden appearance at Cannes. It debuted more than 14 months before Ammonite, the other big lesbian period romance of the past two years. But this gothic novella adaptation will always be seen as the lesser of the three recent films. Inspired by Sheridan Le Fanu's 1872 text, Carmilla is indeed another tale of love, lust, repression and the roles that have been enforced upon women for far too long. It takes the restraint that its characters are tasked with displaying a little too firmly to heart, though. While handsomely shot with a keen eye for vivid detail, moody in tone from start to finish, and eagerly savaging society's judgement of female sexual awakening and of sapphic desire, its often feels stilted rather than filled with yearning — and frequently seems as if it's holding a little too much back. Also, although its source material is one of the first works of vampire fiction, hitting the page nearly three decades before Bram Stoker's Dracula, first-time solo writer/director Emily Harris doesn't heartily sink its teeth into that genre, either. There's absolutely nothing wrong with eschewing the supernatural, of course, but a few especially striking images aside, Carmilla's pulse rarely quickens. What this story of passion, seduction, persecution and flouting strict norms does unshakeably possess, however, is memorable and committed performances by its key female cast members — all of whom do their utmost at every turn. Hannah Rae (Fighting with My Family) plays Lara, the cooped-up, constantly lonely daughter of the distant Mr Bauer (Greg Wise, The Crown). When the film commences, she's giddy with excitement about the impending arrival of a fellow teen from a neighbouring town, who's set to join their household for a prolonged sojourn. It'll give her a much-needed reprieve from her stern governess, Miss Fontaine (Jessica Raine, Patrick Melrose), who usually dictates every aspect of her daily routine. The tutor is even determined to train her left-handed pupil to favour her other appendage, all in the name of curing her of her sins. But, when their planned visitor doesn't make the trip, mysterious newcomer Carmilla (Devrim Lingnau, Immortality) earns everyone's attention instead. A victim of a carriage accident with no memory of who she is or why she's in the area, she's like a beacon in the night to the curious and isolated Lara, even as Miss Fontaine endeavours to maintain a close watch. https://www.youtube.com/watch?v=-uiCkL26zfQ FINDING YOU When aspiring violinist Finley Sinclair (Rose Reid, The World We Make) meets acting superstar Beckett Rush (Jedidiah Goodacre, Chilling Adventures of Sabrina) by falling asleep on his shoulder during a flight from New York to Ireland, she definitely isn't just a girl standing in front of a boy asking him to love her. The college exchange student thinks the cinema world's biggest current heartthrob is arrogant, in fact, and likely wouldn't have given him another thought if they didn't end up staying at the same small-town bed and breakfast thanks to pure rom-com logic. No, Finding You doesn't try to hide its Notting Hill-esque concept. Based on the young adult novel There You'll Find Me, it's quite eager to nod in its fellow romantic comedy's direction — and towards as many of the genre's other cliches and tropes as it can find. Even its setting sticks to recent convention; however, it's never as grating and inane as the Scotland-set Then Came You, and doesn't feature a twist as ridiculous as Wild Mountain Thyme. Everything about Finley and Beckett's will-they, won't-they romance plays out as expected, though, other than one key factor. Writer/director Brian Baugh (I'm Not Ashamed) hasn't met a pointless plot development he doesn't need to work into his movie, it seems, so the path to true love here definitely doesn't run smooth. Finley heads to Ireland seeking a change of scenery and a new source of inspiration after failing a big audition, while Beckett makes the trip to shoot the latest instalment of a big blockbuster franchise he's no longer that interested in being in. As they work out their individual issues and inch closer together, the script also tasks her with becoming his acting coach, and sightseeing with him in an attempt to track down a cross sketched by her brother. She also learns a few musical tricks from the boozy town expert (Patrick Bergin, The South Westerlies), and gets caught up in a decades-long scandal surrounding an elderly and cantankerous woman (Vanessa Redgrave, Mrs Lowry and Son) she's assigned to visit for class — while Beckett battles with his manager dad (Tom Everett Scott, 13 Reasons Why) about his future, the tabloid attention and the fake love affair he's supposed to be in with his co-star (Katherine McNamara, The Stand). When Finding You lets its two leads simply spend time together, it benefits from their warm rapport. When it bundles in every complication it can think of, it veers from being blandly predictable to needlessly contrived and convoluted. For whatever misguided reason, Baugh favours the latter over the former, all served up with a soundtrack that couldn't be more stereotypical if it just repeated the word "Ireland" over and over again. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; and May 6. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down and The Perfect Candidate.
To the joy of folks who love ice cream but don't consume animal products, tucking into a creamy frozen dessert that's 100-percent vegan is much easier than it used to be. You'll find vegan Magnums, Cornettos and Weiss Bars in your supermarket freezer, vegan choc tops at Event Cinemas in Sydney and Brisbane, vegan ice cream sandwiches at Lord of the Fries around the country, and a selection of vegan sorbets at Gelato Messina — and now you'll find a new vegan lineup at gelato chain Gelatissimo as well. Gelatissimo already has its own vegan sorbet range, spanning flavours such as green apple, lemon, mango, passionfruit, raspberry, strawberry and coconut. Now, it's also scooping up dairy-free gelato. As part of the new selection, two varieties are on offer at present, with a third still to come — and they're the first in the chain's ongoing commitment to providing flavours for all dietary preferences. If you like your frosty desserts with a dash of decadence, you're in luck, with caramel mudcake and triple chocolate flavours on the menu. When you're licking your way through a cup or cone of caramel mudcake vegan gelato, you'll be enjoying vegan caramel gelato combined with caramelised sugar, as well as chunks of vegan caramel mudcake. As for the vegan triple chocolate gelato, it blends West African cocoa, vegan dark chocolate morsels and vegan chocolate sauce, then dusts the whole thing with cocoa powder. Available until Thursday, April 2 — or until stocks last — in all Australian stores, both dairy-free flavours use coconut and soy milk. Just what the third vegan gelato flavour will be, or when it'll be available, hasn't been revealed as yet. Gelatissimo's new vegan range is available from all stores nationwide until Thursday, April 2 — or until stocks last. If you're choosing to go out and support local businesses, have a look at the latest COVID-19 advice and social-distancing guidelines from the Department of Health.
Perched above a previously underutilised, quietly beautiful stretch of Darling Harbour, NOLA Smokehouse and Bar is a new addition to the Streets of Barangaroo's tower restaurants. The style tips its hat to one of America's most revered and distinctive cities with hanging basket ferns, wicker chairs and gorgeous wrought iron detailing around the bar. The menu wears the New Orleans influence lightly though — think more along the lines of smoked meats and sazeracs rather than bowls of gumbo and po' boys. Service is knowledgeable and friendly, giving what could easily be a stuffy upmarket venue a taste of laidback Southern hospitality. The menu covers loose groupings of starters and share plates and is particularly strong on seafood; go for a half-dozen oThis Baranf Pacific oysters with a sharp shallot vinaigrette and/or a thick chipotle bloody mary sauce ($25) straight off the bat. A tuna sashimi dish ($24) offers just a hint of Southern spice with its Creole seasoning, and comes strewn with lightly salty caviar-like sea grapes. Mains revolve around the smoking room, and a good way to sample a range of their handiwork — not to mention eat your way into an agreeable food coma — is with the Pit Master's Picks ($43 per person), which includes lamb, pork sausage, brisket and chicken. The velvety-soft brisket pairs nicely with a dollop of chimichurri sauce while the blackened, tea-brined chicken (also available separately for $48) is particularly mouth-watering, full-flavoured and smoked to a soft texture. One of the salad options, the chargrilled cos ($22), goes way beyond being an afterthought for non-carnivores, bringing crunch and plenty of colour with coils of neat green zucchini ribbons, vivid purple radicchio leaves and the dusky orange zucchini flowers. Another big part of NOLA is the drinks list. Cocktails run from well-balanced originals like a bourbon, blueberry and lemon concoction called the Berry Blues to classics like the evergreen Vieux Carré — named after the city's famed Old Quarter — and the sazerac, one of the great gifts New Orleans has given to the world (all $18-20). The back bar also holds an admirably encyclopaedic collection of American whiskies, with plans to expand the range to well over 500 US varieties. All the big names are represented here, but try one of their lesser-known varieties, or something different, like a super smoky Octomore. The dessert list includes some New Orleans specialities like pecan pie and molasses jelly. Bananas Foster would have been a nice addition, but its absence is soothed by the decadent likes of a cookies and cream dish with ice cream, honeycomb, fresh berries and bourbon caramel ($13). Besides, when the last rays of sun are disappearing over the harbour and a breeze is filtering in through the airy room, you'll hardly be complaining.
Oliver Show's 'Street Furniture' has been taking over the streets of Hamburg, Germany, creating utilitarian yet comfortable seating out of existing city structures. By wrapping and securing flexible drainage pipes around the downtown infrastructure, Show hopes to reclaim the city for the public. Not necessarily designed for aesthetic pleasure, Show's pieces gather their charm from their intentionally simple, low-maintenance design. “The interventionist and experimental approach to me is more important than the quest for a ‘perfect’ product,” says Show, who has earned a design award from the HFBK Leinemann Foundation for Education and the Arts for 'Street Furniture'. Each installation is ingeniously resourceful: low-cost and weather-resistant. They are all entirely user-friendly as well. Suddenly, a bridge is an armchair, and a bike rack is a sofa, each beckoning to Hamburg residents, urging them to sit down and stay a while. [via Architizer]
The Sydney Opera House is introducing an exciting addition to its myriad of renowned experiences. Joining one of Sydney's best restaurants in Bennelong, as well as the newly renovated Concert Hall, Opera Bar, House Canteen, the Utzon Room and a range of other tours, theatres and bars at the iconic harbourside venue, will be Midden by Mark Olive. Led by its namesake chef, this new restaurant will bring seasonal menus showcasing native ingredients to the space currently occupied by Portside. Midden by Mark Olive will open for lunch and dinner seven days a week, plus high tea on Wednesdays, Saturdays and Sundays from Tuesday, July 4 in the Sydney Opera House's Western Foyer. A proud Bundjalung man, Olive will pull from thousands of years of First Nations cooking to create the produce-driven Midden menu. Shell middens are areas defined by large collections of shells discarded from local residents eating crabs, oysters and other shellfish. Tubowgule, the traditional name for the area the Sydney Opera House now resides on, was once a midden of oysters pulled fresh from the neighbouring harbour. "Middens were vibrant communal spaces with food at their core," says Olive. "Opening a restaurant at the Sydney Opera House on Tubowgule, Gadigal country is a dream come true. I could not be prouder to follow in the pioneering footsteps of leading Indigenous Australians like Rhoda Roberts, Justine Saunders and Stephen Page, who have brought incredible First Nations storytelling to this place over the past 50 years." Expect to start your meal with Sydney rock oysters in a bush tomato and wattle-seed vinaigrette, and damper bread infused with native herbs and partnered with whipped eucalyptus butter. Other snacks and starters available at Midden include native thyme hummus; smoked kangaroo salad; lemon myrtle and pepperberry-cured salmon; and an Indigenous Australian platter featuring highlights from the grazing menu alongside regional cheeses, tandoori crocodile, marinated artichoke and Tasmanian mountain pepper leaf flatbread. If you're still hungry after making your way through your entrées, there are heftier mains on offer including smoked blue gum barramundi, black olive pappardelle, braised wallaby shanks served with sweet potato rosti, and seared pork belly infused with the flavours of river mint and bush honey. "The land on which the Opera House stands was a gathering place for ceremony and culture for thousands of years before the building itself was ever conceived, and I hope the menu we've created will give guests a real taste of that millennia-old history and maybe even inspire some to cook with our vibrant native ingredients at home too," Olive continued. Reservations for the new waterfront restaurant are open now. Midden by Mark Olive will open at the Sydney Opera House on Tuesday, July 4. It will be open 11.30am–2.30pm and 5–8.30pm Monday–Sunday, and will run high tea on Wednesdays, Saturdays and Sundays.
"Why can't you enjoy life?": when that line arrives in Hard Truths, it's not only a haunting moment within the latest film from British writer/director Mike Leigh, but the same from any movie in the past few years. First, the perennially depressed, angry and disillusioned — and also agoraphobic, paranoid, confrontational and hypochondriac — Pansy (Marianne Jean-Baptiste, Surface) utters it, giving voice to the accusations that she felt were directed her way by her late mother. Pansy's sister Chantelle (Michele Austin, Boat Story) then repeats it back, but as her own question, asking someone so clearly always in pain why such hurt, unhappiness and fury is her default status. "It was the combination of a lot of improvisations and preparation. It just came out of the blue," Jean-Baptiste tells Concrete Playground about that piece of dialogue. "It was obviously months of rehearsing and developing the characters that led up to it." She continues: "it just summed up the frustration that Chantelle has with her sister Pansy, but also I think something releases for Pansy when she actually answers truthfully." Leigh sees it as "part of the investigation of the relationship", he advises. "The moment, like all the moments — and all the action and all the dialogue and everything else — came out of the whole exploratory process of making the film by finding out what the film is on the journey of making it." As all projects by the iconic filmmaker are — across an on-screen resume that started with 1971's Bleak Moments; saw Jean-Baptiste nominated for a Best Supporting Actress Oscar for Leigh's Secrets & Lies in 1996; and also covers Life Is Sweet, Naked, Career Girls, Vera Drake, Happy-Go-Lucky, Another Year, Mr Turner, Peterloo and more — the London-set Hard Truths was built from the ground up with his collaborators. His famed method of working involves casting first, constructing characters one on one with his actors sans script, tasking them with improvising the dialogue and, along the way, finding the storyline while only telling the members of his ensemble what they each need to know to play their parts. Here, the result is a two-time BAFTA nominee, including for Best Actress for its lead, who won the same category at the British Independent Film Awards. Alongside standing out as a portrait of the daily lives of a Black British family, a rarity in cinemas, Hard Truths is also a stunning study of a character who holds onto her agony, fears, rage and exasperation so tightly inside, and unleashes it so frequently at anyone and everyone in her vicinity. Pansy's contented salon-owner sister — a single mother with two daughters, one training to be a lawyer (Sophia Brown, Dead Shot) and the other in cosmetics (Ani Nelson, One Day) — isn't the only target of her distress. Hard Truths' protagnist's husband Curtley (David Webber, My Lady Jane) and adult son Moses (Tuwaine Barrett, Back to Black) are as visibly weary from attempting to cope as Pansy clearly is. Jean-Baptiste describes the character as "somebody who is in a lot of pain, but doesn't quite know where it's coming from. There's a lot of fear as well. It's 'attack before I'm attacked'. She's petrified of life and it manifests itself in a very aggressive way". If her performance hardly feels like one — not that she's Pansy IRL for a second — that's again a result of Leigh's process. "Michele Austin and I, obviously we've worked together before with Mike, but we would get into a room and Mike would talk to us about the girls. And so we had to build their parallel history," she explains, offering one example of how such fully realised characters came about. "Their parents, their grandparents, where they lived in London, what schools they went to, the bus route to their schools. How did they get there? Did they walk? Did they have to go past the park? And then we go and find that in London. So located it, so there's a visual memory of what that would have looked like, and that continues and continues until we get to a point — we do birthdays, parties, holidays, all that information. So imagine when you're in an improvisation a month and a half later, you've got all this stuff, all this wonderful history, all these experiences, that you can pull on at any given point within the improvs. So that's how that works." And yes, across a resume that also spans The Cell, City of Ember, the RoboCop remake, In Fabric, seven seasons of Without a Trace, Broadchurch, Blindspot, Homecoming and much more, Jean-Baptiste advises that she's benefited from Leigh's approach even when he's not her director. What appeals to Leigh, one of cinema's great excavators of life's complexities — struggles, joys and everything in-between — about investigating humanity through his work, and collaborating with his cast to create characters that feel like they could've walked off the street and into his movies? And what has driven him to do so for more than half a century? "It comes naturally to me. As a little kid, I was drawing caricatures of the grown-ups," he notes. "I don't make movies about movies. I love watching movies, but that's separate from the films that I make. I am not interested in received notions of plot and structure or anything else. For me, film — and indeed theatre, when I do stage plays, including in Australia — it's about a way to look at real life. People say to me 'where do your ideas come from?'. Well, I've only got to walk down the street and there are ten, 12, 20, 50, 100 films, because it's people, and that's really what it's about for me, basically." With Leigh and Jean-Baptiste reuniting for Hard Truths not only after Secrets & Lies and collaborating for the stage, but after Jean-Baptiste composed the score for Leigh's Career Girls, too, we also chatted with the pair about their working relationship, Leigh's starting point with each project, getting into and out of character, and the challenges and freedoms of his process, among other topics. What continues to inspire them and what they make of their respective careers: we spoke with the two about that as well. On Building Pansy as a Character Over Months and Months Marianne: "Mike asks you to come to the first session, where he works with you one on one, and to have a list of people from real life, real-life people that you know. And you start talking about all of these people and a list is formed, and the list gets smaller and smaller and smaller. So it's important to ground the characters in reality. And from that point, it's a stepping off point, because the character changes. For example, if you have three people, you've taken characteristics from those three people and you've merged them, what you would then do is start from scratch and build a new character — from their first memory to the age they're going to play when you actually see them in the film. In that process, you start to, with Mike always — he takes the position of god, he makes the decisions that none of us can make for ourselves — so with Mike, there's a collaboration whereby he asks lots of questions and you start filling in answers to who this person is. And then things that you wouldn't be able to decide, he makes those decisions. And in doing so, the disappointments, the heartbreaks and things like that, start to build in that person's life. So on a simplistic level, you could say that she is a combination of all of the bad experiences she's had — some real, some imaginary." Mike: "It's a difficult question to answer, really. Because obviously at one level, such people resonate for me — just as for everybody else, no doubt, including you — with experiences that you've had. What we do on my films, and this film is absolutely no exception, is I collaborate with each actor to give birth to a character. And drawing on various things, including some people that Marianne Jean-Baptiste actually knows, we evolved the basis of the character, which then grew." Marianne: "My experience in life. Observation. Being fascinated by human beings. That's the sort of thing that I generally draw on. And just knowing that — it's like being a kid again, almost — knowing that I'm absolutely free to imagine and create. One of my first jobs out of drama school, actually, was doing a Mike Leigh play — and it's exactly the same process, but it was early enough in my career to influence the way that I approached my work and almost approach life in that sort of people-watching way, and just being fascinated. So I think that just being in a safe environment where that was okay to make stuff up, and to pull stuff from my imagination is acceptable. I think you're just in-character in this process. We warm up into character and we snap out of it quite quickly. But as I said, it really is the culmination of months and months of working. We rehearsed for three and a half months — and that's a short rehearsal process for Mike. So if you can imagine, that's months of building layers and layers and layers. So there's every disappointment she's had. There's everything that she hoped for but didn't achieve. There's every slight or perceived slight that she's had. There's that idea that nobody listens to her, nobody values her, nobody likes her. So that's going on for three and a half bloody months. So by the time you get to those sort of scenes, it's like it's all there — it's all there already." On Reteaming Not Only After Secrets & Lies, But After Stage Collaborations and Jean-Baptiste Composing the Score for Leigh's Career Girls Mike: "We did work together 30 years, 31 years ago, in a stage play. And then of course, she was famously in Secrets & Lies, in which, incidentally, in both of those projects she paired with Michele Austin, who plays her sister in this film. It's a long time since Secrets and Lies, and I wanted to work with her — and she with me — for a long time. Often it's the case that you want to work with an actor and they're actually very busy doing other things. Finally we said 'well, let's go for it. Let's do it'. We were going to make the film sooner, but the pandemic put paid to that." Marianne: "I think he's very bold. He's a bold storyteller. He loves people and he loves actors. And I think, as an actor you have more agency working with him than you do with most other types of work. It's truly collaborative — and collaborative all round with production design, with hair and makeup. Everybody works together and everybody's on the same page about the way that they're going to approach the work. I think we've got a very similar sense of humour, so that really helps as well." On Leigh's Starting Point with His Actors on Each Film Mike: "I work individually, separately and privately with each actor. And part of the deal with these films is that the actors take part, agree to take part, and the deal is you'll never know anything about the rest of it, except what your character knows. So they're all working, as it were, in isolation from each other. And I sit down at some length, with quite a lot of sessions, with each actor, and we talk about real people and gradually we talk into existence the basis of the character. So that's the starting point. Then it's about putting them together and exploring relationships, and building up the world and doing any research that needs to be done — into activities or work or whatever it is. To arrive at something that is completely organic and three-dimensional, and is also thus the basis of a film, which then, during the shooting period, we construct as we go along scene by scene, sequence by sequence, location by location, arriving at the end." On Ensuring That Leigh's Cast Can Step Out of Their Characters, Especially Someone as Complicated as Pansy, When Each Scene and Day Ends Marianne: "It's hard to shake in that you still keep, it's still there in your head working. Mike's very, very strict about coming out of character. So there's a whole protocol on-set about warming up into character and warming down. But with Pansy, because of the intrusive thoughts that the character had, obviously you have to create that thought process for yourself in order to play it. So it took a while for me to shut her up." Mike: "As soon as we start to get the characters on the go, I'm very strict, right from the beginning. But actors should warm up and get into character, be absolutely in-character when they're in-character, but as soon as we stop — which is to say not at the end of the day, but each improvisation or whatever it is — to come out of character. So the actor is then able to be objective about what happened in the improvisation or about the character. I'm also very strict that the actor, when talking about the character, refers to the character as 'him' or 'her, not 'I' — which a lot of actors, as you know, do, they talk about 'I' and there's a crossing of wires. So that's really a discipline. And that's what you're talking about, to be sure the actor can be totally in it when in it, but totally comfortable and not screwed up when not in it." On the Challenges and Freedoms of Leigh's Approach Marianne: "It's exhilarating, terrifying and freeing — all those wonderful things. There's nothing else like it, being able to work in this way. There were times when you feel like crying, because you're like 'what on earth am I doing? What is this?'. And then you see it, you see the result and you go 'oh my god'. Because obviously, because everybody's working individually on their characters, you don't know what's happening. The first time I saw the film, I was able to see what happened in the beauty salon, and what Curtley did at work and where Moses went, and what the nieces were like. So it's like, for us, it's like discovering the film for the first time. It's wonderful is all I can say." Mike: "It's totally a combination of the two. It's certainly challenging. Here's the thing: if they say 'okay, here's five or six million pounds and you've got to deliver a film', that is quite a lot of responsibility on your shoulders, of course. It's challenging, but it's highly stimulating. And the freedom of there being no preconceptions or interference or prescriptions from the streamers or the producers or anybody — the backers or the whoever — it's very liberating. Frightening, yes, but then the creative process is dangerous in any context. But liberating. It's wonderful. If I were to ever — many times over the years, the opportunity has come to make a film with certain provisos. 'You have to have a Hollywood star in it.' 'We have to be able to monitor it.' 'You can't have final cut.' All that stuff. Well, I'll just walk away. It just doesn't happen, basically. Which then liberates the freedom to do what artists should do." On How Leigh Works with His Cast to Ensure That Whether or Not the Audience Has Lived a Character's Life, They Feel Recognisable Mike: "You can't underestimate the contribution of the actor. The actor's intelligence, sensitivity, perception, talent. I only work with character actors, which is to say people that don't just play themselves in a narcissistic way, but actually are up for and want to detect, depict and portray real people out on the street. And so my job is to facilitate and to contribute in terms of the narrative ideas — but in the end, what you're asking about relies primarily on her ability to to act, create, empathise, project, distill and investigate all those aspects of the character. There are actors who are, on the whole, good actors, but are not very intelligent. There are actors who are fine actors that have no sense of humour. There are actors who, as I've already said, are not character actors. Marianne Jean-Baptiste, like all the actors in this film, has all of those qualities, not least a sense of character and a sense of humour, and therefore has the ability to get inside different sorts of people and really, really bring it to life." On How Cognisant That Jean-Baptiste and Leigh Were About Hard Truths Standing Out as a Portrait of the Daily Lives of a Black British Family Marianne: "No, we were not aware of it while we were making it. We were aware that there's a predominantly all-black cast, but you obviously don't know what the story is. So you know it's going to be something to do with family and stuff, but yeah, it's a bonus that it's something that people can be proud of and say 'yeah, great, so refreshing'." Mike: "That was a deliberate decision. It wasn't, in no way, a difficult decision, because I just approached the characters and the world and the issues and the emotions and the relationships in this film just as I have every other film I've made, including the period films — which is to say these are people and we're looking at them as people in a real way. However, I was very definitely consciously aware that we were not going to deal in all those cliche tropes that films about Black people on the whole deal with, because that's not what it's about as far as I'm concerned. For me, I would say — and you're no doubt familiar with other films of mine — across all of my films, it's a collection of different aspects of society, but all looking at people as individual, real people. And this film is, if you like, the mere continuation of that ongoing investigation." On Reflecting the Reality of Life by Making a Film That's Both Deeply Moving and Has a Sense of Humour Mike: "It's not a balancing act at all. Life is comic and tragic. Whatever you do, whether you like it or not — how many times have you not laughed at a funeral? Life just comes out of the soil, ready-made comic and tragic. So for me, I don't sit around thinking 'oh, maybe there should be a comic moment' or 'maybe this should be a tragic moment'. That looks after itself, and it certainly looks after itself in this film. It's a barrel of laughs, hopefully, for a good section, a good chunk of the film. And then — and we've had quite a number of public screenings of the film, and you could absolutely chart precisely where the laughter dies away, and it's obvious why that is. It's not a question of balance. It's a question of the truth of what you're depicting and what you're investigating, what you're sharing with the audience and what the audience experiences." On What Inspires Jean-Baptiste and Leigh About a New Project Marianne: "At this point in my life, I'm looking for challenges. I'm looking for something that I can transform myself — something that's going to be fun. For me, that's it. Are they good people? Will it be fun? Will it be challenging in a good way, you know?" Mike: "To me, it's always exciting. It's partly, to be honest, because I don't know what we're going to do and therefore there are all sorts of possibilities. And my head is buzzing with all sorts of possibilities and ideas — 'maybe we'll get him', 'maybe we'll get her to the party'. Then, of course, it's the anticipation and the enjoyment of actually working with people, and making it and making the thing happen. And shooting and working with the actors, all that's just, to me, a joy. Here's the thing that's important: the way I make films is the same way but is parallel to people writing novels, painting pictures, making music, making sculpture, writing poetry, et cetera — which is to say that the artist embarks on a journey of investigation, and discovers what the piece is on the journey of making it. They interact with the material. How many novelists have you heard say 'well, I didn't know what was going to happen, and then somehow the character told me what needed to happen next'? That's really what I do. The privilege I feel I have that painters and novelists, et cetera, don't have, is that I'm not stuck in a room by myself. It's a collaborative, socially pleasurable activity." [caption id="attachment_782569" align="alignnone" width="1920"] In Fabric[/caption] On What Jean-Baptiste and Leigh Each Make of Their Careers So Far Marianne: "I think it's interesting. I think I've had quite an interesting career. I've forgotten some stuff that I've done — it's gotten to that stage where people go 'oh that film' and I go 'oh yeah'. Yes, I think it's been a bit of an interesting one, mine, that's taken me to a few different places. I've been able to be quite selective in the last say five or ten years, which is good." [caption id="attachment_722535" align="alignnone" width="1920"] Peterloo[/caption] Mike: "Well, on the whole, if I was to sum it all up, I think I've been very lucky, actually, really. There've been breaks at times, which made it possible to do the crazy thing I do, which is to say to backers or theatre managers: 'I have no idea what we're going to do. I will not discuss casting. And please don't interfere with it while we're doing it at any stage'. And one could be forgiven for imagining that on that basis, I might never have done anything. So I've been lucky in that sense, and I guess the honest answer to your question is that, really — that I've found it remarkable that I've kind of got away with it." Hard Truths opened in Australian cinemas on Thursday, March 6, 2025 and New Zealand cinemas on Thursday, March 13, 2025.
It's been 18 years since Australia's first taste of acclaimed New York artist Spencer Tunick's work, when 4500 naked volunteers posed for a snap near Federation Square as part of the 2001 Fringe Festival. He then photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras, and came back to Australia just last year to shoot over 800 Melburnians in the rooftop carpark of a Prahran Woolworths. This month, Tunick made the trip to the shores again — and this time, he went tropical. On Saturday, November 23, a whole heap of Aussies stripped off on a beach in the Whitsundays, with the internationally famed artist returning to Australia to stage the newest of his famed mass nude photographs. In Tunick's latest visit to Australia, his sights were set on the white sands and sparkling blue waters of Haslewood Island — near Whitehaven Beach, aka the second best beach in the world. That's where Tunick assembled another contingent of naked folk for a work titled Sea Earth Change. Interestingly, the shoot was part of The Iconic's (yes, that online clothing store) summer campaign We Are Human. Naturally, the resulting images feature the sky, the ocean and the sand — and the nearly 100 nude participants — with Tunick making an artistic statement on the fragility of both the natural environment and humanity. "Using a pristine location like Haslewood Island in the Whitsundays to highlight the need for us to protect these areas, while exploring the vulnerability of the human form and importance of community is something I hope I've communicated with these images," he explained. Tunick captured a diverse mix of bodies in the shoot, with participants each receiving a print of the photograph and, we're sure, a big boost of body confidence. The artwork was unveiled at The Calile Hotel in Brisbane on Wednesday, November 27, marking the latest striking images in the artist's career. Elsewhere, he's photographed the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK. Images: Spencer Tunick's Sea Earth Change installation artworks.
For one afternoon only, Messina's headquarters in Marrickville is transforming into a massive dance floor. The gelato maker is teaming up with events collective Maple Social for a sun-drenched day party. Leading the DJ lineup is TikTok hero Touch of Funk, who'll be joined by locals CHRS and steevie. They've all been charged with getting you moving, and keeping you that way. In between dance breaks, kick back with a burger and hand-cut fries from Marrickville's Whole Beast Butchery. Meanwhile, Messina's Erin Bar will be peddling signature cocktails. Then, of course, there's the gelato — bucketloads of it. Tuck into all the usual flavours at your leisure, but do make sure you leave room for the Maple Social-inspired special. It's a Canadian maple scoop infused with butter, dotted with chunks of waffle cone crunch and drizzled with maple caramel. Entry to the Maple Social x Gelato Messina Car Park Party is free, but you need to RSVP beforehand. Do that via Instagram @maplesocialclub or Partiful.
If there's one thing the entertainment industry loves at the moment, it's turning movies into something else. Musicals and television shows, to be exact. Following in the footsteps of La La Land, Amelie and a wealth of others, The Devil Wears Prada is the latest film making the leap to another medium. Yes, the fashion-focused workplace drama is headed to the the stage in musical form. Showing just how terrifying your boss has to be to make you not just scream, but sing, the film-to-theatre adaptation will take its cues from the 2003 novel the movie was based on, as well as the 2006 flick starring Meryl Streep and Anne Hathaway. And, it'll come with songs from a famous source, with Elton John signing on to compose the production's music. If this sounds partly familiar, that's because taking The Devil Wears Prada to the stage has been mooted since 2015, but without any specific details. John will join forces with playwright and screenwriter Paul Rudnick (Sister Act, Addams Family Values) to bring the tale of aspiring journalist Andy Sachs, her haughty, haute couture magazine editor Miranda Priestley to singing-and-dancing life. No word yet on casting, or when the musical will become the kind of hot ticket that a million girls would kill for. Via Deadline.
Vaccinated masses rejoice: up to five double-jabbed mates can now gather in outdoor areas together, meaning the hottest ticket in town is the humble BYO picnic. So, it's high time to grab cured meats, crudites and cold ones and make tracks to your nearest scenic park for a long, leisurely day in the sun. But you don't want to throw your picnic blanket down on any old patch of bindi-riddled grass. Sure, you may be restricted to your LGA or five-kilometre bubble, but there are still plenty of sprawling parks, stunning gardens and secluded reserves around. We've teamed up with Rosie Spritz to round up five of the most idyllic spots in the inner city 'burbs — all of which allow you to BYO booze. Here's where to lay in the sun, crack open a pre-batched bottle of rosé spritz and tuck into some A-grade cheese. [caption id="attachment_826962" align="alignnone" width="1920"] Brooke Zotti[/caption] BARANGAROO RESERVE, BARANGAROO Named after the Cammeraygal leader and wife of Wangal man Bennelong, Barangaroo is known for both its cultural heritage and as a sprawling precinct nestled between Sydney Harbour and the city. It's also home to Barangaroo Reserve: a six-hectare swathe of rolling parklands brimming with Australian natives, meandering trails, dreamy harbour views and plenty of space to plant your vaxxed bums for a picnic. It's close to Wynyard Station and, if you haven't packed a picnic basket, Barangaroo's southern end is conveniently home to much-loved Sydney eateries like Belles Hot Chicken, Bourke Street Bakery, Ume Burger and Rivareno Gelato, all of which are currently offering takeaway options for your al fresco snack needs. [caption id="attachment_827001" align="alignnone" width="1920"] Brooke Zotti[/caption] ROYAL BOTANIC GARDEN SYDNEY, CBD Both the oldest scientific institution in Australia (it was opened way back in 1816) and one of the oldest botanic gardens in the southern hemisphere, the Royal Botanic Garden Sydney is truly one of the Harbour City's top natural(ish) gems. It's also a perfect spot to set your self up for an afternoon. Why? For one, it's absolutely massive — 30 hectares in total. And, as one of the city's most prized green spaces, it is home to a jaw-dropping collection of both native and foreign species of plants, and, of course, local wildlife. And with all that space, there are myriad options for either a lively picnic with harbour views or a quiet leafy paradise all to yourselves. There are also endless amenities, so if you desperately need a coffee or (inevitably) need to go to the bathroom, you won't have to leave the park. [caption id="attachment_826968" align="alignnone" width="1920"] Brooke Zotti[/caption] BEARE PARK, ELIZABETH BAY Known mostly for its foreshore trail loved by seemingly every jogger in town, Beare Park is a stunning space to take a load off post run — or walk, or drive. While this pocket of green space is relatively small (compared with the Royal Botanic Garden anyway), it has ample space for you to spread out. It's also BYO booze-friendly and, thanks to it being a stone's throw from Potts Point, it has no shortage of sweet food options for a luxe picnic spread, including top cheese shop Penny's and go-to sandwich spots like Small's Deli and Room Ten. Kick back, sip a Rosie Spritz and daydream you're one of the local multibillionaires who owns a superyacht moored in the bay. [caption id="attachment_826987" align="alignnone" width="1920"] Brooke Zotti[/caption] HARMONY PARK, SURRY HILLS If you're on the hunt for a park that's close to the best eateries in town, look no further than Harmony Park. An ol' faithful outdoor lunch spot for the Surry Hills crowd, the park has an endless list of A-class food spots surrounding it. You can pick up a falafel-filled pita pocket at Shwarmama, a quality cup of joe from Single O, a Japanese-style katsu sando from Sandoitchi and Butter's famed fried chicken — the list of Surry Hills spots goes on and on and on. Harmony Park is also BYO-friendly (praise be), so you can cheers it up with your vaccinated pals. But, the real drawcard is all the cute pups parading around the park, so bring your pooch along, or simply coax a cute doggo over to your gathering with a fistful of leftovers. [caption id="attachment_825209" align="alignnone" width="1920"] Flickr, Amelia Collins, creative commons[/caption] HICKSON ROAD RESERVE, THE ROCKS If you're looking to picnic as close as humanly possible to an Australian landmark, then Hickson Road Reserve is your spot. The park sits underneath the Sydney Harbour Bridge, and it brings some vacay vibes with the giant palm trees lining the foreshore footpath. Not to be outdone by the bridge, there's also a pretty bloody spectacular view of Sydney Opera House and the rich blue hues of the harbour waters. Though small, it's probably the most blue-chip patch of grass to roll out a picnic blanket in the city. Rosie Spritz is an ideal springtime sip and is available at BWS, Dan Murphy's and First Choice Liquor stores across Sydney. For more picnic inspiration, check out our guides to idyllic picnic spots where you can BYO booze in Sydney's inner west, eastern suburbs, lower north shore and northern beaches. Top image: Barangaroo Reserve, Brooke Zotti Remember to Drinkwise.
Consider yourself a sushi fanatic? Gyuniku is willing to put that to the test with an unlimited sushi and sashimi buffet. But rather than needing to keep count of the plates you've put away like a traditional sushi train experience, this lunchtime event comes with a convenient set price so you know precisely what to expect. Available for lunch from 12–3.30pm, this feast is intended for the whole family, with adult diners paying $48.90 for unlimited trays of sashimi, nigiri and nori rolls. Yet the options extend much further, with delicious salads, dumplings, noodles and desserts on the menu alongside DIY chirashi bowls – or scattered sushi. Designed to deliver maximum value for money, not to mention flavour, at a time when sushi prices are going up and up, stuffing yourself with this Japanese feast is easygoing on your wallet. Kids are welcome to indulge in the banquet too, with children aged 4-10 dining for $27.90 and toddlers aged 1–3 priced at just $9.90.
We all know that fast fashion is gross. And yet, with the hectic holiday season just passed, we're all familiar with the need to buy cute stocking stuffers in a time crunch — often overwhelming our need to not pollute the planet beyond repair. We really don't do well by Mother Earth here in Australia. According to the Australian Bureau of Statistics, every year 500,000 tonnes of fashion ends up in landfill and each Aussie consumes 27 kilograms of textiles. Rhianna Knight believes we can do better, so the 26-year-old started an apparel business that won't leave you feeling shamefaced. The result is Mister Timbuktu, and it's in the early stages of kicking ass. Mister Timbuktu's outdoor apparel is made from recycled plastics. The first round is being crowdfunded now through Indiegogo, reaching more than half of its target with 16 days left to go (at the time of writing). At the moment, the range is all about quality leggings, raincoats and sports bras, but they'll soon branch into all things outdoorsy, including tents, sleeping bags and puffer jackets. The designs are gorgeous and bright because outdoor activities don't have to be completed in drab natural colours (apologies, Kathmandu, you serve a purpose but there's a new queen on the block). According to Knight, eleven plastic bottles are recycled in each pair of leggings they create. How in the name of activewear is that possible? Well, recycled plastics are collected, shredded into chips, washed, melted into liquid form and then spun into thread that goes on to become your new favourite comfy pants. Science, bitches! The company has also pledged to put 20 percent of profits back into helping the planet in other ways: by partnering with both a mental health charity (Waves of Wellness) and the Foundation for National Parks and Wildlife. But wait, there's more. Okay, we probably shouldn't get so excited about this part because the rest of the initiative is so phenomenal, but check out the leggings: they have a pocket in the waistband which is the best and most practical thing ever. Thank you for listening to our secret wishes and delivering. For more information, visit Mister Timbuktu's campaign.
Kent Street is set to gain a new Japanese fine diner this September when Kuro opens its doors. Here, guests can enjoy a casual meal or book into a ten-person-only degustation that's served by a chef who's worked at Michelin-starred restaurants. The latter offering, dubbed Teramoto by Kuro, will be run by Executive Chef and Co-Owner Taka Teramoto, who has spent time in the kitchens at Michelin-starred restaurants in Paris and Tokyo — Restaurant Pages and Florilège, respectively. Each night, ten lucky diners will be seated at a kitchen-side counter for the degustation, so they can watch the action while they feast. Teramoto will personally serve each tasting menu alongside sommelier Wanaka Teramoto (116 Pages, Paris), the offering changing regularly, based on seasonality and availability. While menus are still in the works, you can expect the likes of wagyu tartare seared over binchotan (white charcoal), then crumbed in charcoal panko and sprinkled with Tasmanian pepper (pictured below); fresh stracciatella topped with warm peas and lovage oil; and one-week-aged squid sashimi in a broth of lemon myrtle, tomato dashi and sliced taro stem. [caption id="attachment_729358" align="alignnone" width="1920"] Megann Evans[/caption] For more casual fare, Kuro Bar & Dining will offer seasonal share plates in a 40-seat, à la carte setting. Here, the food will be created by Head Chef Nobu Maruyama of Surry Hills' now-closed Bar H. This menu is still under wraps at the moment. In this space, there'll also be a bar with a drinks list featuring cocktails using Japanese produce and flavours, plus heaps of Japanese spirits — including whisky, gin, shochu and sake — and draught beer. All of these can be enjoyed alongside bar snacks, too. And, if you come by in the morning, the espresso bar will offer coffees, teas and brekkie. Potts Point's Henderson & Co architects will be looking after the fit-out, which will transform the heritage-listing building into a space inspired by Japanese architecture and craftsmanship. A major element of the space will be the dynamic lighting, which will create an ever-changing ambiance throughout the day and into the night. Kuro will open in September at 364–368 Kent Street, Sydney. It'll be open six days per week for breakfast, lunch and dinner. Images: Megann Evans
Do you like doughnuts? Of course you do. And even though you think your love is peak right now, you're probably going to like them a whole lot more when you taste what Doughnut Time has to offer. That's right — one of Queensland's favourite sources of doughy deliciousness is heading down south. A Doughnut Time pop-up has just opened in Topshop in Sydney's Market Street, which is just the start of their interstate venture. New stores in Newtown, Bondi and Chippendale will soon be serving up the likes of the Cate Blanchett (with milk and dark chocolate glaze, Tim Tams and white chocolate curls) and the Wake Me Up Before You Vovo: a doughy with a light strawberry glaze, jam and coconut marshmallows. After that, a couple of Melbourne-based pop-ups and standalone shops in Fitzroy and Hawthorn will follow suit. So pretty. A photo posted by DOUGHNUT TIME (@doughnut_time) on Oct 29, 2015 at 4:01pm PDT Of course, the full rotating range of delectable iced, filled bites will be on offer, so prepare to devour the Melon Degeneres with watermelon and sour green glaze, the pretzel-topped George Costanza and the Fruit Loop-laden Cereal Killer, among others. Picking something based on its name alone is completely acceptable. Branching into New South Wales and Victoria caps off what has already been a massive year for Doughnut Time — they only started trading in Queensland earlier in 2015, after all. Since that first Fortitude Valley store opened its doors to lines down the street, three other Brisbane outlets have been added to the mix, plus two on the Gold Coast and a roving Doughnut Time van. Yes, it's a good time to love those damn fine orbs of pastry goodness. For the moment, you can find Doughnut Time's pop-up at Topshop at 45 Market Street, Sydney. For more information about their upcoming openings in Sydney and Melbourne, keep an eye on their website and Facebook page. Via Good Food.
Lamingtonuts, cruffins, flagels, take a hike. There's a new savoury hybrid in town. Goodgod Small Club's Belly Bao eatery has spent the last six months secretly fusing their signature bao bun with Sydney's cult edible go-to, the burger. Finally, BAM. We have a baoger. Yep, a BAOGER. The mighty 'Belly Baoger' is now available at Goodgod's Taiwanese street food eatery. Sink your teeth into Belly Bao’s handmade bao burger bun, a juicy grilled beef patty, melted cheese, crisp lettuce, onion, pickled radish and special sauce. But you can't just rock up any ol' time and demand baogers all over the joint; they're only available on Thursdays from 5pm. It's $10 for a single patty, $13 for a double. Right here, right bao, is the hybrid dinner you've been waiting for. Find Belly Bao and the brand new BellyBaoger at Goodgod Small Club, 53-55 Liverpool Street, Sydney.
When it was announced back in 2016 that Moulin Rouge! was being turned into a stage musical, fans around the world thought the same thing in unison: the show must go on. Since then, the lavish production premiered in the US in 2018, then hit Broadway in 2019, and also announced that it'd head Down Under in 2021 — and if you're an Aussie wondering when the latter would actually happen after all the chaos of the past two years, the same mantra thankfully applies to its upcoming Melbourne season. Originally set to debut in August — a date that was obviously delayed due to lockdown — Moulin Rouge! The Musical will now make its Australian debut at Melbourne's revamped Regent Theatre on Friday, November 12. It'll do so as a newly minted Tony-winner, too, after picking up ten awards earlier in October, and also becoming the first-ever Aussie-produced show to win the Tony for Best Musical. Based on Baz Luhrmann's award-winning, Nicole Kidman and Ewan McGregor-starring movie — which celebrates its 20th anniversary this year — the stage musical brings to life the famed Belle Époque tale of young composer Christian and his heady romance with Satine, actress and star of the legendary Moulin Rouge cabaret. Set in the Montmartre Quarter of Paris, the film is known for its soundtrack, celebrating iconic tunes from across the past five decades. The stage version carries on the legacy, backing those favourites with even more hit songs that have been released in the two decades since the movie premiered. The musical comes to Melbourne in the hands of production company Global Creatures, along with the Victorian Government. The Government is also a big player behind the Regent's upgrade works, having dropped a cool $14.5 million towards the $19.4 million project. It co-owns the site, along with the City of Melbourne. Moulin Rouge! The Musical's spectacular spectacular Melbourne season is set to stick around for a while, with tickets currently on sale until early April. You might want to get in quickly if you're keen on heading along, though — when pre-sale tickets were put up for grabs back in February for the original August dates, they broke the Regent Theatre's record for the most pre-sale tickets sold in a single day. Moulin Rouge! The Musical will hit The Regent Theatre, at 191 Collins Street, Melbourne from Friday, November 12. For further details or to buy tickets, head to the production's website. Moulin Rouge! The Musical image: Matthew Murphy.
If you've spent the past year with your nose buried in a book, that's about to pay off beyond the everyday joys and thrills of reading. Sydney Writers' Festival's 2023 lineup is here another hefty catalogue of thought-provoking events — 226 of them, with almost 300 writers and thinkers involved. From the recipients of the literary world's brightest honours to some of Australia's household names and faces, a wealth of talent is descending upon the Harbour City, and being streamed nationally thanks to SWF's online program. Every writers' festival converges around an annual theme, with Sydney's focusing on 'Stories for the Future' for its 2023 iteration from Monday, May 22–Sunday, May 28 at various venues around the city — and also beamed digitally. Thinking about what's to come has been an inescapable part of living through the pandemic era, which SWF knows, curating a bill of talks that'll contemplate moving through the chaos of the past few years and into in a different tomorrow. [caption id="attachment_893384" align="alignnone" width="1920"] Eleanor Catton by Murdo MacLeod[/caption] Today's most current Booker Prize-winner, plus three from past years as well, top the lineup: Shehan Karunatilaka, who won in 2022 for The Seven Moons of Maali Almeida; The Luminaries' Eleanor Catton; The Narrow Road to The Deep North's Richard Flanagan and Girl Woman Other's Bernardine Evaristo. Still on highly applauded attendees, two-time Pulitzer Prize-winning American novelist Colson Whitehead — for The Underground Railroad, which was then adapted into a TV series, and for The Nickel Boys — also leads the bill, arriving between Harlem Shuffle's 2021 publication and sequel Crook Manifesto's arrival this July. Among the international names, the above headliners have ample company. When Trinidad-born UK musician Anthony Joseph isn't talking poetry — he is 2022's TS Eliot Prize for Poetry winner — London restauranteur Asma Khan from Darjeeling Express, and also seen on Chef's Table, will chat about comfort food; Daniel Lavery from Slate, who penned the Dear Prudence column from 2016–21, will run through his best advice; and Vietnamese author Nguyễn Phan Quế Mai will introduce her new novel Dust Child. [caption id="attachment_893383" align="alignnone" width="1920"] Colson Whitehead by Chris Close[/caption] On the local front, get ready for two iconic pairings: former Prime Minister Julia Gillard being interviewed by Indira Naidoo, plus Jurassic Park favourite Sam Neill discussing work, life and writing with his Sweet Country, Dean Spanley, Dirty Deeds and Palm Beach co-star Bryan Brown. Also on the must-attend list: Grace Tame chatting about The Ninth Life of a Diamond Miner: A Memoir, Heartbreak High's Chloé Hayden doing the same with Different, Not Less: A neurodivergent's guide to embracing your true self and finding your happily ever after, and Stan Grant on The Queen Is Dead. Also, on Monday, May 15 before the main festival, Tim Winton will discuss writing the ABC TV documentary Love Letter to Ningaloo. Under first-time Artistic Director Ann Mossop, opening night will feature Evaristo, Benjamin Law and Miles Franklin-winner Alexis Wright working through the impact that the past has on the present, as well as poet Madison Godfrey performing. At the other end of the fest, novelist Richard Flanagan will look forward, exploring why we need to tell our own tales to shape the future. [caption id="attachment_893385" align="alignnone" width="1920"] Grace Tame by Kishka Jensen[/caption] And, if your main relationship with the printed word is through recipe books, the 2023 festival is going all in on the topic for one day at Carriageworks Farmers Market. Stephanie Alexander and Maggie Beer will talk with Adam Liaw, while fixing the food system and family recipes will also nab chats by culinary talent. Capping off the bill will be foodie gala The Dinner That Changed My Life, with everyone from Nat's What I Reckon and Jennifer Wong to Alice Zaslavsky and Colombo Social's Shaun Christie-David involved. Among the rest of the program, other highlights include a tribute to Archie Roach and Jack Charles; comedians Wil Anderson and Laurence Mooney; the All Day YA lineup; a deep dive into crime podcasting with journalists Patrick Abboud, Kate McClymont and Hedley Thomas; and The Book Thief and The Messenger's Markus Zusak on bringing the latter to TV. Adaptations in general earn their own session, Shane Jenek aka Courtney Act is part of SWF's stint of Queerstories, Tom Ballard pops up on an OK Boomer panel, Australia's war on hip hop gets its time in the spotlight, and there's a look at AI in the age of ChatGPT. As always free events are a big part of the program as well, with more than 80 on year. And, also in the same category, the spread of venues is hefty — including Carriageworks, Town Hall, and 25 suburban venues and libraries across the Sydney. Sydney Writers' Festival runs at various venues across Sydney from Monday, May 22–Sunday, May 28. Tickets go on sale at 10am on Friday, March 17 via www.swf.org.au.
Among the many thoughts that Only Murders in the Building has caused viewers to ponder across 2021's season one, 2022's season two and 2023's season three, the misfortune that comes with living in its eponymous spot is right up there. Exactly why is in the show's name, too. Each season, a new murder has taken place in the Arconia, the New York apartment complex that its main sleuthing trio call home. Here's another takeaway from this hit mystery-comedy series so far: famous faces are rarely far from its halls. Only Murders in the Building stars Selena Gomez (The Dead Don't Die), Steve Martin (It's Complicated) and Martin Short (Schmigadoon!) as neighbours and podcasters Mabel Mora, Charles-Haden Savage and Oliver Putnam, and has enlisted a heap of other well-known talents. Sometimes they play themselves, as Sting (The Book of Solutions) and Amy Schumer (IF) have. Sometimes the show gets Meryl Streep (Don't Look Up), Paul Rudd (Ghostbusters: Frozen Empire), Tina Fey (Mean Girls) and more into character. In season four, which starts streaming via Disney+ Down Under from Tuesday, August 27, 2024, all of the above notes still prove true. There's another murder to investigate. There's more big-name cast members as well. Some of the latter appear as versions of themselves, while some play fictional parts. Being aware that there has again been a killing in the Arconia doesn't mean knowing what's in store in the show's return, though. Indeed, something different is afoot this time around, taking Only Murders in the Building to Hollywood. But as the just-dropped full trailer for the new season demonstrates, no one is completely saying goodbye to the series' main setting. Also, Los Angeles isn't the only fresh surroundings that beckon for Mabel, Charles and Oliver. The crew's latest investigation and the cinema business both beckon in Tinseltown. A studio wants to turn their podcast — which is also called Only Murders in the Building — into a film. Cue the arrival of Molly Shannon (The Other Two), Eugene Levy (Schitt's Creek), Eva Longoria (Tell It Like a Woman) and Zach Galifianakis (The Beanie Bubble), with season four's new cast members also including Melissa McCarthy (Unfrosted), Kumail Nanjiani (Ghostbusters: Frozen Empire) and Richard Kind (Girls5eva). Alongside Short, Gomez and Martin, fellow long-running Only Murders in the Building regulars Michael Cyril Creighton (American Fiction), Da'Vine Joy Randolph (a newly minted Oscar-winner for The Holdovers) and Jane Lynch (Velma) are also back. Check out the full trailer for Only Murders in the Building season four below: Only Murders in the Building streams Down Under via Star on Disney+, and will return for season four on Tuesday, August 27, 2024. Read our reviews of season one, season two and season three.
As well as being the shopfront to the Funkis Köket Cafe, Funkis boasts an array of high-quality clothing, accessories and glasses that are definitely worth checking out if you're in the area. Just like the cafe's menu is inspired, the approach here is loving, sustainable, and features a timeless, elegant simplicity which will keep you coming back again and again. With spring in full swing, embrace some Nordic vibes with a fun yet functional strappy clog paired paired with a jumpsuit on a warm evening. Or, maybe you'd prefer to bring an outfit together with a pair of stylish and affordable glasses in a wide variety of bold colours. There are also some great bags in both bright florals or simple leathers, embracing both functionality and fashion for all tastes. Image: Funkis
Japan has a knack for turning something simple into an elite experience and its snack game is no exception. Whether you've experienced the joys of a Tokyo konbini (convenience store) for yourself or you've only seen the hauls all over social media, the sheer volume of unique and delicious treats can be mind-boggling. So, in partnership with Suntory -196, we've hand-picked our ultimate favourites — from a satisfying savoury bite to the sweet candies to stash in your desk drawer — and found the top spots around Australia to get your hands on them. Happy snacking. [caption id="attachment_820994" align="alignnone" width="1920"] Sandoitchi, Leigh Griffiths[/caption] Sandos Grab-and-go food chains have never really taken off in Australia like they have in other parts of the world so actively seeking out a convenience store sandwich when in Tokyo can be a hard concept to grasp. But one bite of a tamago sando (Japanese egg sandwich) will smash through any preconceptions. Made with fluffy crustless milk bread (shokupan) and a rich, buttery egg filling, these decadent bites are beautiful in their simplicity and can be found in pretty much every one of the 50,000 konbini across Japan. Back in Australia, we'd recommend sticking to the dedicated cafes like Saint Dreux in Melbourne CBD which coats an egg slab with a nori (seaweed) sheet and panko breadcrumbs; Supernova, in Brisbane's Fortitude Valley, truffle-laced version served with a curry dipping sauce; or new-kid-on-the-Darlo-block Punpun in Sydney where the chefs steam the eggs into a custard-like consistency before slathering them with chive mayo. Once you've tried the cult classic, venture out to the other iterations, like the pork katsu sando or the fruit sando, stuffed with seasonal fruit and whipped cream — both are done to perfection by the legends at Sydney favourite Sandoitchi. Suntory -196 Japan may be nicknamed the Land of the Rising Sun but the major cities really come alive at night. From walking down neon-lit streets to chatting with locals at intimate vinyl bars and belting out your best rendition of 'My Heart Will Go On' at a karaoke joint, many of the iconic experiences travellers seek out in Japan happen after dark. And many of them happen with a Strong Zero in hand — the cult Japanese premixed drink, made with a blend of shochu, vodka and soda, available in 7-Elevens, Lawsons and Family Marts across the nation. When you're looking to capture a little of that Japanese spirit (both literally and figuratively) ahead of your next night out, pop to your local bottle-o to grab some Suntory -196s, brought to Australia by Suntory in honour of their number one premix in Japan. There are now three exceptional flavours to try — the zesty yet crisp OG Double Lemon; the sweet 'n' sour Double Grape and the oh-so-juicy Double Peach (Double Peach was released just last year and we can't wait to see what new stuff they've got in store for 2025). All three are made using Suntory's patented Freeze Crush Infusion Technology, which involves the flash freezing of real fruit at -196 degrees Celsius before crushing and infusing the fruits into spirits to intensify the flavour profile for double the fruity hit. Can't decide which one to go for? Opt for a variety ten-pack from all major bottle shops, including Dan Murphy's, and slowly sip your way through to find your favourite. Melonpan What happens when two classic comfort foods — bread and cookies — join forces? It creates the ultimate little snack to satisfy those 3pm sugar cravings. Featuring fluffy sweetbread covered by a crunchy cookie crust, melonpan is a slightly sturdier version of the famous Hong Kong pineapple bun and is named for its resemblance to rockmelon. Sydney's Azuki Bakery (Newtown and Wolli Creek) has gained a following for its melonpan — while you're there, grab the best-selling curry pan, a savoury doughnut filled with beef curry. In Melbourne, head to Japanese-inspired bakery and cafe Fuumi Fuumi in South Yarra for its flavoured versions (think matcha, strawberry or chocolate) straight from the oven. Brisbane's well-loved French patisserie Le Boulangerie Amour Fou, with locations in Sunnybank, Indooroopilly, Woollongabba and more, offers its own take on the treat in mocha and mango flavours. Kororo Gummy Candy File this one under 'there's nothing quite like it'. These colourful little gummies are popular across Japan as much for the affordability and novelty as they are for the actual taste — a pack will usually only set you back the equivalent of about AUD$1 and they somewhat resemble a grape, right down to the wrinkly skin that you can (but don't need to) peel off. Inside, the gummy is soft, chewy and bursting with flavour. The most popular flavours are grape, muscat (green) grape and white peach. Owing to these little gems going viral on TikTok a while ago, most Japanese grocery stores in Australia now stock these so check out Maruyu and Amami Mart in Sydney and Fuji Mart in Brisbane and Melbourne. Mochi This traditional rice cake snack comes in so many forms it could have its own article — you can get them stuffed with sweet fillings like red bean paste, fresh cream and fruit or tiny scoops of ice cream; in soup; toasted into a waffle; or transformed into a chewy doughnut. They're so popular that they're not very hard to find in Australia anymore — even the major supermarkets sell them — but quality can vary wildly. Seek out authentic, freshly made mochi at Torori Warabi Mochi in Haymarket, Sydney, in classic flavours like matcha, hojicha and Hokkaido milk. A Melbourne store is due to open later this year. In Brisbane, Sonder Dessert in Sunnybank has been the go-to for years, serving its version coated in roasted soy bean powder with a brown sugar dipping sauce. [caption id="attachment_988373" align="alignnone" width="1920"] 15cenchi[/caption] Japanese Cheesecake Many nations lay claim to having the best cheesecake. There's the New York-style version (uncooked cream cheese with a crumbled cookie base) and the bittersweet yet creamy burnt Basque-style option. But the Japanese version, a soufflé-esque concoction that is wobbly and oh-so-light, must not be overlooked. Uncle Tetsu takes the (literal) cake for bringing this masterpiece to the Aussie masses with stores in Sydney and Melbourne, and both cities now boast cult-favourite LeTAO, too. Meanwhile, Mountain River Patisserie in Runcorn has a good take on the treat for Brisbanites. If you're a ride-or-die basque cheesecake fan, make tracks to Sydney's lockdown darling, 15 cenchi, for the ultimate hybrid. Named for the '15 centimetres of happiness' it promises customers, 15cenchi offers Japanese-style basque desserts in innovative flavours like salted grapefruit and lychee or yuzu. Kit Kats Japanese Kit Kats have been the hot-ticket Japan souvenir for years. Every colleague that has ever been to Tokyo has returned to work with a stash of them. It's a small win for mandatory office days but the bad news? They almost always opt for the same flavours: matcha and strawberry. They're both delicious but it's a true shame when you learn there are over 300 flavours in the range in Japan — you could be treating your palette to a seasonal chocolate smorgasbord with flavours like wasabi, sakura, salt lychee and sweet potato. The next time you're at your local Japanese grocery store, keep an eye out and see what's available. Onigiri Considering how popular premade sushi rolls are here, it's a little surprising that onigiri hasn't had the same impact on Aussie lunchtime culture — until now. Otherwise known as Japanese rice balls, onigiri features steamed rice formed into a triangle and wrapped in a nori sheet. Just like its Japanese counterpart, 7-Eleven Australia has started stocking these portable snacks in three classic flavours: cooked spicy tuna, sweet chilli salmon and chicken teriyaki. If you want to try more unique takes, opt for one of the many hole-in-the-wall joints that have popped up recently. In Sydney, we're big fans of the one stuffed with an onsen egg at Mogu Mogu, the chashu (braised pork belly) and chilli from Parami (a collab with the iconic Chaco Ramen) and the plum kombu from Domo39. In Melbourne, West Melbourne's 279 offers traditional fillings like takana (mustard greens) or cured cod roe while Tokyo Lamington in Carlton gets a bit more experimental with the likes of miso eggplant, bacon and egg or chicken curry. Finally, Brisbane joined the trend a few months ago with the arrival of Shiro where onigiri comes packed with miso pork or salted seaweed. Babystar Crispy Ramen If Mamee Monster Noodle Snacks were a lunchbox staple for you growing up, it's time to graduate to Baby Star Ramen. This raw noodle snack has been around since the 1950s and is so well-loved it even has its own theme park, Oyatsu Town, in Tsu City, Japan. Available in flavours like tonkotsu, garlic, chicken or yakisoba, these noodle strands are salty, crunchy and incredibly moreish — don't be surprised if you finish the entire bag in just a few minutes. You can find them at most Japanese grocery stores around Australia and via JFC Online. Level up your next summer snack sesh by pairing Suntory -196 with any of these top-tier Japanese snacks. Head to Dan Murphy's to pick up a limited-edition 'Suntory -196 Variety Pack' featuring all three epic flavours: Double Lemon, Double Grape and Double Peach.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DON'T WORRY DARLING Conformity rarely bodes well in cinema. Whenever everyone's dressing the same, little boxes litter the landscape or identical white-picket fences stretch as far as the eye can see, that perception of perfection tends to possess a dark underbelly. The Stepford Wives demonstrated that. Pleasantville, Blue Velvet and Vivarium all did as well. Yes, there's a touch of conformity in movies about the evils of and heralded by conformity; of course there is. That remains true when Florence Pugh (Black Widow) and Harry Styles (Eternals) navigate an ostensibly idyllic vision of retro suburbia in a desert-encased enclave — one that was always going to unravel when the movie they're in is called Don't Worry Darling. Don't go thinking that this handsome and intriguing film doesn't know all of this, though. Don't go thinking that it's worried about the similarities with other flicks, including after its secrets are spilled, either. It'd be revealing too much to mention a couple of other movies that Don't Worry Darling blatantly recalls, so here's a spoiler-free version: this is a fascinating female-focused take on a pair of highlights from two decades-plus back that are still loved, watched and discussed now. That's never all that Olivia Wilde's second feature as a filmmaker after 2019's Booksmart is, but it feels fitting that when it conforms in a new direction, it finds a way to make that space its own. That's actually what Pugh's Alice thinks she wants when Don't Worry Darling begins. The film's idealised 1950s-style setting comes with old-fashioned gender roles firmly in place, cocktails in hand as soon Styles' Jack walks in the door come quittin' time and elaborate multi-course dinners cooked up each night, with its protagonist going along with it all. But she's also far from keen on having a baby, the done thing in the company town that is Victory. It'd curtail the noisy sex that gets the neighbours talking, for starters. Immaculately clothed and coiffed women happily playing dutiful housewives in a cosy sitcom-esque dream of America generations ago: that's Wilde and screenwriter Katie Silberman's (also Booksmart) entry point; however, they waste zero time in showing how rebelling in her own child-free way isn't enough to quell Alice's nagging and growing doubts about utopia. There's much to get her querying, such as the earth-shaking sounds that rumble when Victory's men are at work, doing top-secret business on "progressive materials" out in the sandy expanse. There's the reflections in the mirror that briefly take on a life of their own, too — starting in a ballet class that's about retaining control, coveting symmetry and never upsetting the status quo far more than dancing. And, there's the pushed-aside Margaret (KiKi Layne, The Old Guard) after she disrupts a company barbecue. All the rules enforced to keep Victory's women in their places, and the cult-like wisdom that town and company founder Frank (Chris Pine, All the Old Knives) constantly spouts, are also inescapable. So is the force with which asking questions or daring to be different is publicly nixed, as Alice quickly discovers. And, it's impossible to avoid how the men band together when anything or anyone causes a bump, even their own other halves. Swiftly, Alice's days scrubbing and vacuuming her Palm Springs-inspired bungalow, then sipping cocktails poolside or while window shopping with fellow Victory spouses like Bunny (Wilde, Ghostbusters: Afterlife) and Peg (Kate Berlant, A League of Their Own), fall under a shadow — not literally in such sunnily postcard-perfect surroundings, but with shade still lingering over every part of her routine. Speaking up just gets dismissed, and Frank and his underlings (including a doctor played by Timothy Simmons, aka Veep's Jonah Ryan, who is instantly unnerving thanks to that stroke of casting) have too-precise answers to her concerns. Read our full review. THE STRANGER No emotion or sensation ripples through two or more people in the exact same way, and never will. The Stranger has much to convey, but it expresses that truth with piercing precision. The crime-thriller is the sophomore feature from actor-turned-filmmaker Thomas M Wright — following 2018's stunning Adam Cullen biopic Acute Misfortune, another movie that shook everyone who watched it and proved hard to shake — and it's as deep, disquieting and resonant a dance with intensity as its genre can deliver. To look into Joel Edgerton's (Thirteen Lives) eyes as Mark, an undercover cop with a traumatic but pivotal assignment, is to spy torment and duty colliding. To peer at Sean Harris (Spencer) as the slippery Henry Teague is to see a cold, chilling and complex brand of shiftiness. Sitting behind these two performances in screentime but not impact is Jada Alberts' (Mystery Road) efforts as dedicated, determined and drained detective Kate Rylett — and it may be the portrayal that sums up The Stranger best. Writing as well as directing, Wright has made a film that is indeed dedicated, determined and draining. At every moment, including in sweeping yet shadowy imagery and an on-edge score, those feelings radiate from the screen as they do from Alberts. Sharing the latter's emotional exhaustion comes with the territory; sharing their sense of purpose does as well. In the quest to capture a man who abducted and murdered a child, Rylett can't escape the case's horrors — and, although the specific details aren't used, there's been no evading the reality driving this feature. The Stranger doesn't depict the crime that sparked Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer, or any violence. It doesn't use the Queensland schoolboy's name, or have actors portray him or his family. This was always going to be an inherently discomforting and distressing movie, though, but it's also an unwaveringly intelligent and impressive examination of trauma. There's no other word to describe what Mark and Rylett experience — and, especially as it delves into Mark's psychological state as he juggles his job with being a single father, The Stranger is a film about tolls. What echoes do investigating and seeking justice for an atrocious act leave? Here, the portrait is understandably bleak and anguished. What imprint do such incidences have upon society more broadly? That also falls into the movie's examination. Mark, along with a sizeable group of fellow officers, is trying to get a confession and make an arrest. Back east, Rylett is one of the police who won't and can't let the situation go. Doling out its narrative in a structurally ambitious way, The Stranger doesn't directly address the human need for resolution, or to restore a semblance of order and security after something so heinously shocking, but that's always baked into its frames anyway. Travelling across the country, Henry first meets a stranger on a bus, getting chatting to Paul (Steve Mouzakis, Clickbait) en route. It's the possibility of work that hooks the ex-con and drifter — perhaps more so knowing that his potential new gig will be highly illicit, and that evading the authorities is implicit. Soon he meets Mark, then seizes the opportunity to reinvent himself in a criminal organisation, not knowing that he's actually palling around with the cops. It's an immense sting, fictionalised but drawn from actuality, with The Stranger also playing as a procedural. The connecting the dots-style moves remain with Rylett, but Wright's decision to hone in on the police operation still means detailing how to catch a killer, astutely laying out the minutiae via action rather than chatting through the bulk of the ins and outs. Read our full review. AMSTERDAM There's only one Wes Anderson, but there's a litany of wannabes. Why can't David O Russell be among them? Take the first filmmaker's The Grand Budapest Hotel, mix in the second's American Hustle and that's as good a way as any to start describing Amsterdam, Russell's return to the big screen after a seven-year gap following 2015's Joy — and a starry period comedy, crime caper and history lesson all in one. Swap pastels for earthier hues, still with a love of detail, and there's the unmistakably Anderson-esque look of the film. Amsterdam is a murder-mystery, too, set largely in the 1930s against a backdrop of increasing fascism, and filled with more famous faces than most movies can dream of. The American Hustle of it all springs from the "a lot of this actually happened" plot, this time drawing upon a political conspiracy called the White House/Wall Street Putsch, and again unfurling a wild true tale. A Russell returnee sits at the centre, too: Christian Bale (Thor: Love and Thunder) in his third film for the writer/director. The former did help guide the latter to an Oscar for The Fighter, then a nomination for American Hustle — but while Bale is welcomely and entertainingly loose and freewheeling, and given ample opportunity to show his comic chops in his expressive face and physicality alone, Amsterdam is unlikely to complete the trifecta of Academy Awards recognition. The lively movie's cast is its strongest asset, though, including the convincing camaraderie between Bale, John David Washington (Malcolm & Marie) and Margot Robbie (The Suicide Squad). They play pals forged in friendship during World War I, then thanks to a stint in the titular Dutch city. A doctor, a lawyer and a nurse — at least at some point in the narrative — they revel in love and art during their uninhabited stay, then get caught in chaos 15 years later. Amsterdam begins in the later period, with Burt Berendsen (Bale) tending to veterans — helping those with war injuries and lingering pain, as he himself has — without a medical license. He once had a Park Avenue practice, but his military enlistment and his fall from the well-heeled set afterwards all stems from his snobbish wife Beatrice (Andrea Riseborough, The Electrical Life of Louis Wain) and her social-climbing (and prejudiced) parents. As he did in the war, however, Burt aids who he can where he can, including with fellow ex-soldier Harold Woodman (Washington). That's how he ends up lending a hand (well, a scalpel) to the well-to-do Liz Meekins (Taylor Swift, Cats) after the unexpected death of her father and their old Army general (Ed Begley Jr, Better Call Saul). The bereaved daughter suspects foul play and Burt and Harold find it, but with fingers pointing their way when there's suddenly another body. Two police detectives (The Old Guard's Matthias Schoenaerts and The Many Saints of Newark's Alessandro Nivola), both veterans themselves, come a-snooping — and Burt and Harold now have two tasks. Clearing their names and figuring out what's going on are intertwined, of course, and also just the start of a story that isn't short on developments and twists (plus early flashes back to 1918 to set up the core trio, their bond, their heady bliss and a pact that they'll keep looking out for each other). There's a shagginess to both the tale and the telling, because busy and rambling is the vibe, especially with so much stuffed into the plot. One of Amsterdam's worst traits is its overloaded and convoluted feel, seeing that there's the IRL past to explore, a message about history repeating itself to deliver along with it, and enough mayhem to fuel several romps to spill out around it. The pacing doesn't help, flitting between zipping and dragging — and usually busting out the wrong one for each scene. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; and September 1, September 8, September 15, September 22 and September 29. You can also read our full reviews of a heap of recent movies, such as Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three and The Humans.
Previously hidden in a backyard sprinkled with fairy lights, Parramatta pizzeria Fratelli Pulcinella has expanded into a new location on Church Street. While you may not be sneaking around the side of a house to get your hands on the saucy rounds, you'll still find the same quality Italian food at Fratelli Pulcinella 2.0. Head into 399 Church Street, and you'll find two firing pizza ovens (one for classic bases and one for gluten-free slices) amid a spacious multi-storey dining room accented with brightly coloured chairs and Italian quotes emblazoned across the wall. If part of the charm at the original Parramatta location was the al fresco dining, never fear — the new space has plenty of tables out back in the courtyard. Food-wise the team has kept things consistent, with the addition of pizza fritta and panuozzo to the menu. Classic Italian combos form the basis of the pizza options: margherita (regular or the extra-cheesy buffalo variety), prosciutto and parmesan, capricciosa and napoletana. But, the rotating menu is known to dish up some unexpected flavours as well. Indulge in a combo of speck, provolone, buffalo cheese, rocket, truffle oil and balsamic glaze. Or opt for the double-layered Amore Tossico, which features fior di latte mozzarella, parmesan, provolone, house-made Italian sausage, tomato, ham, caramelised onions, buffalo cheese, fried speck and basil. Bellissimo. If you're looking for a comforting Italian feast in the west (or on your way to a game at CommBank Stadium), Fratelli Pulcinella is here to hit the spot — now with room for everyone. Updated Monday, December 18, 2023.
When a film or TV program struggles, flounders or flat-out bombs, it often gets its audience wondering exactly what the folks behind it were thinking. HBO series Betty has the opposite effect. Within minutes of starting the New York-set show's six-episode first season, it's easy to see why filmmaker Crystal Moselle wanted to tell this story — and why she wanted to not only spend her own time with its characters, but also to share their exploits with the world. That feeling proves true even if you don't know Betty's history, because it was true of the show's predecessor as well. In 2018 film Skate Kitchen, Moselle followed five friends who spent their days ollying, kick-flipping, shredding, grinding and nose-sliding around NYC. The entire quintet was female, and the fact that they all loved to skateboard — a male-dominated pastime not just historically, but also still now — coloured their lives' many ups and downs. And, while Skate Kitchen unfurled a fictional story, it took its name from a real-life all-female skateboarding crew, used its members as the movie's stars and crafted its narrative by fictionalising their real-life experiences. Betty brings the group's tale back to the screen, both extending and expanding it at the same time. The central young women remain the same, and the same main talent all return — Skate Kitchen's biggest name, Jaden Smith, is nowhere to be seen though — but the show tinkers with some of the details. Camille (Rachelle Vinberg) is no longer a skateboarding novice, but a girl who feels more comfortable hanging out with the guys, for instance. The dynamic between the always-outspoken, often-stoned Kirt (Nina Moran), no-nonsense vlogger Janay (Ardelia Lovelace), wealthy but weed-dealing Indigo (Ajani Russell) and shy wannabe filmmaker Honeybear (Kabrina Adams) has also been massaged, as have the specifics of each character. You could see Betty as Moselle's attempt to bring a bit of skateboarding into her filmmaking, rather than just depicting it in front of the lens. No matter how often a skater does a manoeuvre, it's always bound to differ slightly from the last time — which is exactly the mindset that helps Betty glide away from Skate Kitchen's shadow. The two share much in common, of course. The director's eagerness to relay her characters' escapades via warm, dreamy visuals hasn't subsided, and nor has the pervasive vibe that manages to make everything within Betty's frames feel both of-the-moment and nostalgic all at once. But, with no criticism meant towards the excellent Skate Kitchen, it now plays like the teaser for Betty, in the same way that the movie itself was preceded by 2016 short film That One Day. Story-wise, each episode of Betty sprawls and scampers as its characters do the same. The plot's main thrust often remains straightforward — Camille leaves her bag at the skate park, and Janay helps her run around town trying to find it, for example — but Moselle and her team of co-writers aren't afraid to see where every element of every story takes them. Accordingly, the show bobs and weaves back and forth between its main players, letting the mood and the moment guide each episode where it needs to. In other words, Betty not only lets its viewers tag along, but styles and structures each episode like it's a hangout session itself. Moselle is no stranger to mining the connections between art and life. It's what drove her first feature-length film, acclaimed 2015 documentary The Wolfpack — which focused on seven home-schooled NY siblings who staged elaborate recreations of their favourite flicks because their parents would rarely let them leave the house. Viewers should watch Betty with that in mind, actually, which the TV show openly invites. This astute and engaging series offers a window into a world that has long seemed like a dream for teenage girls. It lets the audience step inside, skate along, hang out and try it on (or imagine what might've been for those whose all-girl skateboarding crew days feel long behind them). Betty doesn't ever over-stress the point, but it knows it's doing something revolutionary. Its scenes of female-only skate sessions through the city and primary school-aged girls jumping on boards for the first time are joyous, and Camille, Kirt, Janay, Indigo and Honeybear's fight to be seen as skaters first and foremost is ferocious. Indeed, Moselle is acutely aware that she's the only one telling this tale — examining the realities that female skaters face, and also celebrating their efforts and even their existence — and she does so exceptionally well. Check out the trailer for Betty below: https://www.youtube.com/watch?v=cCP1zqmdGs0 All six episodes of Betty's first season are available to stream via Binge. Images: Alison Rosa/HBO.
If you're going to celebrate Christmas in July, as Sydney's returning festival of the same name is, then you can't forget one of the most-beloved ways to get into the festive spirit: seasonal movies. Is watching Home Alone one of your merriest traditions? Are you certain that Die Hard is a Christmas flick (because it is)?. Do Elf, The Nightmare Before Christmas or Last Christmas spark a jolly old time for you? Enjoying them under the wintry stars around a fire awaits in the Harbour City in 2025. Meet Sydney Firepit Cinema, where flames are crackling and projectors whirring across Friday, July 11–Sunday, July 20 at The Rocks, with Cadmans Cottage as a backdrop. Will Ferrell (You're Cordially Invited) venturing from the North Pole to New York kicks off the program, with the rest of the movies mentioned above screening. On the bill as well: The Nutcracker and the Four Realms, Elliot: The Littlest Reindeer, Saving Santa, Home Alone 2, The Santa Clause, The Holiday, The Grinch and Love Actually. A ticket to Sydney Firepit Cinema doesn't just include the movie, but also a reserved firepit for between two and six people, plus blankets to get cosy under. The basic watch-and-roast pass will also get you toasting marshmallows over the flames. From there, you can also add mulled wine and/or hot chocolate. The Christmas in July Festival, which runs from Friday, July 11–Sunday, July 20 itself, isn't the only event that's bringing a slice of Europe to Sydney this winter. Doing the same is the Bastille Festival at Circular Quay and The Rocks from Thursday, July 17–Saturday, July 20. Accordingly, while festive flicks are on Sydney Firepit Cinema's program for the first six of its ten-day run, it's then switching its lineup to movies from, set in or that nod to France. In past years, Bastille Festival has featured Le Mulled Wine Cinema; however, Sydney Firepit Cinema is doing the honours in 2025 instead — and doing its part to remind everyone that seeing a movie outdoors can be a winter activity, complete with snuggling up next to your nearest and dearest, soaking in the brisk night air and drinking hot booze. The Bastille Festival-related portion of but Sydney Firepit Cinema's bill gets underway with Mrs Harris Goes to Paris, then features perennial favourite Amelie, Pixar's Ratatouille, Baz Luhrmann's Moulin Rouge!, the behind-the-landmark tale of Eiffel and Carême's Benjamin Voisin getting poetic in the 1800s in Lost Illusions.
Take one of popular culture's biggest supervillains, throw in one of today's very best actors and add the director of The Hangover trilogy. Only a few years ago, the above sentence might've seemed like a joke. Today, it's the reality we're living in — the reality that sees a standalone Joker movie cackling its way towards cinema screens, starring Joaquin Phoenix in the titular role. Move over Cesar Romero, Jack Nicholson, Heath Ledger and Jared Leto — it's Phoenix's time to don exaggerated clown makeup, wield a killer smile and wreak havoc on Gotham City. The just-released final trailer for Joker promises plenty of all three, as failed standup comedian Arthur Fleck turns to a life of facepaint-wearing crime (and eventually obsessing over Batman, we're guessing). As directed and co-written by Todd Phillips (Old School, Starsky & Hutch, Due Date), Joker also comes with a suitably unhinged vibe, as if Phoenix's You Were Never Really Here character stumbled into Martin Scorsese's The King of Comedy. (Fittingly, the latter film plus Taxi Driver and Raging Bull have been cited as inspirations for the new DC Comics flick, and Scorsese is one of Joker's executive producers.) It also looks certain to help everyone forget that the last take on the famous villain only arrived three years ago, because who wants to remember Leto's green-haired turn in Suicide Squad? If the first and second trailers are anything to go by, it looks like Phoenix will — thankfully — follow in the footsteps of Nicholson and Oscar-winner Ledger instead, as he plays alongside his nemesis (and talk show host) Robert De Niro, his love interest Atlanta's Zazie Beetz and his mother Frances Conroy, as well as Marc Maron and Brett Cullen. But we'll have to wait till October to know for sure. If you'd like a dose of terrifying clown cinema before then, IT: Chapter Two drops next week. In the meantime, check out the final trailer below: https://www.youtube.com/watch?v=zAGVQLHvwOY Joker releases in Australian cinemas on October 3, 2019.
Merrick Watts has some charming words for cafe workers who want to be treated like human beings. Appearing on Channel Nine's Today program, where the discussion centred around a number of Melbourne cafes who refuse service to customers who order while talking on the phone, the radio host and alleged comedian let loose on "hipster" baristas, proclaiming that they should "just make me the coffee" and that "you're not doing real work." "I'm paying for it, so how about you just give it to me, as opposed to the hipster attitude with your beard and all your weird mermaid tattoos," said Watts, to the delighted chortles of his fellow panellists. "Are you a sailor, or are you making coffee?" "Just give me the coffee, let me talk on the phone, 'cause we can't have a conversation, I don't need to engage, because I don't speak pirate!" If you can stomach the rest of the rant, you can watch the 9 News video here. Presumably it's been a while since Watts has deigned to associate with anyone who works in the hospitality industry. Thing is, we actually know quite a few baristas — many of whom work 40+ hours each week. One former Melbourne barista described a typical shift as "8-9 hours without sitting, often 10+ orders deep, trying to juggle customer expectations of friendliness with prompt service". They added: "People on phones generally slowed down the whole process and would often be the first to return a coffee if you'd misinterpreted their wild arm waving." We're not saying you have to be best mates with your barista . And yes, we've all encountered a rude one from time to time — but maybe part of the reason for that are people like Watts, who think it's totally fine to treat lesser paid hospo workers like vending machines. At the end of the day, it's not that hard to take 15 seconds and actually engage with the person on the other side of the counter. Or, if you're really not feeling it, order from a skip-the-queue app and go on your way.
Coca-Cola has been turning green lately with sustainable bottles and recycled store shelving already upping their eco-cred, but their latest venture in the Philippines might be the best yet. Partnering with WWF, their new 60 foot by 60 foot billboard features 3,600 Fukien tea plants held in pots made from recycled Coca-Cola products, the plants defining a simple silhouette of a Coke bottle. As well as catching the eye the billboard should soak up carbon from the immediate atmosphere, as each plant is capable of absorbing 13 pounds of carbon dioxide in a year. Critics have cited it as mere greenwashing, and only a drop in the ocean compared to Coke's giant production and transport carbon outputs. Nevertheless, at least it's a step in the right direction, and as well as advertising their product the billboard also highlights the issue of climate change. But, will it ever make up for the decades of flashing lights on the Kings Cross Coke sign? Will Sydney ever see the lights dimmed and replaced with some greenery? [via PSFK]
Australian author Christos Tsiolkas is back with a new novel, Barracuda, sure to get the nation talking. The follow-up to 2008's agenda-setting, TV-destined hit, The Slap, it's an exploration of failure and how to come back from it. Ahead of his sold-out talk at the Festival of Dangerous Ideas, Christos spoke with Marcus Costello about the nature of failure. You're a winner. And you don't have kids. Who are you to talk about teaching kids to fail? Fair call. To be honest I'm very wary of telling anyone how they should lead their lives. The thing is, I believe you can only ever truly talk from your own lived experience. Everyone's failures and, for that matter, everyone's experience of parenthood is unique, so to speak on behalf of anyone else under the pretence that you're all part of a select group [parents] isn't really fair either. That said, you know, maybe because I'm not a parent I can think what's in the best interest of a generation of children, not just my child, my flesh and blood. I can ask the question: Have you come here to learn how to raise your kid to be the best or how to think about what's best for your kid's generation as a whole? I mean, if we care to think about it, the wholesale derailment of the education system by the private sector has failed so many underprivileged children. And yet, my guess is, were they able to afford it, most parents would want to send their kid to a private school, and in so doing, feed the beast. But my talk isn't only about teaching children the virtues of failure. My talk is going to focus on how failure marks a certain adult relationship with Self and the world by way of moments in my life where I feel I've failed and the lacerating but ultimately rewarding experience of atoning for that failure. But if one can atone then it's not true failure; it's just part of an eventual success story, no? I see what you mean. Like, if you flick through any of those in-flight magazines there's always a profile of some celebrity that reads like an elaboration of a Nike advertisement or some dot-com entrepreneur in Forbes talking about how "failure made me stronger". My talk isn't going to be like that. The kind of professional failure I'm interested in exploring isn't so much a book that didn't sell well, but a book I've put out that betrayed my integrity or where I made lazy choices. I feel this way about my second novel, Jesus Man. On a personal level I've failed as a friend, as a son, as a lover ... On a national level, and this is a central theme of my talk, the culture of ruthless materialism and political self-regard that has emerged over the past two generations strikes me as a moral failing. That makes me think of a quote by Po Bronson I found while researching, "Failure is hard, but success is far more dangerous. If you're successful at the wrong thing, the mix of praise and money and opportunity can lock you in forever." Yes! That's so accurate. The seduction of success is something we all need to keep in check because when we step into smaller and smaller social circles it's so easy to fall out of touch with the broader community. How will you feel if your new novel Barracuda flops? Come what may, I feel I've reached a certain point in my life where I know that, for the rest of my time here, writing is what I will do. In that way you're fail-proof. I mean, if you think of yourself as destined to write, compelled by a force greater than commercial success, then you've beat the system. I guess you're right. As an artist it's folly to single out any one work as the mark of failure or success — if you're true to what you do then you see everything you produce as building towards something greater. That said, if Barracuda flops I will be upset, but for other reasons. There are so many people around me who are invested in this book and in my success — I don't want to let them down. Like The Slap your FODI talk is for an elite audience. The sad truth is that if anyone thinks anything of a child being slapped at a BBQ, that marks them as elite. To that end, how dangerous is any idea if you're only talking to those people who actually care to think about ideas? Ah, yes, this is true, and such a hard thing to deal with. I guess I can only hope that what I say will spark conversations beyond the Opera House; that someone will listen to what I have to say and take that message to someone else and the word will filter out that way. I wish I had a better answer to that but I don't. Barracuda is out now through Allen & Unwin. The Festival of Dangerous Ideas is on at the Sydney Opera House from November 2-4. Top image by John Tsiavis.
Aussies are embracing the no- and low-alcohol movement. When we go out to a bar, bottle shop or even our local supermarket, we are spoiled for choice with options for non-alcoholic wines, beers, mocktails and spirits. One such offering is from premium alcohol-removed winery Edenvale Wines. It has positioned itself as an alternative range of wines for wine lovers if they've decided to go booze-free for whatever reason. We caught up with Edenvale Wines winemaker Aaron Milne to find out how the heck you even get the alcohol out of the wine, and what the future is for the no and low trend. First up, tell us about your background. How did you become involved in the wine world? I started in wine by picking up some work during the holidays working in the cellar door. About 16 or 17 years ago, I took a vintage job with Lindeman's Winery and I really enjoyed it. While I was there, I researched and jumped on a winemaking degree at Charles Sturt University. I was offered to come and work at AVL (Australian Vintage Limited) and they offered to help me with my studies. I did that and I really haven't looked back. It's been hectic! What was it about the wine industry that drew you in? It's just very different. When you're working in a factory or other production facility you do one thing every day, all the time. Whereas with wine, because it's so seasonal, we're doing a different thing at each time of the year and each wine is different and each season is different. So, although you are kind of making the same product every year, there's always something very exciting and challenging about it. So how, and why, did you end up making alcohol-removed wines? It was actually just fate. I was working at AVL and they had a division that had an alcohol-removal facility. They offered me a position to run the place. I was interested in the process, the spinning cone, evaporators, thermo flash extractors and all sorts of different pieces of equipment. Back in those days, there was some scepticism about the concept — "Who is actually going for alcohol-removed wines?" — and then suddenly it just turned around. People became really keen on it and it just grew and grew. AVL is where I met Michael Bright, he was our biggest customer and really championed the alcohol-removed wine category with Edenvale. I worked closely with him to improve and develop products and processes. When Michael asked if I wanted to join Edenvale and help them build a brand-new processing plant, I jumped at the opportunity. Can you bring me through the process of actually making alcohol-removed wines? The basic winemaking process is the same. We harvest the fruit, remove the stems and leaves and then crush the fruit to get all the juice, then add yeast and ferment it. Once fermented, it is clarified to remove impurities and put through cold and heat stabilisation to prevent spoilage. There are other potential steps like ageing in oak barrels and so on. But essentially, you get it to the bottle-ready stage and then we start the process to remove the alcohol. The standard method is with a spinning cone that uses vacuum distillation. This puts wine under a vacuum to reduce the pressure and lower the boiling point of alcohol. Before this method, winemakers would just boil the alcohol out of the wine — cooking out all of the flavours. Now we're able to remove the alcohol at quite low temperatures down around the 30–40-degree range. This first round is called the 'de aroma step' because the alcohol that is removed also includes all the aromas of the wine. We hold the alcohol and aromas to one side and pass the wine through again more slowly to get rid of the rest of the alcohol. What's left is a quite harsh, severe wine that's been concentrated as well. It's honestly undrinkable. So then we restore balance. Alcohol is very sweet. So when you remove the alcohol, you remove a lot of sweetness. We normally put in some grape juice concentrate to replace that. When it's ready, we return a small portion of that aroma that we took out back into the wine — but only a little bit at a time as there's alcohol in the aromas. We're not adding artificial flavours and trying to blend artificial or natural sorts of flavours to recreate wine. We're taking the original flavor and we're returning it to the wine. So, it's almost like you kind of deconstruct the wine and you reconstruct it again? Yes, we essentially pull it apart, get the alcohol out and then try and put it back together. And the alcohol by-product doesn't go to waste either. We sell it to distilleries for further processing and they sell that on to brandy makers. It makes for a good spirit because we use good quality grapes and wines. What's the biggest challenge you'd face when making alcohol-removed wines? It can be challenging, not just because of the flavour, but also trying to make it not look like watery juice. We also have issues with spoilage. As we've removed the alcohol, we've removed the main preservative that stops it from going bad. We have a really short time frame from when we remove the alcohol to trying to get it into a bottle nice and safe in a sealed environment because it really wants to ferment. With regular wines, you can leave it for months or longer before bottling, but we don't have that luxury with alcohol-removed wines. We need to get everything right in one go. Do you think an average wine drinker would be able to tell the difference between alcohol-removed wines and traditional wines? If you don't prime them and just pour wine at dinner and don't mention it, you might get away with it for an average wine drinker. It'll be much harder to detect that there's no alcohol in a sparkling wine than in aromatic whites. We find that sparkling wines are the easiest to make as the bubbles help to fill the palate and lift the flavour so you don't notice the missing alcohol quite so much. Then the next is probably our aromatic white like sauv blanc and riesling because they are fresh and fruity. Then more complex heavier whites like chardonnay. It gets a little bit easier to tell with reds. When we pull that aroma out, what's left is an extremely floral red berry flavour, not the expected complex notes and then there are the tannins. I was going to ask, do you lose any of that tannin structure? No, it actually comes forward really aggressively. The sweetness and mouthfeel of alcohol tend to help soften those tannins. When you take that away, the tannins become really quite harsh. That's why the alcohol-removed wines have grape juice concentrate in them to replace that alcohol sweetness and also to make those tannins a lot less harsh and more drinkable. Our GSM from Fleurieu Peninsula is a more serious de-alcoholised red that stacks up. We've done our best to dry up that wine as much as possible. How would you go about pairing Edenvale Wines? The wines pair excellently with food. You can even cook with them — there's no alcohol to cook off. I would say to pair seafood with our sem sauvignon blanc, canapes with our sparkling and for a big rich fatty steak I'd probably go with our sparkling shiraz. It might seem like an odd choice but it's got a big body and mouthfeel that would help to balance out a nice big steak. Do you see a point in the future where traditional wine is a competitor to your wines? I think right now it's different enough that people are choosing us specifically because we have no alcohol. If it gets to a stage where they're deciding whether or not they feel like alcohol and we're a good alternative, that would be a good place to be. But it's great that punters have the choice now between a mocktail, zero-alcohol beer and zero-alcohol wine. And why do you think there has been such a trend towards non-alcoholic beverages of all kinds? There's definitely an underlying trend in younger people to drink less alcohol and a growing health awareness around the consumption of alcohol. Speaking from my own point of view, if I get a hangover before a weekend when I have plans, that then makes me feel like I've wasted my entire weekend. With these wines, we retain all the good things about the drink, all the good extracts from the grape, just no alcohol. What do you think would be the future for Edenvale Wines and alcohol-removed wines in general? I think right now the focus on this side of the wine world is fantastic. There's a lot more energy in the industry. We're getting a lot more funding into research and I think we may see new developments and new technology to make the process even better. Edenvale Wines is a premium range of alcohol-removed wines that are available to purchase directly from the website or at most major supermarkets and liquor retailers.
UPDATE, December 17, 2022: Glass Onion: A Knives Out Mystery screened in cinemas from Wednesday, November 23–Tuesday, November 29, then streams via Netflix from Friday, December 23. Glass Onion: A Knives Out Mystery opens with a puzzle box inside a puzzle box. The former is a wooden cube delivered out of the blue, the latter the followup to 2019 murder-mystery hit Knives Out, and both are as tightly, meticulously, cleverly and cannily orchestrated as each other. The physical version has siblings, all sent to summon a motley crew of characters to the same place, as these types of flicks need to boast. The film clearly has its own brethren, and slots in beside its predecessor as one of the genre's gleaming standouts. More Knives Out movies will follow as well, which the two so far deserve to keep spawning as long as writer/director Rian Johnson (Star Wars: Episode VIII — The Last Jedi) and Benoit Blanc-playing star Daniel Craig (No Time to Die) will make them. Long may they keep the franchise's key detective and audience alike sleuthing. Long may they have everyone revelling in every twist, trick and revelation, as the breezy blast that is Glass Onion itself starts with. What do Connecticut Governor and US Senate candidate Claire Debella (Kathryn Hahn, WandaVision), model-slash-designer-slash-entrepreneur Birdie Jay (Kate Hudson, Mona Lisa and the Blood Moon), scientist Lionel Toussaint (Leslie Odom Jr, The Many Saints of Newark) and gun-toting, YouTube-posting men's rights activist Duke Cody (Dave Bautista, Thor: Love and Thunder) all have in common when this smart and savvy sequel kicks off? They each receive those literal puzzle boxes, of course, and they visibly enjoy their time working out what they're about. The cartons are the key to their getaway to Greece — their invites, in fact — and also perfectly emblematic of this entire feature. It's noteworthy that this quartet carefully but playfully piece together clues to unveil the contents inside, aka Glass Onion's exact modus operandi. That said, it's also significant that a fifth recipient of these elaborate squares simply decides to smash their way inside with a hammer. As Brick and Looper also showed, Johnson knows when to attentively dole out exactly what he needs to; however, he also knows when to let everything spill out. Claire, Birdie, Lionel and Duke share something else: they're all considered "disruptors" by tech mogul Miles Bron (Edward Norton, The French Dispatch), form part of his inner circle and get together annually for one-percenter vacations on his dime. He's behind their unexpected packages and their latest lavish getaway, which takes them not only to a picturesque private island, but also to a sprawling mansion decked out with a glimmering dome he actually calls a glass onion. Also in attendance is Miles' former business partner Andi Brand (Janelle Monáe, Antebellum), with whom nothing ended well, which gives the trip a skin of tension. And, there's the cravat-wearing Blanc, who couldn't be a better addition to the guest list — Miles has corralled this distinctive cohort for a weekend-long whodunnit party, after all. Blanc doesn't quote Sherlock Holmes and proclaim "the game is afoot" in Glass Onion, as he did the first time around, but it is. Several are. Miles wants his visitors to solve his own faux murder, but soon there's a real death slicing into what's meant to be a fun jaunt. Everyone is a suspect, because that's how this setup works. The Southern-drawled Blanc's presence proves mighty handy, swiftly segueing into "world's greatest detective" mode. No one needs him to glean the murder-mystery fundamentals, though. As told with an initially more linear narrative, little is what it seems on this swanky, intricately crafted vacation, including among the mostly high-achieving but secretly spatting group. And yes, as the bickering and backstabbing gets bloody — and the fast-paced story keeps unfurling — everyone has a motive. The Knives Out films can be enjoyed as pure on-screen rounds of Cluedo of the most entertaining kind, and as self-aware, affectionate and intelligent detective puzzles in the Agatha Christie mould. With their sharpness, mischievousness and effervescence, they easily show up the author's most recent page-to-screen adaptations, aka the clunky latest Murder on the Orient Express and Death on the Nile. Johnson also has the keenest of eyes for ensuring that every inch of every frame and every detail in every set entices and teases, with impressive help from his now six-time cinematographer Steve Yedlin, The Lord of the Rings: The Rings of Power production designer Rick Heinrichs and returning costumer Jenny Eagan. His whodunnit flicks get viewers gleefully playing along, lapping up surprises and thrills. And yet at the same time, they have audiences happily sitting back for the ride as both Johnson and the never-more-delightful Craig do their best. Everyone's doing stellar work in Glass Onion, especially the killer cast. This is the latest of many, many starry crews with a murderer in their midst —see also: fellow 2022 releases Bodies Bodies Bodies and See How They Run — and it's superbly compiled, including Jessica Henwick (The Gray Man) as Birdie's exasperated assistant, Madelyn Cline (Outer Banks) as Duke's girlfriend and a heap of genre-adoring cameos. As a sweep-you-long feature, the film serves up the sheer pleasure of watching its actors play their parts with such aplomb, and also benefits from fleshing out its characters before there's a body count. There needs to be such meat on this movie's bones, and more than merely one-note pawns on its board, because getting biting and blistering — and also being timely and topical — is another of the series' ongoing highlights. A more-cash-than-sense billionaire making a mess? The entitled, privileged set doing anything for money, and to uphold their status and lifestyles? Yes, the Knives Out franchise is eating the rich again, this time on a The White Lotus-esque holiday. Accusations zip around Glass Onion with frequency, potency and a sting, but no one can accuse Johnson of just repeating himself. As an early reference to Bach's 'Fugue in G minor' nods at, this is an onion of a flick that stacks its layers atop each other to create something new, and shines in a different way with each one. Also, where plenty of sequels to successful pictures rinse and repeat, this instead builds a fresh game out of similar but never identical pieces. A case in point: the decision to set the movie in May 2020, when the pandemic is all that most people were thinking about, and lockdown life was far, far removed from international travel, pool dips and cocktails with a view. That choice brings more sight gags, like Birdie's pointless mesh mask, but more importantly it lets the film dice up its targets with more force. They're squabbling and slaying in luxury while everyone else was staring at their own four walls for months on end, and doesn't this new gem cut them up for it.
If your state was just weeks away from legalising marijuana for recreational use, what plans would you be hatching? Well, one Californian winery has gone and created the world's first commercially available marijuana-infused sauvignon blanc. The winemakers at Rebel Coast Winery — who produce Californian blends and Sonoma chardonnay — have invented a wine that's infused with THC, the psychoactive element of cannabis. It's all ready to start shipping within California on January 1, 2018, which is when recreational marijuana becomes legal across the state. Infusing wine with cannabis is no new thing, but this is the first time is will be sold by official means. There is a difference though: THC and alcohol can't legally be mixed, so the winemakers have switched out the wine's booze content for 16 milligrams of THC per bottle. Apparently it "smells like weed, tastes like wine" and won't haunt you with a hangover the next day. And the high? As Rebel Coast explains on its website, "after one glass you won't be thinking your couch is a hippo with short legs or anything. Our goal is not to kill you after you've had a few glasses. The goal is to get giggly and naked with someone." Obviously recreational use of cannabis is not legal in Australia or New Zealand, so this sav blanc isn't either. However, both countries have recently legalised the consumption and sale of low-THC hemp food products.
When you're whipping up a batch of cookies, do you spoon your creations onto the tray and pop them straight into the oven, or do you sneak a taste of the delicious, uncooked dough? We all know that we should say the former — and we all really do the latter. Eating the mushy morsels we'll call pre-bikkies is frowned upon thanks to that little thing called food safety; however New York's newest cafe has the solution. Dō makes their cookie dough from pasteurised eggs and heat-treated flour that ensures those gorging on their products won't get ill. After selling their wares online, they've branched out into the bricks-and-mortar space, setting up shop in Greenwich Village. https://www.instagram.com/p/BPfiYFHF0m4/?taken-by=cookiedonyc There, you'll find scoops of dough, served with or without ice cream, plus sundaes, ice cream sandwiches and cookie dough milkshakes. Pick from flavours such as sugar cookie, brownie batter, salty and sweet, cake batter and peanut butter snickerdoodle — from a range of five classic, eight signature and three seasonal varieties — then indulge in guilt-free gooeyness. Baked snacks such as actual cookies, cookie sandwiches, and cookie cakes are also available, but where's the fun in that? Or, try cookie dough fudge, cookie dough ice cream pie, cookie dough brownies or a cookie bomb — which looks like a cupcake, but is actually dough and frosting. Yum. Via Food and Wine.
Known for its minimalist design, Japanese home goods giant MUJI made a sizeable leap back in 2015, adding houses to its range. As well as selling items to fill your home with, it started selling prefabricated homes as well. Compact but functional — and, perhaps most importantly, affordable — the new additions understandably garnered plenty of attention. But, while the company also released a tiny hut in 2017, it hasn't expanded its house lineup since. Until now, that is. And while MUJI's first three flat-pack houses were all multi-storey abodes made for city living, it has just designed its first one-storey version. Called Yano-no-ie, it's a response to customer demand — and its designed to adapt to different living requirements. Thanks to sliding doors that open out onto a deck, it's also the result of a concerted effort to combine indoor and outdoor living. https://www.instagram.com/p/B2atw0eHEUu/ Taking over 73 square metres of floor space, with a total construction area of 91.50 square metres, Yano-no-ie's standard configuration features a bedroom, living area, combined kitchen and dining room, bathroom and outdoor area — so, as you'd expect, it keeps things simple. That said, its spaces are meant to be multifunctional. The bedroom features furniture that can be used throughout the day as well, for example, with the company suggesting that you can deploy it as a place for reading or using a computer throughout the day, and to have a drink in of an evening. Designed in a box shape, Yano-no-ie is fashioned out of wooden siding made from Japanese cedar. Linking in with MUJI's existing products, it's made to accommodate the brand's storage range in its kitchen — and, in the bathroom, it features the same type of wash basin used in MUJI's hotels. https://www.instagram.com/p/B3wNEt9HMkc/ Like MUJI's existing prefab homes, it's also far more economical than your average house, starting at 15.98 million yen or around AU$211,000. Alas, although the company has stores in Sydney and Melbourne — including its first Australian MUJI concept store — the houses aren't available to buy outside of Japan as yet. Via: MUJI.
