When Heartbreak High returned in 2022, the Sydney-set series benefited from a fact that's helped Degrassi, Beverly Hills, 90210, Saved by the Bell and Gossip Girl all make comebacks, too: years pass, trends come and go, but teen awkwardness and chaos is eternal. In its second season, Netflix's revival of an Australian favourite that first aired between 1994–99 embraces the same idea. It's a new term at Hartley High, one that'll culminate in the rite of passage that is the Year 11 formal. Amerie (Ayesha Madon, Love Me) might be certain that she can change after the events of season one — doing so is her entire platform for running for school captain — but waiting for adulthood to start never stops being a whirlwind. Streaming from Thursday, April 11 and proving as easy to binge as its predecessor, Heartbreak High 2.0's eight-episode second season reassembles the bulk of the gang that audiences were initially introduced to two years ago. Moving forward, onwards and upwards is everyone's planned path — en route to that dance, which gives the new batch of instalments its flashforward opening. The evening brings fire, literally. Among the regular crew, a few faces are missing in the aftermath. The show then rewinds to two months earlier, to post-holiday reunions, old worries resurfacing, new faces making an appearance and, giving the season a whodunnit spin as well, to a mystery figure taunting and publicly shaming Amerie. The latter begins their reign of terror with a dead animal; Bird Psycho is soon the unknown culprit's nickname. Leaders, creepers, slipping between the sheets: that's Heartbreak High's second streaming go-around in a nutshell. The battle to rule the school is a three-person race, pitting Amerie against Sasha (Gemma Chua-Tran, Mustangs FC) and Spider (Bryn Chapman Parish, Mr Inbetween) — one as progressive as Hartley, which already earns that label heartily, can get; the other season one's poster boy for jerkiness, toxicity and entitlement. Heightening the electoral showdown is a curriculum clash, with the SLT class introduced by Jojo Obah (Chika Ikogwe, The Tourist) last term as a mandatory response to the grade's behaviour questioned by Head of PE Timothy Voss (Angus Sampson, Bump). A new faculty member for the show, he's anti-everything that he deems a threat to traditional notions of masculinity. In Spider, Ant (Brodie Townsend, Significant Others) and others, he quickly has followers. Their name, even adorning t-shirts: CUMLORDS. Only on Heartbreak High — or on Sex Education, which it continues to resemble — can a faceoff between SLTs (aka sluts) and CUMLORDS fuel a season-long narrative. For Bird Psycho's campaign against Amerie, the warring factions also provide a handy backdrop, as well as a distraction that has most of the school looking the other way. But Quinni (Chloe Hayden, Spooky Files), who is running for vice captain, is determined to work out who's masterminding the vehement vendetta. Almost everyone is a suspect, especially after an attack comes during the grade's annual camp — well, nearly everyone among the dozen-ish Hartley students that earn the series' focus. The season's romantic threads also push Amerie to the fore, rekindling her romance with last term's newcomer Malakai (Thomas Weatherall, RFDS) until Dubbo export Rowan (Sam Rechner, The Fabelmans), the latest arrival, gets a love triangle burning. Darren (James Majoos) and Ca$h's (Will McDonald, Blaze) relationship has roadblocks to overcome, such as jail and libidos at vastly different speeds. Missy (Sherry-Lee Watson), Sasha's ex, finds herself attracted to someone that she'd never expect. Zoe (Kartanya Maynard, Deadloch), another of season two's additions, spearheads a Puriteen movement that advocates celibacy. As she pieces her life back together after grappling with some of the show's heaviest past storylines, Amerie's best friend Harper (Asher Yasbincek, How to Please a Woman) now has Ant pining over her. Hartley's principal Woodsy (Rachel House, Our Flag Means Death), plus Ca$h's nan (Maggie Dence, The Lost Flowers of Alice Hart) and criminal pal Chook (Tom Wilson, Last King of the Cross), round out the season's key players, on a character list that's as jam-packed as the antics filling the series' frames. Heartbreak High is in its lean-in era, where nothing is off the table. Drug-induced declarations, sex in school stairwells, pregnancy and abortion storylines, surprise redemptions, stalkers, childhood traumas, moving out of home, the utter cartoonishness of Voss (who dubs the school a "woke snowflake nightmare", and is the least successful element in the new episodes), busting out the Nutbush: they're all included, as is dancing from OTT to earnest and silly to serious. For creator Hannah Carroll Chapman (The Heights), who is behind the show's 2020s comeback — and also for her writers (Paper Dolls' Marieke Hardy, Sara Khan and Thomas Wilson-White; Safe Home's Jean Tong; Totally Completely Fine's Keir Wilkins; and The Heights' Megan Palinkas) and directors (Seriously Red's Gracie Otto, Mother and Son's Neil Sharma, and Why Are You Like This duo Jessie Oldfield and Adam Murfet) this time around — there's meaning in the season's tonal rollercoaster. Whether skewing light or heavy, entertainingly riffing on Rage or charting the constant quest to work our who you are that everyone endures in their teen years, or bringing Euphoria or the OG Heartbreak High to mind, all of the series' pinballing around explores a formative time when everything keeps seesawing and swinging by intentionally mirroring it. As was true during its debut Netflix stint to awards, acclaim and worldwide viewership, not to mention three decades back when 1993 movie The Heartbreak Kid sparked Heartbreak High to begin with, an excellent cast can ride every up and down that the show throws their characters' ways. Weatherall, Yasbincek and McDonald continue their thoughtful and layered portrayals of Malakai, Harper and Ca$h from 2022. Watson and Chapman Parish benefit from meatier storylines and deeper dives into Missy and Spider. Madon, Majoos and Hayden give Amerie, Darren and Quinni walk-right-off-the-screen energy. Rechner makes a meaningful imprint as Rowan, who is never a one-note enigmatic outsider. Investing in them, just like bingeing Heartbreak High season two, is always something that secondary schooling never is no matter what decade you're hitting the books, then the parties: easy. Check out the trailer for Heartbreak High's second season below: Heartbreak High season two streams via Netflix from Thursday, April 11, 2024. Read our review of season one. Images: Netflix.
Australia's best interiors for 2025 have been revealed — and a theatrical Brisbane restaurant has nabbed top honours. Central, the subterranean restaurant by J.AR Office, claimed the prestigious Premier Award for Australian Interior Design at this year's Australian Interior Design Awards. Celebrated for its moody, immersive atmosphere and inventive use of constraints, the venue also won the Hospitality Design Award and Best of State Commercial for Queensland. The annual awards, now in their 22nd year, recognise excellence across residential, hospitality, retail, installation, public and workplace design, as well as achievements in sustainability and emerging practice. The program is a collaboration between the Design Institute of Australia and Architecture Media's InteriorsAu, with this year's entries honouring aesthetic impact and user-centred thinking. [caption id="attachment_1010109" align="alignnone" width="1920"] Central by J.AR Office[/caption] The jury praised Central as a "highly inventive project" that's "executed with a level of cleverness that uses constraints to its advantage". In a year defined by refined aesthetics and clear design narratives, the 80-seat, Hong Kong-inspired Central stood out for its emotive interiors, with low lighting and cleverly juxtaposed accents of granite, timber and exposed rock, which all set the stage for a singular experience. Elsewhere, southern states swept the residential awards — Montage Apartments by Studio Prineas in Sydney's Double Bay received both the Residential Design and Best of State Residential for New South Wales accolades, commended for its "strong and nuanced colour palette and detailing", while the "joyful, sophisticated and colourful" Panorama House by Sally Caroline won the Residential Decoration Award and Best of State Residential for Victoria. Design Office claimed Retail Design honours for Vic's Meats in Chatswood Chase, Sydney — the project was also awarded Best of State Commercial in NSW for its "bold and highly distinctive design" that "honour[s] the tradition of the butcher's craft through a contemporary expression". [caption id="attachment_1010110" align="alignnone" width="1920"] Coopers Brand Home by studio gram[/caption] In the Public Design category, Studio SC was recognised for its moving and detailed interior at the new Australian War Memorial entrance in Canberra, which also took home Best of State Commercial in the ACT. The jury was split down the middle for the Workplace Design award, with top honours shared by both Cox Architecture's Adelaide Studio (which also won Best of State Commercial for South Australia) and the Arup Workplace Perth/Boorloo by Hames Sharley with Arup and Peter Farmer Designs — the latter also received the Sustainability Advancement Award for its conscious use of resources and sensitivity to human interaction. The jury noted that this year's awards represented "an opportunity for our industry to stand back, take it all in and genuinely celebrate the quality of interior design being produced in Australia today". And they're confident that the future is in good hands, too: "We can give ourselves a collective pat on the back as we continue to produce work that is inventive and sophisticated." [caption id="attachment_1010111" align="alignnone" width="1920"] Good Luck Restaurant Bar by Akin Atelier[/caption] [caption id="attachment_1010112" align="alignnone" width="1920"] Good Luck Restaurant Bar by Akin Atelier[/caption] [caption id="attachment_1010113" align="alignnone" width="1920"] Melbourne Place by Kennedy Nolan[/caption] [caption id="attachment_1010114" align="alignnone" width="1920"] Melbourne Place by Kennedy Nolan[/caption] [caption id="attachment_1010115" align="alignnone" width="1920"] Melbourne Place by Kennedy Nolan[/caption] [caption id="attachment_1010116" align="alignnone" width="1920"] Palace Coffee by Kerry Kounnapis Architecture Practice[/caption] For more information on the Australian Interior Design Awards 2025 and the full list of winners, head to the awards' website.
There are 8222 islands within Australia's watery borders. You could spend your entire life hopping from one Aussie island to another and never quite make them all (well, unless you're very, very quick). So, we thought we'd save you some time by teaming up with Jim Beam and handpicking 12 of the best islands in Australia. That should at least get you started. Next time you start imagining you and your best mates on a white-sanded beach with quokkas close by, sea lions in the distance and your desks a few hundred kilometres away, these are the spots to catch a boat, plane, or ferry to. Remember: an adventure like this is best enjoyed together. Right? Recommended reads: The Best Glamping Sites in Australia The Best Beaches in Australia The Best Dog-Friendly Hotels in Australia [caption id="attachment_688591" align="alignnone" width="1920"] Coral Coast Tourism[/caption] Abrolhos Islands, Western Australia The Houtman Abrolhos isn't just an island, it's an archipelago. 122 isles make up the marvel, more or less clustered in three groups across 100 kilometres. They lie 60 kilometres off the Coral Coast, west of Geraldton, which is four hours north of Perth. Lose yourself snorkelling or diving among colourful coral, spotting Australian sea lions and looking out for more than 90 species of seabirds, including majestic white-breasted sea eagles. For mind-blowing views, jump aboard a scenic flight and see the best Australian island from a bird's eye view. [caption id="attachment_688571" align="alignnone" width="1920"] Paul Ewart for Tourism and Events Queensland[/caption] North Stradbroke Island, Queensland Located 25 minutes by ferry off the Queensland coast, Stradbroke Island is an easy day trip from Brisbane. It's the second biggest sand island in the world after K'gari (more on that Australian island later). For swimming in gentle waves, head to idyllic Cylinder Beach; for wilder surf, make your destination the 38-kilometre-long Main Beach. Overnight stays include beach camping, as well as an array of cottages, hotels and B&Bs. Just north of Straddie is Moreton Island, a wonderland of long beaches, clear lakes and a national park. Consider sleeping over at Tangalooma, an eco-friendly resort where you can hand-feed wild dolphins and swim around a shipwreck. [caption id="attachment_773788" align="alignnone" width="1920"] Tom Archer, Destination NSW[/caption] Lord Howe Island, New South Wales Just 11 kilometres long and two kilometres wide, Lord Howe, a two-hour flight east of Sydney, is explorable within a few days. Whenever you travel on this top Australian island, you won't have to fear tourist crowds: only 400 visitors are permitted at any one time and the population is just 382. Prepare to have pretty beaches, spectacular diving sites and rugged terrain all to yourself. Among the best adventures are the Mount Gower Trail, a steep, eight-hour trek that carries you 875 metres above sea level, and Erscott's Hole, a natural wonder where you can snorkel among staghorn coral, bluefish and double-headed wrasse. With all this natural beauty, it's easy to see why it made our list of the best islands in Australia and best overall places to visit in Australia. [caption id="attachment_770035" align="alignnone" width="1920"] Tourism Australia[/caption] Bruny Island, Tasmania Bruny feels completely remote, yet it's just a 20-minute ferry ride from the coast and, with driving time added, 50 minutes from Hobart. The beauty of this proximity to the city is that, despite all the wilderness, you can find some top nosh: for fish and chips head to Jetty Cafe; for pub grub swing by Hotel Bruny; for cheese visit Bruny Island Cheese Company; and for a tipple, there's the Bruny Island House of Whisky. Meanwhile, nature lovers will find white wallabies at Inala Nature Reserve, windswept headlands at Cape Bruny Lighthouse and head-clearing watery views at Cloudy Bay. [caption id="attachment_688568" align="alignnone" width="1920"] Khy Orchard for Tourism and Events Queensland[/caption] Magnetic Island, Queensland There are hundreds of islands in the Great Barrier Reef area, offering everything from secluded campsites to five-star luxury resorts. But, for convenience, outdoor adventures and, most importantly, koala spotting, Magnetic Island is hard to go past — found just 20 minutes from Townsville. Get active with sea kayaking tours and yoga classes, get artsy at beachside markets and galleries or relax at stunning beaches like Horseshoe Bay. If you're keen to venture further, jump aboard a Great Barrier Reef snorkelling, diving or sightseeing tour. [caption id="attachment_688400" align="alignnone" width="1920"] Isaac Forman for SA Tourism Commission[/caption] Kangaroo Island, South Australia With a whopping 509 kilometres of coastline, Kangaroo Island could have you exploring for weeks. To get there, take a 45-minute ferry ride from Cape Jervis, on the Fleurieu Peninsula — around 100 kilometres south of Adelaide. Then gear up to share your holiday with sea lions, fur seals, little penguins, echidnas, koalas and, you guessed it, kangaroos. The Australian island is a haven for creatures who've struggled to survive elsewhere, especially local sea lions, who were hunted to the brink of extinction in the 19th and 20th centuries. There are numerous national parks and conservation areas, and the almost 5000-strong population is big on food and wine. You also can't talk about this Aussie island without mentioning the spectacular beaches — our favourite being the one and only Stoke's Bay. [caption id="attachment_874908" align="alignnone" width="1920"] Guillaume Marques (Unsplash)[/caption] The Whitsundays, Queensland In total, The Whitsundays is made up of 74 islands. It's hard to choose the best, especially as each depends on what kind of holiday you're after. You can go camping on the famous Whitehaven Beach on Whitsunday Island, live it up at The InterContinental Resort on Hayman Island or even escape to an adults-only oasis like Elysian Retreat on Long Island — one of the best adults-only accommodations in The Whitsundays. From any of these small islands in Australia, you can easily get to the Great Barrier Reef and countless other stunning natural landscapes. This region is also one of Australia's national parks, so it will continue to be preserved for many years to come — even if the reef itself does die off. [caption id="attachment_683983" align="alignnone" width="1920"] Tourism Western Australia[/caption] Rottnest Island, Western Australia Rottnest Island is a 90-minute ferry ride from Barrack Street Jetty, Perth, or 25 minutes from Fremantle. Like Kangaroo Island, Rottnest has given a big dose of much-needed love to Australia's wild creatures, particularly quokkas, which now number 12,000 or so. Dedicate some time to spotting them (though please don't go touching, patting or feeding) before visiting pristine beaches, such as The Basin, where you'll find an underwater playground, and Little Parakeet Bay, backdropped by striking rock formations. The best way to explore the Aussie island is by bike, but we are also big fans of getting on a sea kayak for the arvo as well. Prefer to stay here longer than a day? We recommend spending a few nights in Discovery Rottnest Island's luxe glamping tents by the beach. Phillip Island, Victoria Phillip Island's biggest drawcard is its penguin parade. Every night, at sunset, the island's resident little penguins return to their terrestrial homes, having spent the day out and about fishing. Beyond wildlife watching, go wine and craft beer tasting, bliss out with a massage or spa treatment or conquer a trail on foot, such as the Cape Woolamai Walk, which traverses dramatic clifftops along Phillip's southernmost point. Follow the links for suggestions on where to eat and drink and the best outdoor activities on Phillip Island. Unlike most of the other Australian islands on this list, you can reach this one by road: it's around 90 minutes' drive south of Melbourne, making it one of the most accessible islands in Australia. [caption id="attachment_911608" align="alignnone" width="1920"] Courtesy of Kingfisher Bay Resort[/caption] K'gari (Fraser Island), Queensland World Heritage-listed K'gari (Fraser Island) is the biggest sand island in the world. There are 184,000 hectares of the stuff, made up of 72 colours and mostly in the form of magnificent dunes, much of which are covered in rainforest. If you've time on your hands, take on the Great Walk, an eight-day epic that visits many of K'gari's 100 freshwater lakes. If not, jump aboard a 4WD and cruise along 75 Mile Beach (one of our favourite adventure experiences in Australia), take a dip at Champagne Pools along the way and pay a visit to awe-inspiring Boorangoora(Lake McKenzie), a perched lake made up of rainwater and soft silica sand. [caption id="attachment_688583" align="alignnone" width="1920"] Andrew Wilson for Tourism Tasmania[/caption] King Island, Tasmania You might have no idea where King Island is, but may have seen its cheese at the supermarket. King Island Dairy's decadent triple cream brie is an Aussie gourmet staple. But it's far from the only treat you'll be sampling in this lush place, which lies in the Bass Strait, halfway between Victoria and Tassie. Count, too, on super-fresh seafood, flavourful beef and a cornucopia of produce from local growers. When you're finished feasting, stroll along the white sands of Disappointment Bay, visit a 7000-year-old calcified forest and go horse riding by the sea. This under-the-radar travel destination is undoubtedly one of the best islands in Australia. [caption id="attachment_856441" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] Bribie Island, Queensland Bribie Island isn't that far from Brisbane (a little over one and a half hours), but is a haven for local wildlife. That's because this Australian island is home to the Pumicestone Passage, a protected marine park where you'll find dugongs, turtles, dolphins and a diverse range of birdlife. All the classic Aussie land animals will be found all over the island, too. And, of course, the beaches are just stupidly beautiful. Whether you're a local or tourist, this island offers all the quintessential Australian sites you must see. Like Jim Beam, surfing and other outdoor adventures are all about bringing people together, so get out there this summer and find your tribe in the great outdoors. Top images: K'gari Island, courtesy of Kingfisher Bay Resort.
This winter, garage goths, a fusion of jazz and metal played by musicians in clown masks, a head-on collision and sand raining down on a man in an hourglass are all on the agenda — on Dark Mofo's 2025 agenda, that is. If you needed any proof that the Tasmanian winter arts festival is back after sitting out 2024, consider the above sample of the lineup as overwhelming evidence. This has always been a fest where expecting the unexpected is the baseline, and that isn't changing in 2025. Dark Mofo already gave the world a sneak peek at what's to come from Thursday, June 5–Sunday, June 15, 2025, when the bulk of the event takes place — the Nude Solstice Swim is on Saturday, June 21 — when it announced Nathan Maynard's We threw them down the rocks where they had thrown the sheep back in March. Accordingly, when it revealed that it'd be hosting a mass installation from the multidisciplinary Trawlwoolway artist, and one that uses sheep flesh to make a statement about the treatment of First Nations people, it signalled that it was still the boundary-pushing fest that folks love flocking to when the weather cools. Now comes the full program, the first under new Artistic Director Chris Twite, which has a date with riverbanks, deconsecrated churches, rooftops, basements, bank vaults and more. 'Dark Mofo is back!" said Twite, revealing the lineup. "Once again we will bathe the city in red, filling it with art and taking over disused and hidden spaces all across Nipaluna/Hobart. Night Mass — the late-night labyrinth of revelry — will carve new paths through the city and a host of Australian-exclusive artists from around the world will storm our stages." That filling downtown Hobart with art and music for Night Mass was set to be a part of Dark Mofo 2025 was announced last year — as was the return of the aforementioned Nude Solstice Swim, the Ogoh-Ogoh and culinary highlight Winter Feast. The festival has shared more details on each now, however, including that Niyati Rao from Mumbai restaurant Ekaa is Winter Feast's guest chef, working with Craig Will, Bianca Welsh and James Welsh from Launceston's Stillwater; that Night Mass: God Complex boasts 100-plus talents involved; and that a giant Maugean skate is the focus at the Ogoh-Ogoh. [caption id="attachment_998147" align="alignnone" width="1920"] Netti Habel[/caption] On the music side of the lineup, the full program now adds The Horrors and Clown Core, plus Tierra Whack, Cold Cave, Boy Harsher, Baroness, Crime & the City Solution, Show Me the Body, Alabaster DePlume, LUCY (Cooper B Handy), Machine Girl and Mong Tong — all in Australian-exclusive gigs, and all demonstrating how wide-ranging even just the fest's tunes will be. Rap and R&B, progressive metal, art-punk, hardcore both ceremonial and digital: they're just some of the genres on offer. Portishead's Beth Gibbons is also performing at Vivid Sydney, RISING in Melbourne and Brisbane's Open Season, but her spot on the Dark Mofo bill is no less exciting — and via two shows at The Odeon, she's launching the music program. Or, you can catch Rival Consoles give the ambient synth of Landscape From Memory its Australian premiere; see Spectral Wound, Imperial Triumphant Hymns, Hulder and Slimelord at the return of Hymns to the Dead; and witness Dead Can Dance founding member Lisa Gerrard and William Barton perform their Under In Between project live for the first time. DIIV, Jessica Pratt, Drain Gang's Thaiboy Digital, Keanu Nelson, Shackleton, Siddhartha Belmannu, Gut Health, Forest Swords, Brighter Death Now, Evicshen: they're hitting the stage as well. So is a new project from German music festival Berlin Atonal, and London Contemporary Orchestra's Robert Ames teaming up with the Tasmanian Symphony Orchestra. Featuring Brazilian artist Paula Garcia and a stunt driver, Crash Body is one of the performance highlights. The Havana-born Carlos Martiel is contributing two pieces, video work Cuerpo and new unveiling Custody, which is where the hourglass comes in — and, as part of his unpacking of systemic violence against people of colour, where Dark Mofo gets another must-see. A empty warehouse will be lit up like the sky thanks to SORA by Nonotak, Simon Zoric's Coffin Rides contemplates the afterlife and collaborative music project Everything Is Recorded from Richard Russell will ponder the winter solstice in an improvised piece. Claudia Comte's La Danse Macabre is set to combine two pianists playing the titular piece as a motocross rider jumps through a the flames from a wooden sculpture on fire — as everyone can witness on a screen in Dark Park — to comment on capitalism, while Ida Sophia's video work Witness muses on religious fervour, and Nicholas Galanin's Neon Anthem will get visitors taking knee and scereaming. From Ronnie van Hout's Quasi and Travis Ficarra's Chocolate Goblin sculptures to the extreme metal vocalisations of Karina Utomo's Mortal Voice and Dark Mofo Films making a comeback, too — with Sound of Metal, Eraserhead, The Proposition, A Girl Walks Home Alone at Night, The Lighthouse, Wake in Fright, Melancholia and more — if you're not finding at least 20 events on the program to get excited about instantly, then you're not looking hard enough. [caption id="attachment_994599" align="alignnone" width="1920"] We threw them down the rocks where they had thrown the sheep images: Jesse Hunniford, 2025. Image courtesy of Dark Mofo 2025.[/caption] [caption id="attachment_998148" align="alignnone" width="1920"] Ednid Alvarez[/caption] Dark Mofo returns from Thursday, June 5–Sunday, June 15, 2025 and for the Nude Solstice Swim on Saturday, June 21. Head to the festival's website for further details and tickets. Images courtesy of Dark Mofo. Top image: Marcos Cimardi.
After chronicling the day-to-day chaos at a company that sells paper, what comes next for The Office — in the US, that is? Documenting the daily reality of life working at a newspaper. As announced in 2024, the beloved American version of the hit sitcom is getting a spinoff. In The Paper, which is led by Domhnall Gleeson (Echo Valley) and Sabrina Impacciatore (G20 and also The White Lotus season two), a midwestern newspaper publisher is in the spotlight. The series debuts on Thursday, September 4, 2025 in the US and in Australia, streaming in the latter via Binge. If you're keen for a sneak peek, The Paper has also just dropped its first trailer. A new boss arriving to shake things up, staff ranging from apathetic to overenthusiastic, office-set awkwardness aplenty, a familiar face: they're all featured in the initial glimpse at the show. As its predecessor was, this is a mockumentary series. The setup: the same documentary crew that turned their cameras towards Dunder Mifflin's Scranton branch have found a new workplace to explore. Their time pointing their lens the Toledo Truth Teller's way coincides with Ned Sampson (Gleeson) joining the publication as editor-in-chief, with the paper's newest employee underwhelmed with the status quo and brimming with ideas about how to change things. Chelsea Frei (The Life List), Melvin Gregg (Fight Night), Gbemisola Ikumelo (Black Ops), Alex Edelman (Unfrosted), Ramona Young (You're Cordially Invited) and Tim Key (Mickey 17) also star in The Paper, as does Oscar Nuñez (The School Duel), reprising his role as Oscar Martinez. Accordingly, the new series is set in the same universe as the Steve Carell (Mountainhead)-led hit dwelled in from 2005–13 and sports multiple ties to it, but definitely isn't simply walking back into Dunder Mifflin with new staff. Also, Gleeson starred with Carell on 2022's The Patient, giving the two series another connection. Greg Daniels — who created the US version of The Office to begin with, and has also been behind Space Force and Upload — is steering The Paper behind the camera with Nathan for You co-creator Michael Koman. And yes, the franchise that initially kicked off in the UK version in 2001 just keeps expanding, after the Australian version dropped in 2024. Cringeworthy bosses, annoying co-workers and soul-crushing office jobs show no signs of fading away, of course, which all things The Office has understood for nearly a quarter of a century now. Check out the trailer for The Paper below: The Paper debuts in Australia on Thursday, September 4, 2025, streaming via Binge. Images: Aaron Epstein and John P Fleenor/PEACOCK.
Back in 2018, the Academy of Motion Picture Arts and Sciences announced that it was adding a new award to the Oscars for Outstanding Achievement in Popular Film. If you can't remember which flicks have won it, there's a reason for that: the gong was scrapped quickly thanks to a heap of backlash. Across plenty of years since, the reason that that accolade wasn't needed has been proven. Black Panther, Joker, Everything Everywhere All At Once, Oppenheimer and Barbie have all featured heavily among the nominations, for instance — and everything except Barbenheimer so far has notched up wins. Both Christopher Nolan and Greta Gerwig's latest films are among the flicks with the most nominations in 2024, with 13 and eight apiece. They're also massive global box-office hits. So, going into this year's ceremony, you've likely seen at least those two contenders — but if you're wondering where to catch everything else, we've got the rundown. We've predicted who we think will emerge victorious, but the winners will be anointed on Monday, March 11, Down Under time. Right now in Australia, you can catch up with 31 movies that are hoping to score trophies. Some you need to hit the cinema to see. Others you can catch on the couch. With a few, you have the choice of heading out or staying home. From Barbenheimer (of course) and twists on Frankenstein to animated Spider-Man antics and devastating documentaries, here's where to direct your eyeballs. On the Big Screen: Anatomy of a Fall Nominations: Best Picture, Best Director (Justine Triet), Best Actress (Sandra Hüller), Best Original Screenplay, Best Film Editing Our thoughts: A calypso instrumental cover of 50 Cent's 'P.I.M.P.' isn't the only thing that Anatomy of a Fall's audience won't be able to dislodge from their heads after watching 2023's deserving Cannes Film Festival Palme d'Or-winner. A film from writer/director Justine Triet (Sibyl) that's thorny, knotty and defiantly unwilling to give any easy answers, this legal, psychological and emotional thriller about a woman (Sandra Hüller, The Zone of Interest) on trial for her husband's death is unshakeable in as many ways as someone can have doubts about another person: so, a myriad. Where to watch: In Australian cinemas. Read our full review. Four Daughters Nominations: Best Documentary Feature Our thoughts: There's a reason that Four Daughters can't include its entire namesake quartet, with just two appearing on-screen themselves and the other two played by actors. Unlike the younger Eya and Tayssir, the older Rahma and Ghofrane are no longer at home with their mother Olfa; instead, they left their family after becoming radicalised, with Islamic State in Libya their destination. So explores Tunisian filmmaker Kaouther Ben Hania (The Man Who Sold His Skin), in a documentary that's as gripping as it is heartbreaking — and uses recreations with a purpose unlike almost any other movie. Where to watch: In Australian cinemas. May December Nominations: Best Original Screenplay Our thoughts: May December takes inspiration from Mary Kay Letourneau, the teacher who had a sexual relationship with her sixth-grade student in the 90s. A simple recreation was never going to be Todd Haynes' (Dark Waters) approach, however. Starring Julianne Moore (Sharper) and Charles Melton (Riverdale) as its central couple decades after the scandal, plus Natalie Portman (Thor: Love and Thunder) as an actor about to feature in a movie about them, this a savvily piercing film that sees the impact on the situation's victim, the story its perpetrator has spun, and the ravenous way that people's lives are consumed by the media and public. Where to watch: In Australian cinemas. Read our full review. The Zone of Interest Nominations: Best Picture, Best Director (Jonathan Glazer), Best International Feature, Best Adapted Screenplay, Best Sound Our thoughts: Quotes and observations about evil being mundane, as well as the result when people look the other way, will never stop being relevant. A gripping, unsettling masterpiece, The Zone of Interest is a window into why. The first film by Sexy Beast, Birth and Under the Skin director Jonathan Glazer in more than a decade, the Holocaust-set and BAFTA-winning feature peers on as the unthinkable happens literally just over the fence, but a family goes about its ordinary life. If it seems abhorrent that anything can occur in the shadow of any concentration camp or site of World War II atrocities, that's part of the movie's point. Where to watch: In Australian cinemas. Read our full review. In Cinemas or at Home: The Holdovers Nominations: Best Picture, Best Actor (Paul Giamatti), Best Supporting Actress (Da'Vine Joy Randolph), Best Original Screenplay, Best Film Editing Our thoughts: Melancholy, cantankerousness, angst, hurt and snow all blanket Barton Academy in Alexander Payne's (Nebraska) The Holdovers. It's Christmas 1970 in New England in this thoughtful story that's given room to breathe and build, but festive cheer is in short supply among the students and staff that give the movie its moniker. Soon, there's just three folks left behind: Angus Tully (debutant Dominic Sessa), whose mother wants more time alone with his new stepdad; curmudgeonly professor Paul Hunham (Paul Giamatti, Billions); and grieving cook Mary Lamb (Da'Vine Joy Randolph, Only Murders in the Building). Where to watch: In Australian cinemas, and streaming via YouTube Movies, iTunes and Prime Video. Read our full review. Killers of the Flower Moon Nominations: Best Picture, Best Director (Martin Scorsese), Best Actress (Lily Gladstone), Best Supporting Actor (Robert De Niro), Best Cinematography, Best Costume Design, Best Film Editing, Best Original Score, Best Original Song ('Wahzhazhe (A Song For My People)', Scott George), Best Production Design Our thoughts: Death comes to Killers of the Flower Moon quickly. Death comes often, too. While Martin Scorsese will later briefly fill the film's frames with a fiery orange vision, death blazes through his 26th feature from the moment that the picture starts rolling. Adapted from journalist David Grann's 2017 non-fiction novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, this is a masterpiece of a Lily Gladstone (Reservation Dogs)-, Leonardo DiCaprio (Don't Look Up)- and Robert De Niro (Amsterdam)-starring movie about a heartbreakingly horrible spate of deaths sparked by pure and unapologetic greed and persecution a century back. Where to watch: In Australian cinemas, and streaming via Apple TV+, YouTube Movies and Prime Video. Read our full review, and our interview with Martin Scorsese. Poor Things Nominations: Best Picture, Best Director (Yorgos Lanthimos), Best Actress (Emma Stone), Best Supporting Actor (Mark Ruffalo), Best Adapted Screenplay, Best Cinematography, Best Costume Design, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Production Design Our thoughts: Richly striking feats of cinema by Yorgos Lanthimos aren't scarce, and sublime performances by Emma Stone are hardly infrequent. The Favourite, their first collaboration, ticked both boxes. Screen takes on Mary Shelley's Frankenstein also couldn't be more constant. Combining the three in Poor Things results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning creation, as zapped to life with Lanthimos' inimitable flair, a mischievous air, Stone at her most extraordinary and empowerment blazing like a lightning bolt. Where to watch: In Australian cinemas, and streaming via Disney+, YouTube Movies, iTunes and Prime Video. Read our full review. Via Streaming: American Fiction Nominations: Best Picture, Best Actor (Jeffrey Wright), Best Supporting Actor (Sterling K Brown), Best Adapted Screenplay, Best Original Score Our thoughts: Here's Thelonious 'Monk' Ellison's (Jeffrey Wright, Rustin) predicament when American Fiction begins: on the page, his talents aren't selling books. So, sick of hearing that his work isn't "Black enough", he gets a-typing, pumping out the kind of text that he vehemently hates — but 100-percent fits the stereotype of what the world keeps telling him that Black literature should be. It attracts interest, even more so when Monk adopts a cliched new persona to go with it. Wright is indeed exceptional in this savvy satire of authenticity, US race relations and class chasms, and earns his awards contention for his reactions alone. Where to watch: Streaming via Prime Video. Read our full review. American Symphony Nominations: Best Original Song ('It Never Went Away', Jon Batiste and Dan Wilson) Our thoughts: Jon Batiste has enjoyed a dream career so far, with the musician packing more into his 37 years than most people do in a lifetime. Matthew Heineman's (Retrograde) American Symphony isn't that tale, though. Instead, it spends a year with The Late Show with Stephen Colbert's former bandleader and Soul Oscar-winner — a year where he's nominated for 11 Grammys, and endeavours to compose the symphony that gives this intimate and touching documentary its name. Also shaping the 12 months: in his personal life, grappling with the return of his wife and bestselling author Suleika Jaouad's leukaemia. Where to watch: Streaming via Netflix. Barbie Nominations: Best Picture, Best Supporting Actor (Ryan Gosling), Best Supporting Actress (America Ferrera), Best Adapted Screenplay, Best Original Song ('I'm Just Ken', Mark Ronson and Andrew Wyatt; 'What Was I Made For?', Billie Eilish and Finneas O'Connell), Best Costume Design, Best Production Design Our thoughts: No one plays with a Barbie too hard when the Mattel product is fresh out of the box. The more that the toy is trotted through DreamHouses, though, the more that playing with the plastic fashion model becomes fantastical. Like globally beloved item, like live-action movie bearing its name. Barbie, the film, starts with glowing aesthetic perfection. It's almost instantly a pink-hued paradise for the eyes, and it's also cleverly funny. The longer that it continues, however, the harder and wilder that director Greta Gerwig (Little Women) goes, as does her lead-slash-producer Margot Robbie (Babylon) as Barbie and Ryan Gosling (The Gray Man) as Ken. Where to watch: Streaming via YouTube Movies, iTunes and Prime Video. Read our full review. Bobi Wine: The People's President Nominations: Best Documentary Feature Our thoughts: In western countries where democracy is entrenched, the system of government is too easily taken for granted. Bobi Wine: The People's President shows what the fight for a nation that's free, fair and gives its people a voice looks like, chronicling the plight of its titular figure. Bobi Wine was an Ugandan pop star, and a popular one. Then, in response to the autocratic rule of Yoweri Museveni since 1986, he turned to political activism. Filmmakers Moses Bwayo and Christopher Sharp, both first-time directors, also show how important and difficult his quest is — and there isn't a second of this documentary that isn't riveting. Where to watch: Streaming via Disney+. The Color Purple Nominations: Best Supporting Actress (Danielle Brooks) Our thoughts: On the page, stage and screen, The Color Purple's narrative has mostly remained the same, crushing woe, infuriating prejudice and rampant inequity included. Musicals don't have to be cheery, but how does so much brutality give rise to anything but mournful songs? The answer here: by leaning into the rural Georgia-set tale's embrace of hope, resilience and self-discovery. Ghanaian director Blitz Bazawule follows up co-helming Beyoncé's Black Is King by heroing empowerment and emancipation in his iteration of The Color Purple — and while it's easy to see the meaning behind its striving for a brighter outlook. Where to watch: Streaming via YouTube Movies, iTunes and Prime Video. Read our full review. The Creator Nominations: Best Sound, Best Visual Effects Our thoughts: Science fiction has never been afraid of unfurling its futuristic visions on the third rock from the sun, but the resulting films have rarely been as earthy as The Creator. Set from 2065 onwards after the fiery destruction of Los Angeles, this tale of humanity clashing with artificial intelligence is visibly awash with technology that doesn't currently exist — and yet the latest movie from Rogue One: A Star Wars Story director Gareth Edwards, which focuses on an undercover military operative Joshua (John David Washington, Amsterdam) tasked with saving the world, couldn't look or feel more authentic and grounded. Where to watch: Streaming via Disney+, YouTube Movies, iTunes and Prime Video. Read our full review. El Conde Nominations: Best Cinematography Our thoughts: What if Augusto Pinochet didn't die in 2006? What if the Chilean general and dictator wasn't aged 91 at the time, either? What if his story started long before his official 1915 birthdate, in France prior to the French Revolution? What if he's been living for 250 years because he's a literal monster of the undead, draining and terrifying kind? Trust Chilean filmmaking great Pablo Larraín (Ema, Neruda, The Club, No, Post Mortem and Tony Manero) to ask these questions in El Conde, which translates as The Count and marks the latest exceptional effort in a career that just keeps serving up excellent movies. Where to watch: Streaming via Netflix. Read our full review. Elemental Nominations: Best Animated Feature Our thoughts: With Elemental, Pixar is in familiar territory — so much so that this film feels like something that was always destined to happen. Embracing the the studio's now-standard "what if robots, playthings, rats and the like had feelings?, it anthropomorphises fire, water, air and earth, and ponders these aspects of nature having emotions. The result from filmmaker Pete Sohn (The Good Dinosaur) is just-likeable and sweet-enough, despite vivid animation, plus the noblest of aims to survey the immigrant experience, opposites attracting, breaking down cultural stereotypes and borders, and complicated parent-child relationships. Where to watch: Streaming via Disney+, YouTube Movies, iTunes and Prime Video. Read our full review. The Eternal Memory Nominations: Best Documentary Feature Our thoughts: After The Mole Agent, writer/director Maite Alberdi earns her second Oscar nomination in two successive films for a documentary that's just as layered — but she's no longer telling a caper-esque tale. This time, Augusto Góngora and Paulina Urrutia receive her attention. The former is an ex-former journalist and broadcaster. The latter is an actor and politician. Góngora's diagnosis with Alzheimer's disease sits at the centre of this haunting effort, which focuses on how its central couple endeavour to cope with his memory loss, the role that reflecting on the past has on our present and future, and how love endures. Where to watch: Streaming via DocPlay. Flamin' Hot Nominations: Best Original Song ('The Fire Inside', Diane Warren) Our thoughts: The feature directorial debut of Desperate Housewives actor Eva Longoria, Flamin' Hot is a product film, as Cheetos fans will instantly know. If you've ever wondered how the Frito-Lay-owned brand's spiciest variety came about in the 90s, this energetically made movie provides the answer while itself rolling out a crowd-pleasing formula. Eating the titular snack while you watch is optional, but expect the hankering to arise either way. This story belongs to Richard Montañez (Jesse Garcia, Ambulance) — and it's also an underdog tale, and an account of chasing the American dream, especially when it seems out of reach. Where to watch: Streaming via Disney+. Read our full review. Guardians of the Galaxy Vol. 3 Nominations: Best Visual Effects Our thoughts: Arriving to close out a standalone trilogy within the Marvel Cinematic Universe, Guardians of the Galaxy Vol. 3 zooms into the saga's fifth phase with a difference: it's still a quippy comedy, but it's as much a drama and a tragedy as well. Like most on-screen GotG storylines, it's also heist caper — and as plenty of caped-crusader flicks are, within the MCU or not, it's an origin story. The more that a James Gunn-written and -directed Guardians film gets cosy within the usual Marvel template, however, the more that his branch of Marvel's pop-culture behemoth embraces its own personality. Where to watch: Streaming via Disney+, YouTube Movies, iTunes and Prime Video. Read our full review. Indiana Jones and the Dial of Destiny Nominations: Best Original Score Our thoughts: Old hat, new whip. No, that isn't Dr Henry Walton 'Indiana' Jones' shopping list, but a description of Indiana Jones and the Dial of Destiny. While the fifth film about the eponymous archaeologist is as familiar as Indy films come, it's kept somewhat snapping by the returning Harrison Ford's (Shrinking) on-screen partnership with Phoebe Waller-Bridge (Fleabag). If you've seen one Indy outing in the past 42 years, you've seen the underlying mechanics of every other Indy outing. And yet, watching Ford flashing his crooked smile again, plus his bantering with Waller-Bridge, is almost enough to keep this new instalment from Ford v Ferrari filmmaker James Mangold whirring. Where to watch: Streaming via Disney+, YouTube Movies, iTunes and Prime Video. Read our full review. Maestro Nominations: Best Picture, Best Actor (Bradley Cooper), Best Actress (Carey Mulligan), Best Cinematography, Best Original Screenplay, Best Makeup and Hairstyling, Best Sound Our thoughts: When a composer pens music, it's the tune that they want the world to enjoy, not the marks on a page scribbling it into existence. When a conductor oversees an orchestra, the performance echoing rather than their own with baton in hand and arms waving is their gift. In Maestro, Bradley Cooper (Guardians of the Galaxy Vol. 3) is seen as Leonard Bernstein in both modes. His portrayal is so richly textured that it's a career-best turn. But Cooper as this movie's helmer and co-writer wants Maestro's audience to revel in the end result — and if he wants love showered anyone's way first, it's towards Carey Mulligan (Saltburn) as Felicia Montealegre Bernstein. Where to watch: Netflix. Read our full review. Mission: Impossible — Dead Reckoning Part One Nominations: Best Sound, Best Visual Effects Our thoughts: Just as its lead actor's gleaming teeth do, Mission: Impossible — Dead Reckoning Part One, the seventh instalment in the TV-to-film spy series, thoroughly shines. Like Tom Cruise (Top Gun: Maverick) himself, it's committed to giving audiences what they want to see, but never merely exactly what they've already seen. This saga hasn't always chosen to accept that mission, but it's been having a better time of it since 2011's Mission: Impossible – Ghost Protocol, including since writer/director Christopher McQuarrie jumped behind the lens with 2015's Mission: Impossible – Rogue Nation. Where to watch: Streaming via YouTube Movies, iTunes and Prime Video. Read our full review. Napoleon Nominations: Best Costume Design, Best Production Design, Best Visual Effects Our thoughts: When is a Ridley Scott (House of Gucci)-directed, Joaquin Phoenix (Beau Is Afraid)-starring trip to the past more than just a historical drama? Twice now, so whenever the filmmaker and actor team up to explore Europe centuries ago. Gladiator was the first; Napoleon follows — and where the Rome-set first was an action film as well, the second leans into comedy. This biopic of the eponymous French military star-turned-emperor can be funny. In the lead, Phoenix repeatedly boasts the line delivery, facial expressions and physical presence of someone actively courting laughs. When he declares "destiny has brought me this lamb chop!", all three coalesce. Where to watch: Streaming via Apple TV+, YouTube Movies and Prime Video. Read our full review. Nimona Nominations: Best Animated Feature Our thoughts: Bounding thoughtfully from the page to the screen — well, from pixels first, initially leaping from the web to print — Nimona goes all in on belonging. Ballister Boldheart (Riz Ahmed, Sound of Metal) wants to fit in desperately, and is willing to do whatever it takes to achieve it in this animated movie's medieval-yet-futuristic world, where there's nothing more important and acclaimed than being part of the Institute for Elite Knights. But when tragedy strikes, then prejudice sets in, he only has one ally. Nimona's namesake (Chloë Grace Moretz, The Peripheral) is a shapeshifter who offers to be his sidekick regardless of his innocence or guilt. Where to watch: Streaming via Netflix. Read our full review. Nyad Nominations: Best Actress (Annette Bening), Best Supporting Actress (Jodie Foster) Our thoughts: Most sports films about real-life exploits piece together the steps it took for a person or a team to achieve the ultimate in their field, or come as close as possible while trying their hardest. Nyad is no different, but it's also a deeply absorbing character study of two people: its namesake Diana Nyad (Annette Bening, Death on the Nile) and her best friend Bonnie Stoll (Jodie Foster, True Detective). The first is the long-distance swimmer whose feats the movie tracks, especially her quest to swim from Cuba to Florida in the 2010s. The second is the former professional racquetball player who became Nyad's coach when she set her sights on making history as a sexagenarian. Where to watch: Netflix. Read our full review. Oppenheimer Nominations: Best Picture, Best Director (Christopher Nolan), Best Actor (Cillian Murphy), Best Supporting Actor (Robert Downey Jr), Best Supporting Actress (Emily Blunt), Best Adapted Screenplay, Best Cinematography, Best Costume Design, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Production Design, Best Sound Our thoughts: Cast Cillian Murphy and a filmmaker falls in love. There's an arresting, haunting, seeps-under-your-skin soulfulness about the Irish actor, including when playing "the father of atomic bomb" in Christopher Nolan's (Tenet) epic biopic Oppenheimer. Flirting with the end of the world, or just one person's end, clearly suits Murphy. Here he is in a mind-blower as the destroyer of worlds — almost, perhaps actually — and so much of this can't-look-away three-hour stunner dwells in his expressive eyes, which see purpose, possibility, quantum mechanics' promise and, ultimately, the Manhattan Project's consequences. Where to watch: Streaming via YouTube Movies, iTunes and Prime Video. Read our full review. Past Lives Nominations: Best Picture, Best Original Screenplay Our thoughts: Call it fate, call it destiny, call it feeling like you were always meant to cross paths with someone: in Korean, that sensation is in-yeon. Partway through Past Lives, Nora (Greta Lee, Russian Doll) explains the concept to Arthur (John Magaro, The Many Saints of Newark) like she knows it deep in her bones, because both she and the audience are well-aware that she does. That's what writer/director Celine Song's sublime feature debut is about, in fact. The term also applies to her connection to childhood crush Hae Sung (Teo Yoo, Decision to Leave) in this sensitive, blisteringly honest and intimately complex masterpiece. Where to watch: Streaming via Prime Video. Read our full review, and our interview with Celine Song. Rustin Nominations: Best Actor (Colman Domingo) Our thoughts: After Selma, One Night in Miami and Judas and the Black Messiah arrives Rustin, the latest must-see movie about the minutiae of America's 60s-era civil rights movement. All four hail from Black filmmakers. All four tell vital stories. They each boast phenomenal performances, too, including from Colman Domingo (The Color Purple) as Rustin's eponymous figure. His turn as Bayard Rustin, who conceived and organised the event where Martin Luther King Jr gave his "I Have a Dream" speech, isn't merely powerful; it's a go-for-broke portrayal from a versatile talent at the top of his game while digging into the every inch of his part. Where to watch: Streaming via Netflix. Read our full review. Society of the Snow Nominations: Best International Feature, Best Makeup and Hairstyling Our thoughts: Society of the Snow isn't merely a disaster film detailing the specifics of Uruguayan Air Force Flight 571's failed journey, the immediate deaths and those that came afterwards, the lengthy wait to be found — including after authorities called the search off — and the crushing decisions made to get through. JA Bayona (Jurassic World: Fallen Kingdom), who also helmed the 2004 Indian Ocean tsunami-focused The Impossible, has made a weighty feature that reckons with the emotional, psychological and spiritual toll, and doesn't think of shying away from the most difficult aspects of this real-life situation, including cannibalism. Where to watch: Streaming via Netflix. Read our full review. Spider-Man: Across the Spider-Verse Nominations: Best Animated Feature Our thoughts: When 2018's Spider-Man: Into the Spider-Verse took pop culture's favourite web-slinger back to its animated roots, it made flesh-and-blood superhero flicks and shows, as well as the expensive special effects behind them, look positively trivial and cartoonish. The end result was a deservedly Academy Award-winning masterpiece — and its first sequel Spider-Man: Across the Spider-Verse, which hails from directors Joaquim Dos Santos (The Legend of Korra), Kemp Powers (Soul) and Justin K Thompson (Into the Spider-Verse's production designer), plasters around the same sensation like a Spidey shooting its silk. Where to watch: Streaming via Binge, Prime Video, YouTube Movies and iTunes. Read our full review. To Kill a Tiger Nominations: Best Documentary Feature Our thoughts: A battle for justice sits at the heart of To Kill a Tiger, a documentary that is as powerful as it is heavy, and is also an essential piece of filmmaking. When his 13-year-old daughter becomes the victim of sexual assault, Ranjit is determined to bring the perpetrators to justice. Not that that's a straightforward feat anywhere, but it isn't the same quest in India as it is in western countries, as writer/director Nisha Pahuja (The World Before Her) examines. Ranjit is dedicated to the fight, even knowing how difficult it is — from the backlash that he receives across his village to the horrifying statistics regarding the frequency of rape in the country and the paltry conviction rate. Where to watch: Streaming via Netflix from Friday, March 8. 20 Days in Mariupol Nominations: Best Documentary Feature Our thoughts: Incompatible with life. No one ever hears those three devastating words — one of the most distressing phrases there is — in positive circumstances. Accordingly, when they're uttered by a doctor in 20 Days in Mariupol, they're deeply shattering. So is everything in this on-the-ground portrait of the first 20 days in the Ukrainian city as Russia began its invasion, as the bleak reality of living in a war zone is documented. Directed by Pulitzer Prize-winning journalist Mstyslav Chernov, that this film even exists is an achievement. What it shows — what it immerses viewers in, from shelled hospitals and basements-turned-bomb shelters to families torn apart and mass graves — can never be forgotten. Where to watch: Streaming via DocPlay. The 2024 Oscars will be announced on Monday, March 11, Australian time. For further details, head to the awards' website. Wondering who'll win? Check out our predictions.
TEDxSydney is back for yet another year, and this time it's bringing you ten speakers at the forefront of thinking in the areas of energy, economic, politics, science and creativity. Each will give you their take on the event's theme, Three Horizons, looking at three aspects of the problem they present – triage (what's happening now), transition (how we're changing) and transformation (what the future might look like). On the program are human rights lawyer and Grata Fund founding Executive Director Isabelle Reinecke, who'll be discussing how law can challenge gridlocks in human rights, climate change and democratic freedoms, as well as climate philanthropist Simon Holmes à Court, who'll dive into how political independents can transform Australian politics. Look out, too, for rewilding adventurer Gina Chick, waxing lyrical on how connecting to nature and each other can improve our future; author and broadcaster Sarah Wilson on "what a former climate activist does in the face of collapse"; and Saibai Seisia Elder Aunty McRose Elu discussing how we can bring Indigenous knowledge lore into our legal system. Other speakers include Bega Group chair Barry Irvin; global ecology professor Corey Bradshaw; singer-songwriter Ruby Rodgers; insect ecologist Tanya Patty; climate finance advocate Tim Buckley; poet and performer Jessica Chapnik Kahn and singer-songwriter Luke O'Shea. Registration is open now.
Whether you're committed to reducing your use of single-use plastics or dedicated to a vegan diet, it's easy to change your consumption habits for the good of the environment — while you're in your own home. Once you venture out, however, there's much that's out of your control. Sure, you've eliminated disposable plastic from your routine, but every business you patronise mightn't have done the same. And you've ordered a vegan meal at your local cafe, but does the place you're eating at use animal products in its decor? On the plastics front, plenty of organisations and brands are starting to do their part, with the likes of IKEA, McDonald's, Melbourne's Crown Casino and Coca-Cola Amatil phasing out single-use items, and one airline pledging to become wholly plastic-free. When it comes to living a vegan lifestyle, Hilton's London Bankside is joining in by opening the world's first entirely vegan luxury hotel suite. Now available for bookings, the room only uses plant-based substances, fibres and surfaces — so you won't find any leather, feathers and wool among its wares. With the suite designed by food artists Bompas & Parr, what you will find is a material created from pineapples. The bed's headboard is made from pineapple leaves, while vegan-friendly fruit leather piñatex features heavily. It's made from the cellulose fibres sourced from pineapples, and is not only used in the upholstered seats, footstools and cushions, but in the room's keycard as well. With no animal products to be found in any of the suite's materials or inclusions, guests will step onto cotton carpets and bamboo floors; sleep on pillows made from organic buckwheat, millet hulls, kapok or bamboo fibres (your choice); grab a snack from the complimentary vegan mini-bar; and use cruelty-free toiletries. When your room is cleaned by housekeeping, they'll also be using vegan products. Even when you're checking in, you'll be doing so at a plant-based counter. And if you're keen to order in, of course the vegan range extends to the in-room menu. Find Hilton London Bankside at 2–8 Great Suffolk Street, London, and visit the hotel website for further details. Images: Hilton London Bankside.
Even if you're not much of a fast food fan, odds are that you've heard about McDonald's Szechuan sauce. It was originally released in 1998 as a tie-in with Disney's original animated Mulan, then became internet famous almost two decades later after being name-dropped in Rick and Morty. In fact, in the animated series, Rick was so determined to get hold of the dipping sauce that he didn't care if it took "nine seasons" or "97 more years". You might've felt the same way, actually, as it hasn't been on the Macca's menu in Australia. Until now, that is. McDonald's is finally bringing the coveted condiment our way — all as part of a new limited-edition four-sauce range. It'll hit the menu at the Golden Arches from Wednesday, July 6–Tuesday, July 19, alongside the return of Macca's Cajun sauce (a blend of Dijon mustard, vinegar, honey and spices). That's two of the four special condiments covered. The other two won't be revealed until sometime in July. But, if you're keen to get a taste before they hit stores, Macca's is also running a sauce quest. What's a sauce quest? It's a three-day sauce hunt, all digital, which'll get you sleuthing to find clues — and win IRL sauce. From 9am on Tuesday, June 28, McDonald's will be putting up hidden sauce splatters online, which you'll need to find to go into the draw to nab a personal stash of its limited-edition sauces. To take part, you'll want to keep an eye on the chain's socials — and follow the hints from there. New to the whole Szechuan sauce frenzy? It's a mix of soy sauce, ginger, garlic and sesame oil. And, the last time that McDonald's re-released the much-hyped McNugget condiment in America, the demand outweighed supply. In the US, fans queued for hours, one person traded their Volkswagen and another paid almost US$15,000 for one measly pottle. Rick and Morty's legion of devotees were clearly keen for a taste — and condiment hysteria took flight. In 2020, it was also made available at the global fast-food brand's stores in New Zealand for a limited time. McDonald's Szechuan sauce will be available nationwide from Wednesday, July 6–Tuesday, July 19, alongside its Cajun sauce. Two more limited-edition sauces will follow, with details revealed in July.
Keeping plants alive is a struggle many of us have experienced — we get swept up in decorating our homes with beautiful greenery, only to find it looking sad and withered a week or two later. Luckily, Forest Life is coming to the rescue by opening Sydney's first terrarium nursery, where you'll be able to stock up on a range of terrarium plants, which, reassuringly, require minimal maintenance. Despite having been founded 18 months ago, this is the first time Forest Life will open its doors to the public, with the official launch of the Terrarium World Nursery set to take place on April 22 and 23 at their Annangrove location. There will be plenty of plants, soil mixes and decorative pieces available to purchase, as well as vegan and vegetarian eats supplied by Mama Linh's. Terrarium enthusiasts will want to get in quick — the Facebook event page has been inundated with expressions of interest. The Terrarium World Nursery Opening Weekend will take place on Saturday, April 22 from 10am to 4pm and Sunday, April 23 from 10am to 3pm.
To celebrate the launch of its new retro-style half-frame digital camera, the X half, Fujifilm is hosting a one-day event in Redfern that combines photography, music and creativity. The Moment Club will run from 2pm – 4pm on Saturday, July 12 at Baptist Street Rec Club, offering attendees the chance to try the new Fujifilm X half in person. [caption id="attachment_1008205" align="alignnone" width="1920"] Ben Savage[/caption] Across the afternoon, attendees will take part in a range of hands-on guided workshops, including how to shoot the ultimate bathroom selfie, how to style the perfect cocktail shot and how to use the camera's new side-by-side images feature. A live DJ set from Alex Hayes, a bespoke cocktail, and Southeast Asian-inspired snacks are also included in the $25 ticket price. Whether you're a content creator or just looking for a fun creative experience, this is the perfect opportunity to meet new people and test-drive the X half with help from Fujifilm's team of experts. RSVP now for Fujifilm's 'The Moment Club' on Saturday, July 12 at Baptist Street Rec Club in Redfern, Sydney. Find out more and book tickets here. By Jacque Kennedy
It's that time again, Sydneysiders: time for movies to compete with Mrs Macquaries Point's stunning view of Sydney Harbour. Every summer, the scenic spot's vista over the water, city, Opera House and Harbour Bridge gets a 350-square-metre screen showing the latest and greatest flicks — all thanks to Westpac OpenAir. There are plenty of outdoor cinema options in Sydney come summertime, but none can hold a candle to the scenery and luxe experience of Westpac OpenAir. Plus, it's a hell of a lot more than just a cinema. Forget popcorn and choc-tops; Westpac OpenAir boasts four equally luxe culinary options for all attendees. Options include The Point with Luke Nguyen, which brings fresh and vibrant Vietnamese flavours to anyone with a general admission ticket. Summer House Dining by acclaimed Sydney chef Danielle Alvarez takes things up a notch with fine Mediterranean feeds for premium ticket holders — and Chandon Garden guests will have exclusive access to a seafood menu and a dedicated oyster bar. No matter the seating and menu, you'll be able to enjoy your feed with live music from top Sydney DJs and one of the best views in Sydney. Then, as dusk settles, the hydraulics whir into action and raise the famous OpenAir screen three stories high for the movie of the evening. But what's on the program? As always, there are choices from every genre. Fancy a full-on big theatre blockbuster? You can grab tickets for F1, Mission Impossible: The Final Reckoning, Wicked: For Good, One Battle After Another and Avatar: Fire and Ash. Some of this year's hit indie additions include Marty Supreme, How to Make a Killing, Hamnet, Song Sung Blue, Is This Thing On?, Bugonia and Wuthering Heights. There's also a promise of nostalgic favourites like Dirty Dancing, Mamma Mia, The Devil Wears Prada, How To Lose A Guy in 10 Days and Ten Things I Hate About You. For all that and more, check out the full program here. Westpac OpenAir runs from Friday, January 9 to Tuesday, February 24, 2026. Tickets go on sale from Monday, December 8. For more information or to book tickets, visit the website.
After a long hard day's work in this busy city of ours, nothing beats a cold hard cocktail and a spot o' Frank Sinatra. Or Sammy Davis Jr. Or Dean Martin. It's the closest we'll get to time travelling to early 1960s New York, where the bands were big and the drinks were stiff. The original Rat Pack leader, Humphrey Bogart, had left this world in 1957, and a new crew of sharp young whippersnappers were settling into the throne: Sinatra, Martin and Davis, Jr. along with less-known folks Peter Lawford and Joey Bishop. But this ragtag gang weren't alone in their late night jams, with the likes of Peggy Lee, Nina Simone, Ray Charles, Nat King Cole and Ella Fitzgerald fuelling the fire. But what were these legendary gallivanters drinking, having late night chats in a dimly lit NYC saloon long after the audience had gone home? According to various accounts, classic Drambuie cocktail The Rusty Nail was a favourite for the Rat Pack boys in the '60s. It's a combo of Scotch whisky and spicy, syrupy Drambuie (which is made with herbs, honey and scotch) served with a twist of lemon (check out our more in-depth history of the cocktail). Now, bartenders all over Sydney are getting creative and giving the whisky-based liqueur screen time in their contemporary cocktails, shaking and stirring it into popularity once again. Sydney jazz club The Swinging Cat is celebrating the notorious liqueur with A Night With The Nail, a series celebrating the Rat Pack era every Thursday night throughout October and November. So we thought we'd put together a little audio time warp before you get there, with a playlist perfect for your next cocktail hour. Loosen your tie, kick up your heels, make yourself a Rusty Nail and dig into a specially-made playlist of our favourite Rat Pack-era tunes. Image: Wiki.
Entering an Australian supermarket at the moment, you can be forgiven for thinking that you're walking into the set of a post-apocalyptic film. People are everywhere but shelves are bare, with shoppers panic-buying everything from toilet paper and hand sanitiser to pasta and milk. As the COVID-19 situation has evolved over the past few weeks, local supermarket chains have been implementing item limits. They've also set aside dedicated shopping times for the elderly and people with disability as well. But the hoarding keeps happening and everyday staples keep selling out, leading Coles and Woolworths to roll out further caps. Announced today, Wednesday, March 18, both big chains have mandated restrictions on a number of items — in addition to previously revealed limits. At Coles, there's now a two-pack-per-person cap on eggs, sugar, frozen vegetables, frozen desserts, canned tomatoes, pasta, all dry rice regardless of size and liquid soap. And additional limits may be placed on other items on a store-by-store basis, too, so it's best to pay attention to the signage while you're shopping. Over at Woolies, it's limiting such a wide variety of items that it has actually listed what isn't restricted. There are no caps on fresh fruit and vegetables, fresh milk, yoghurts, deli items, seafood, bakery items, canned fish and meat other than mince — or on drinks, baby food, wet dog food, wet cat food, and Easter confectionery and merchandise. If you're after anything else, however, a two-pack-per-person limit applies in general, with some items down to one-pack-per limit. Already in the restricted category at both chains — as anyone who has tried to buy groceries recently well knows — are toilet paper, serviettes, baby wipes, antibacterial wipes and bulk rice over two kilograms, which are down to one pack per person. Tissues, hand sanitiser, dry pasta and flour have all been limited to two packs per person at both companies for days now. And paper towels vary, restricted to one per person at Woolies but two at Coles. Aldi and IGA haven't announced any new limits as yet, although Aldi already has caps on toilet paper (one pack), dry pasta, dry rice, flour, paper towels, tissues and sanitiser (two packs). At IGA, it's a store-by-store decision. "Each store has placed purchase limits on items that are critically low in stock. These limits are being managed on a store by store basis and are increasing day by day," the chain advised in a statement. All four brands have also released a collective plea for consideration, stressing the need to stick to product limits — and reminding shoppers something that should just be a given, aka that hardworking supermarket staff should be treated with courtesy and respect. For more details on Australian supermarket item limits, keep an eye on Coles, Woolworths, Aldi and IGA's websites. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
When Twin Peaks wrapped up its original two-season run back in 1991, it left audiences with a damn huge cliffhanger. David Lynch revisited the series' distinctive world on the big screen the following year; however Twin Peaks: Fire Walk With Me was a prequel rather than a sequel, so the show's mysteries remained just that for more than a quarter-century. Then, in 2017, came Twin Peaks: The Return. The long-awaited 18-episode third season of the show continued the tale of FBI Special Agent Dale Cooper (Kyle MacLachlan) and murdered Twin Peaks homecoming queen Laura Palmer (Sheryl Lee) — but, with Lynch directing every episode and co-writing the whole thing with fellow series creator Mark Frost, it did so in a very Lynchian way. In the words of Coop himself, it took you to a place both wonderful and strange, exceeding what even the most feverish Peaks fans expected. Eighteen hours of Lynch and Frost's unfiltered weirdness will do that. Indeed, Twin Peaks: The Return felt like stepping straight into Lynch's brain. That said, the next Twin Peaks project just might have that beat. While it's unlikely to deliver anything as mind-blowing as the third season's acclaimed eighth episode, Twin Peaks VR will let you wander around the show's famous settings — and solve puzzles while you're there. Created by Collider Games and Showtime, and available now — via Steam and Oculus for Oculus Rift, Oculus Rift-S, HTC Vive and HTC Vive Cosmos, with versions for Oculus Quest and PlayStationVR coming at a yet-to-be-revealed date — Twin Peaks VR takes players on a first-person journey through everywhere from the Red Room and Glastonbury Grove to the Sheriff's Department and the Glass Box Observation. Yes, that means that you can virtually walk past the iconic crimson curtains and along the zigzagging floors, rifle through Sheriff Truman's desk and watch out for Bob. Based on the trailer, you can also see the kettle-like machine that David Bowie's Fire Walk With Me character became in The Return as well. While escape room-type puzzles keep the game moving forward, it's really an excuse to hang out in the Twin Peaks realm in the most immersive way yet. And, if you've watched and rewatched the show's 48 episodes (and the movie) more times than you can count — and read the various books related to it, too — it's your next chance to scratch your Twin Peaks itch. Best grab yourself some coffee, cherry pie and doughnuts to enjoy while you're playing, obviously. Check out the trailer below: https://www.youtube.com/watch?v=RHRXHvPRrJY Twin Peaks VR is now available via Steam and Oculus. For further information, visit the game's website.
"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.
Fire up the group chat to get your mates together at one of Sydney's parks this summer, where you can cook up a grilled feast and laze the day away in the sun. In Sydney, we're lucky to have an abundance of parklands, many of which have public barbecues and waterside views. And, in some cases, you can also crack open a cold one to enjoy with your barbecue. Together with Jim Beam, we've compiled a list of ideal barbecue spots where you can also bring your own drinks. [caption id="attachment_731570" align="alignnone" width="1920"] Alexandria Velovotee; Flickr[/caption] SYDNEY PARK Whether you want to explore this park on two wheels, with your four-legged friends or flying solo, Sydney Park is a dynamic patch of parklands to settle in to for a day of adventures. It's home to a winding cycling track where young and old can stretch their legs. There's also plenty of off-leash areas for pooches, and a paddling pool designed especially for dogs. Once you've pedaled and run around, locate one of the several barbecue spots in the park and enjoy a fast feast. Afterwards, take a stroll around the wetlands or check out the public artworks located throughout the park. If you're bringing booze to the park, make sure you're all packed up by 6pm, which is the cut off time for drinking alcohol in Sydney Park. LANE COVE NATIONAL PARK This sprawling national parkland is home to calm rivers, boat sheds, an abundance of native trees and plenty of barbecue areas. Perched between the suburbs of Lane Cove, North Ryde, Chatswood, Macquarie Park and Linfield, Lane Cove National Park is a good place for an al fresco feed thanks to the sheer number of different gas and wood barbecues. Many of these areas — including Carter Creek, Cottonwood Glen, Commandment Rock, Haynes Flat and Casuarina Point — are available to pre-book for a fee, so you can guarantee a grill. There are also plenty of parking areas available. As it's a national park, it's also home to an abundance of wildlife, so just be sure to guard your food supplies from cheeky kookaburras and curious brush turkeys. [caption id="attachment_793721" align="alignnone" width="1920"] James Horan; Destination NSW[/caption] MORT BAY PARK Built in 1854, this historic park served as Australia's first large-scale dry dock. These days, Mort Bay Park is home to sweeping green areas, basketball courts and water views stretching out to the city skyline. There is plenty of on-street parking here, and the quaint Balmain Ferry Wharf is also worth checking out. You'll find several barbecues, prime for grilling and enjoying a feast with your mates. You can drink alcohol here, so long as it's in responsible quantities and you leave any glass at home. DAVIDSON PARK This Forestville parkland is the perfect spot to sizzle up some snags with family and friends against the backdrop of Middle Harbour Creek. Located within Garigal National Park, Davidson Park also has access to a range of easy walks, including the Lyrebird track, which includes strolling along the banks of Carroll Creek and a stepping stone crossing. It also has a boat ramp and canoe access points, so you can take to the water after your barbecue. Make sure you're packed up and out of the park before 8pm and take all rubbish with you. [caption id="attachment_753757" align="alignnone" width="1920"] James Horan via Destination NSW[/caption] PIRRAMA PARK This harbourside park is a hit with folks of all ages, thanks to its expansive playgrounds, fitness stations and excellent views. Pirrama Park is ideal for settling in for a long day with family and friends. There are two separate barbecue areas with four electric barbecues each, meaning it's usually pretty easy to secure one. It's closest to the Light Rail stops John Street Square and The Star, and you can pick up food at Pyrmont's cafes and supermarkets. Along with the City of Sydney's other timed alcohol areas, you can drink here until 10pm and not before 10am. [caption id="attachment_781770" align="alignnone" width="1920"] James Horan via Destination NSW[/caption] BLACKWATTLE BAY Along Glebe's foreshore you'll find open space overlooking the ANZAC Bridge, the Fish Markets and Rozelle Bay. The 1.8-hectare spot has several separate green patches and a walking track linking everything together. As Tramsheds is also located minutes away, you can shop for your barbecue feast and then hop on over to one of the public barbecues with your supplies. You can drink alcohol here until 10pm, which means it's perfect for a golden-hour picnic. Top image: James Horan; Destination NSW
Located a stone's throw from the new Victoria Cross Metro station, this trendy four-venue hospo hub has added yet another reason for Sydney's foodies to venture north of the harbour. Guests can start their day at Sol Bread + Wine, a bakery and cafe by day and an intimate wine bar by night that channels an Iberian spirit with design cues from Italy and Spain. A palette of earth tones is accented with geometric tiles and warm timber furniture, creating a space that effortlessly transitions from a breakfast bakery to a laidback cicchetteria serving top drops and sophisticated snacks. Ascending a bold red spiral staircase delivers diners to Soluna. Open from lunch through to dinner, this 110-seat restaurant, with a 60-seat bar and 30-seat, armchair-filled lounge, is another flexible concept that is as much a place for intimate catch-ups with friends over a glass of wine as it is a go-to for larger parties celebrating a major occasion. Changing gears, the colourful Japanese diner Genzo boasts a temperature-controlled sake room, a selection of expertly balanced, Japanese-inspired cocktails and a menu focused on raw dishes and kushiyaki prepared over a traditional robata grill. Accessible from the street, swish providore Una stocks gourmet produce, artisanal goods and pantry essentials as well as house-made pastas and other take-home gourmet meals. A considered edit of local and imported ingredients, from cheeses and charcuterie to boutique wines and spirits, makes this luxury grocer a boon for any North Sydney gastronomes hoping to wow at their next dinner party. Images: Steven Woodburn
The Oxford Tavern, one of the Inner West's best pubs, will close its doors this Sunday, April 2, with its current custodians Odd Culture Group stepping away from the Stanmore Road spot. Known for its Sunday roasts, inclusive dance parties and greenery-filled beer garden, the venue has sat under the guidance of the Odd Culture crew since 2019. Following last drinks on Sunday, when the team will be running the kegs and spirits dry, the hospitality group's lease will expire — with Odd Culture unaware of any incoming or prospective tenants at this stage. "It's with a heavy heart that we announce our lease is up at the Oxford Tavern," a statement from the group reads. "This pub has always held a special place in our heart — a space for our people to march to the beat of their own drum, and create the wild and wonderful, queer-coloured programming that resonated with the Inner West." "It was a saving grace for us, and a lot of people in the industry, through two (or three?) lockdowns, with our Tav Delivers stint, and a lot of that drew us even closer to the community. The pub has a rich history and we are grateful to have operated the place as an inclusive Petersham local and a queer institution. We're proud of everything we've put into The Tav. It's been a wild ride, but the time has come to end this chapter." The announcement comes as Odd Culture shifts its attention elsewhere, with several exciting announcements from the hospo team in the last few months, including a new live music venue on King Street with a 4am license and its first foray into the Melbourne hospitality scene with a wine bar and bottle shop in Fitzroy. If you want to head in for a last beer or a sample of the recently revamped menu before The Tav closes, the pub will be open midday–midnight Thursday and Friday, midday–3am Saturday and midday–10pm for its last day on Sunday. View this post on Instagram A post shared by The Oxford Tavern (@theoxfordtavern) The Oxford Tavern is located at 1 New Canterbury Road, Petersham. Its last day of operations under the Odd Culture group will be on Sunday, April 2. Top image: Kitti Gould
When international art collective teamLab launched Borderless, its Tokyo-based permanent digital-only art museum, the dazzling space became the most-visited single-artist site in the world in just its first year of operation. Wherever the outfit pops up — be it in Shanghai oil tanks, Japanese hot springs or Melbourne — its installations are always hugely popular. So it's no wonder that the group is expanding its footprint by opening more permanent locations. Late in 2019, teamLab launched a new venue in Shanghai, which is also called Borderless. Come this March, it's also opening a museum called SuperNature in Macao. Located at The Venetian Macao, the latter site will sprawl over 5000 square metres, filling the space with the kind of immersive, interactive installations that have gathered the collective of artists, programmers, engineers, animators, mathematicians and architects such a devoted following. [caption id="attachment_758086" align="aligncenter" width="1920"] teamLab. Expanding Three-Dimensional Existence in Transforming Space - Flattening 3 Colors and 9 Blurred Colors, Free Floating, 2018, Interactive Installation, Endless, Sound: Hideaki Takahashi © teamLab[/caption] In good news for anyone who has visited a teamLab venue or installation previously, SuperNature will also include a selection of brand new works — although, even if you're a seasoned teamLab visitor, these are the types of pieces that you can visit over and over and never get bored. Much will look familiar, playing with concepts and designs that the collective is clearly drawn to, such as floating balls, projected flowers and animals, and other kaleidoscopic imagery Chief among the highlights is The Infinite Crystal Universe, which uses light points, pointillism-style, to create three-dimensional objects. While you're interacting with the piece, you can use your phone to select the elements that make up the universe. The artwork will also response to the presence of people, as most of teamLab's installations do. [caption id="attachment_758090" align="aligncenter" width="1920"] teamLab. The Clouds that Self-Organize, 2019, experimental photo of the new artwork © teamLab[/caption] Then there's Massless Clouds Between Sculpture and Life, which plays out just as its title suggests. In this installation, giant clouds will float between the floor and the ceiling — and even when you walk through them, breaking them up, they'll form back into shape. Also on the bill: Mountain of Flowers and People: Lost, Immersed and Reborn, which'll let digital flowers bloom and change with the seasons, and Expanding Three-Dimensional Existence in Transforming Space — Flattening 3 Colors and 9 Blurred Colors, Free Floating, where bouncing spheres float above visitors, changing colour when they're touched. Like Borderless, SuperNature will also feature an Athletics Park, where you'll really get physical traversing graffiti-covered valleys, climbing a ropes course, scaling a light forest, jumping or playing hopscotch, as well as an educational, kid-focused Future Park. Located in the resort hotel's Cotai Expo Hall F, and set up like a labyrinth — making you wander around and around to find all of its nooks and crannies — SuperNature will welcome visitors through the doors from January 21 for previews ahead of its official opening date. Find teamLab SuperNature at Cotai Expo Hall F, The Venetian Macao Resort Hotel, Estrada da Baía de N. Senhora da Esperança, s/n, Taipa, Macao SAR, P.R. China from a yet-to-be-revealed date in March. It'll be open from 10am–10pm daily. Images: teamLab. teamLab is represented by Pace Gallery.
Resting on the shores of the always-iconic Bondi Beach is a looming structure. Earthy colours and openair designs help it blend into its breezy surroundings, but locals know the weight carried by the so-called 'pav'. Bondi Pavilion is, in fact, a piece of local history. For over 90 years, it's stood proud on the shoreline as a hub of local culture and activity, welcoming visitors through its doors for almost every activity you could think of. And now, after a lengthy seven-year facelift, it's better than ever. The Pav continues its vision of being a home for community, arts and culture in Bondi and is now better equipped to do so. The building boasts 15 indoor and two outdoor creative spaces — including a pottery studio, art gallery, theatre, radio studio and interactive exhibition room. You'll also have plenty of chances to feed your stomach, not just your mind. Several hospitality venues line the walls of the Pav for any hungry passerby. During daylight hours, you can grab a meal at Glory Days (and Surfish cafe, which is due to open soon), and after-dark diners can get their fix at Promenade Bondi Beach or Upstairs by Glory Days a few floors above. The icing on the proverbial cake of Bondi Pavilion comes in the form of the beloved local label Between the Flags, which has been dishing out SLSC-inspired clothing wear for beachgoers for the better part of 29 years. The building's many rooms and creative spaces are also available to hire for events and community groups. Just visit the website to find out how.
When you make tracks to Coogee Beach this summer, you'll find more happening than just waves, sun and sand. Head over to Coogee Pavilion Rooftop to discover See Sound, a season-long free music program, presented by Merivale in collaboration with Furphy. Run across three venues (the other two being Bondi's Royal Hotel and Marrickville's Vic on the Park), this series is all about warm weather and good tunes. Music will kick off at 2pm every Sunday on the Coogee Pavilion Rooftop. Each week will bring you a different DJ, but there are a few special dates you're going to want to clear your calendar for now. Head there on January 13, grab a Furphy and wait for the surprise act to turn up for their jam sesh. We don't want to give the game away, but we can tell you this artist's got a big month ahead, including several mammoth festival appearances. On February 17, you can expect an exclusive DJ set from a local funk group. Then, on March 17, look out for a well-known electronica duo, whose most well-known song you've no doubt grooved to on many a dance floor. The rest of the See Sound program is over here. Updates on the lineup will happen throughout summer, so keep checking in.
In The Guest Edit we hand the reins over to some of Sydney's most interesting, tasteful and entertaining people. For this instalment we have enlisted the guidance of Claire Perini, an interior architect who is founder and curator of the beautiful Avalon-based interiors studio and store Composition. Here, Claire divulges some of her favourite spots in her pocket of the Northern Beaches, a suburb once primarily known as a haven for surfers that is now home to a burgeoning creative community and growing food and drink scene. [caption id="attachment_812163" align="alignnone" width="1920"] Bar Elvina interior, photographed by Steven Woodburn[/caption] Dining & Drinking Bar Elvina "Whether mid-week or mid-weekend, Elvina is always serving up good times. Specialising in Mediterranean food with seafood expertly cooked on charcoal and a focus on pasta and grains — my personal favourite being their vongole which I could eat breakfast, lunch and dinner. They also boast a beautiful outdoor terrace nestled in an edible kitchen garden that is available for hire and makes the perfect backdrop for any celebration. On the weekends Elvina also has a bottomless banquet, tantalising menu and includes open wine and Aperol spritz's (I'll have 3 please). Menu designed and beautifully executed by Andy Emerson (formerly of Acme)." Find it at: Level 1, 50 Old Barrenjoey Road Book here. Randy's "A casual street bar you'd expect to find hidden within the streets of New York. With a focus on delicious snacks designed to be shared and daily oyster happy hour (serving only the best Australian rock oysters) Randy's is a keeper. Weekends are lively and you're bound to find a local to dine with on a Friday afternoon. Chef Zac serves up a series of different pickled foods that I frequently request jars of to take home." Find it at: 50 Old Barrenjoey Road Text or call to book: +61474 945 431 Graze n' Cakes "Mine and most of Avalon's favourite hole-in-the-wall dining spot, this patisserie/Vietnamese haven is undoubtedly my favourite lunch spot. When you can get a banh mi and the best chocolate chip cookie in one spot, why would you go anywhere else? Sandy who runs it, is also one of the nicest people on earth which is an added bonus when visiting!" Find it at: 3/38 Burrawong Road Call: (02) 8919 0058 Other local dining spots that Claire recommends: Pocket Pizza, Oceana Traders and La Banette patisserie. [caption id="attachment_944544" align="alignnone" width="1920"] The collection at Composition, photographed by Sage Hammond[/caption] Shopping Composition Naturally this guide needs to include Claire Perini's own studio, showroom and store which we have previously described as "achingly tasteful". Her meticulously curated selection of Modern-period antiques and contemporary brands all fall within one of three categories: Artefact (unique vintage), Object (new product) and Print (design literature both vintage and new, and lithographic works). The latest collection dubbed 'La Dolce Villa' has a focus on smaller items and little moments to admire that bring sweetness and connection into interior spaces. Find it at: 45a Avalon Parade Browse the website here. Bassike "The prominent Australian brand that needs no introduction has their stunning flagship store (designed by Akin Atelier) within the heart of Avalon. With not only their stunning own range of designs, but I love the way the brand threads through beautiful Australian brands that compliment the company's ethos." Find it at: 41 Avalon Parade Browse the website here. Lee Matthews "A new addition to the offerings in Avalon is the introduction of Lee Mathews' beautiful showroom." Find it at: 4o Avalon Parade Browse the website here. Peggy Concept Store "Named after Peggy Guggenheim, this store does not disappoint. Offering a curated collection of Australian and international ready-to-wear brands including some of my favourites: Matteau, Silk Laundry, Oséree and Muma World." Find it at: 62 Old Barrenjoey Road Browse the website here. Lifestyle Sauna Amalfi "A new addition to Avalon is this modern take on a Swedish sauna, Sauna Amalfi. Services include state of the art clear light infrared saunas, a traditional sauna, and a UV-Filtered and temperature controlled cold plunge." Find it at: 62 Old Barrenjoey Road Browse the website here. Feels Pilates "When you're done eating and drinking your way through Avalon, nothing like a little reformer session to sweat away the guilt. The Feels Pilates instructors will leave you feeling like every muscle has been activated with their dynamic classes that focus on form." Find it at: Rear shop at 46 Old Barrenjoey Road Learn more here. [caption id="attachment_536619" align="alignnone" width="1280"] Avalon Beach[/caption] Nature "My absolute favourite part of living in the Northern Beaches, and specifically 'past the bends', is the nature. The proximity to the national park, the views of the Pittwater, the sounds of wildlife and the community constantly activating the different elements... A few of my favourite spots would be, Paradise Beach a little beach on the Pittwater side; Angophora Reserve a little hour's walk through the bushland but nestled just behind the village shops and for some more dramatic scenery; Bangalley Head walk which boasts views of the ocean and the natural sandstone cliffs." Discover more spots in and around Avalon Beach here.
When a TV show or movie franchise returns years and years after its last instalment, there's no longer any point being surprised. It happens that often these days, with Veronica Mars, Twin Peaks, Star Wars and Jurassic Park just a few recent examples. The latest past pop culture hit set to make a comeback: Sex and the City. Thankfully, as anyone who sat through the terrible 2008 and 2010 movies of the same name will be hoping, the Sarah Jessica Parker-starring series is returning to the small screen this time around. Parker is back, as are her co-stars Kristin Davis and Cynthia Nixon, all starring in a new HBO show called And Just Like That.... The new ten-episode series is a spinoff, rather than an additional season of the existing 1998–2004 program — and there's one big difference. As revealed in the official announcement, the show will follow Carrie (Parker), Miranda (Nixon) and Charlotte (Davis). That means that the character of Samantha isn't part of the revival, and neither is actor Kim Cattrall, who played her. Parker, Davis and Nixon are also named as producers on And Just Like That..., alongside Michael Patrick King, who worked as a writer, director and executive producer on the original (and on the two movies). HBO hasn't released too many other details; however the US network has advised that the series will follow its three main characters "as they navigate the journey from the complicated reality of life and friendship in their 30s to the even more complicated reality of life and friendship in their 50s". In America, And Just Like That... is headed to HBO Max, the network's streaming platform. Just when the program will hit and where it'll be available elsewhere (including Down Under) haven't yet been revealed. While you're waiting for the new series, you can check out a clip from the original below — or, in Australia, you can stream Sex and the City's six seasons via Binge: https://www.youtube.com/watch?v=5fFNOGU_QRU And Just Like That... doesn't currently have an airdate, either in the US or Down Under, but we'll update you when one is announced.
After the Sydney Opera House replaced its Festival of Dangerous Ideas with Antidote last year, we didn't think we'd see it again. But the festival is about to rear its head for its ninth iteration, this time trading in its Bennelong Point digs for a space at Cockatoo Island. Co-founded by The Ethics Centre (TEC) and the Sydney Opera House back in 2009, FODI 2018 won't just have a new venue, but a new partner as well — teaming up with the UNSW Centre for Ideas for the first time. But the concept will remain the same, again bringing together thought leaders and creative thinkers for a weekend of critical discussion around the most important global issues of today. This year's festival, curated by Festival Director Danielle Harvey and UNSW Centre for Ideas Director Ann Mossop, will examine the theme of Trust and Truth, and will aim to incite debate, push boundaries and inspire intellectual freedom. And it has some big names on its bill. Stephen Fry — the Englishman with many hats: writer, comedian, actor, activist — will be holding a talk on the art of furious oration at Sydney Town Hall, entitled The Hitch after the festival's inaugural speaker: the controversial author and critic Christopher Hitchens. On the topic of controversy, activist Megan Phelps-Roper will be taking the stage to discuss her time at the Westboro Baptist Church. The festival's international lineup also includes Israeli-American writer Ayelet Waldman discussing the benefits of microdosing LSD, and Angela Nagle, author of Kill All Normies, exploring the culture clash between the alt-right and the left. Locally, feminist and author Germaine Greer, who's latest novel On Rape just hit the stands, will chat about outrage, while activist Mick Dodson argues the existence of modern-day European colonialism. A heap of thought-provoking panels are also on the program, including discussions on sex robots, the Australian media, nationalism and whether or not inequality is always bad. Those wanting to experience something a bit different can head to a part monologue, part striptease with artist Betty Grumble — called Sex Clowns Save the World — philosophy workshops and a Counterstrike LAN party (basically, a gaming party), where an electronic sculpture shoots "blood" at gamers. As this year's festival is located on an island, you'll need to catch a ferry across to the insightful talks. Thankfully, festival passes include ferry transport to Cockatoo Island — and start at $89. The 2018 Festival of Dangerous Ideas is coming to Cockatoo Island, with Stephen Fry's The Hitch taking place at Sydney Town Hall, on November 3 and 4. Tickets will go on sale at midday, Tuesday, September 4. You can buy tickets and check out the full lineup at festivalofdangerousideas.com. Images: Yaya Stempler
A good musical should have a lasting impact on the industry and its audiences for years to come. So the fact that Miss Saigon has been hitting stages and receiving awards since its debut in 1989 is a clear indication of quality. The show takes inspiration from the even older (but just as popular) Madama Butterfly — they're both tales of women in Asia falling in love with men from America only to have their hearts broken. The key difference between the two is the setting. Madama Butterfly is set in Japan, while Miss Saigon (as you might be able to guess from the title) is set in Vietnam, specifically during the end and lasting aftermath of the devastating Vietnam War. This production of the musical is from Cameron Mackintosh, who was also behind on other world-famous musicals like Cats, The Phantom of the Opera, Les Misérables and Mary Poppins. Coming to the Sydney Opera House on Thursday, August 17 and running until Friday, October 13 — the Australian cast includes the debut of Abigail Adriano as Kim alongside Nigel Huckle (Les Misérables, West Side Story) as Chris, Sean Miley Moore (The Voice) as The Engineer, Kerrie Anne Greenland (Les Misérables) as Ellen, Nick Afoa (The Lion King) as John and the Australian debut of Laurence Mossman as Thuy. Miss Saigon runs from Thursday, August 17 to Friday, October 13 at the Sydney Opera House, for more information and to book tickets, visit the website. Images: Johan Persson
If you thought Africa's first underwater hotel room was impressive, how about an upgrade? For an additional US$283,500, you can stay in your very own submarine hotel. Titled 'Lovers Deep', it's the latest offering from luxury travel company Oliver's Travels, whose motto is 'Why Do Ordinary?' Indeed. Why put up with terrestrial limitations, when you could be floating 650 feet deep off a Caribbean island of your choice? Making demands on a dedicated butler? Performing ablutions in company in a dual shower? Watching schools of fish swim by while eating their aphrodisiac friends? You can ask Oliver’s to customise an overnight package according to your desires. Options include sunset beach walks, a petal-scattering service, champagne breakfasts-in-bed and fine dining feasts involving caviar, oysters and chocolate fondant. "All of our hand-picked, luxury properties have something unique and quirky about them," says Oliver Bell, the company's co-founder. "But Lovers Deep really stands out as one of our quirkiest yet." Oliver’s, a UK-based company, specialises in highly unusual, once-in-a-lifetime travel experiences. Their stable includes remote, romantic lighthouses, abandoned windmills-turned-hotels, French chateaus and British country mansions surrounded by rolling hills. Via PSFK.
Everyone loves a good food collaboration, especially when it involves a couple of longtime favourites. And Melbourne's latest joint culinary creation is a doozy; the brainchild of Mexican-accented restaurant group Fonda and the masters of soft, fluffy bao at Wonderbao. They've joined forces on a new limited-edition bao-centric menu to star at all Sydney and Melbourne Fonda stores until the end of July. On it, you'll find two pillowy steamed bao varieties; loaded with your pick of crunchy zucchini ($9) or crisp fried chicken ($10), along with chipotle aioli, cabbage, pickled carrot and onion. Also on offer is the newly launched Mexi-bun, which features classic Mexican flavours piled into a pillowy Asian-style bun. With a filling of Fonda's beef chilli con carne, these beauties are deep-fried until golden, then teamed with a queso dip and the Jane Fonda Salsa. A serve of two Mexi-buns will set you back $17. The Fonda x Wonderbao menu is only available for dine-in — you can make a booking at your local Fonda eatery online.
One of the most prominent events of its kind outside of China, the Golden Koala Film Festival is back for another year. Heading to Riverside Theatre, this annual festival will once again showcase a selection of critically acclaimed Chinese movies in time for Sydney's Chinese New Year celebrations. Opening night is director Chakme Rinpoche's ATA, following sightless child Tianyu, who dreams of another life different from the disabled ping-pong champion career planned out for him. Then, he vanishes. Also on the bill is Oscar-winning documentary filmmaker Ruby Yang’s new film, My Voice, My Life, which sees a misfit group of Hong Kong-based high school students in what's essentially a version of Glee. All films in the program will compete for the prestigious Golden Koala Award, which is bestowed by a jury of Australian filmmakers. Best of all, because the festival is designed to promote Chinese cinema, all the screenings are super affordable — when did you last go to the movies for $15? By Tom Clift with Shannon Connellan.
When your nine-to-five plays out like a well-oiled machine, it can sometimes feel like each week is a little same-same. But Sydney is brimming with a fine bounty of things to experience and explore each and every day. So aside from casual laziness and a little lack of inspiration, there's really nothing stopping you from squeezing some adventure and spontaneity into your schedule. We've teamed up with Mazda3 to help you celebrate the little things that bring a sense of adventure to life. Shake things up, as we give you seven different detours to take each week in Sydney. From Monday to Sunday, enrich your everyday with one completely achievable activity that inspires you to take the scenic route as you go about your daily routine. This week, go to town on some bottomless mussels and frites, unleash your inner artists at a burlesque life drawing class and catch a flick followed by a Japanese degustation. Plus, we've got your future detours sorted for the next few weeks here. All require no more effort than a tiny break from the norm — what's your excuse for not trying them all?
Four decades back, concert film history was made. In December 1983, David Byrne walked out onto a Hollywood stage with a tape deck, pressed play and, while standing there solo, began to sing 'Psycho Killer'. Then-future The Silence of the Lambs Oscar-winner Jonathan Demme directed cameras towards the legendary Talking Heads' frontman, recording the results for Stop Making Sense. The best way to celebrate the 40th anniversary of the event behind the greatest concert film ever made arrived in 2024, and in cinemas. That'd be watching it on the big screen, of course, with cult-favourite independent film and TV company A24 — and Madman Down Under — releasing a complete restoration of Stop Making Sense. What's the second-best way to celebrate the occasion and the movie? Catching that new 4K version at home now that it's on Madman's documentary streaming service DocPlay from Thursday, June 13. Wearing big suits is optional. Now able to burn down your house — not literally, naturally — the 4K restoration premiered at last year's Toronto International Film Festival, and also had a date with SXSW Sydney's Screen Festival in 2023. So, no it isn't the same as it ever was: Stop Making Sense is now even better. The film isn't just iconic for how it starts, which definitely isn't how concerts usually kick off. From there, as captured at Hollywood's Pantages Theatre in December 1983, David Byrne, Tina Weymouth, Chris Frantz and Jerry Harrison put on one helluva show in support of their previous year's album Speaking in Tongues. Expect a lineup of hits, a playful approach, Byrne's famous oversized attire and even heftier stage presence, and the feeling that you're virtually in the room. Indeed, everything about this energetic and precisely executed documentary, which records the set from start to finish, couldn't be further from the standard concert flick. As 'Once in a Lifetime', 'Heaven', 'Burning Down the House', Life During Wartime', 'This Must Be the Place (Naive Melody)', 'Genius of Love' and more get a whirl, each element of the movie is that fine-tuned, and every aspect of the band's performance, too. And if it feels like Byrne was on-screen not that long ago, that's because his Spike Lee (Da 5 Bloods)-directed solo concert flick American Utopia did the rounds of Aussie cinemas back in 2020 — and proved one of that year's absolute best films. Check out the trailer for Stop Making Sense's 4K restoration below: Stop Making Sense is available to stream via DocPlay from Thursday, June 13, 2024. Images: Jordan Cronenweth, Courtesy of A24.
Since hitting Broadway five years ago, notching up 11 Tony Awards, nabbing the Pulitzer Prize for Drama and just becoming an all-round pop culture phenomenon, Hamilton was always going to make the leap to cinemas. So, it's no wonder Disney leapt at the opportunity. The Mouse House was originally meant to bring Lin-Manuel Miranda's historical hip hop musical to cinemas in October 2021 — via a filmed version of the stage production, rather than a traditional stage-to-screen adaptation — but it's doing us all a solid in these rough times and fast tracking it to streaming. And it lands this winter. Hamilton fans around the world will be able to watch the filmed version of the original Broadway production on Disney+ from July 3 (the day before Independence Day in the US). That's a whole 15 months ahead of schedule. Shot at the Richard Rodgers Theatre on Broadway back in 2016, this cinematic screening of Hamilton is still a big deal. Actually, given the fact that it features the original Broadway cast — including Miranda in the eponymous role — it's a huge deal. Everyone who missed out on the opportunity to see tale of American Founding Father Alexander Hamilton live as it toured the US or on London's West End will be able to do the next best thing, with Hamilton jumping on the popular trend of screening filmed versions of plays and musicals in cinemas. In addition to Miranda — who stars, and wrote the musical's music, lyrics and book — this filmed version of the production features Daveed Diggs (Velvet Buzzsaw) as Marquis de Lafayette and Thomas Jefferson, Leslie Odom Jr. (Murder on the Orient Express) as Aaron Burr, Christopher Jackson (When They See Us) as George Washington, Jonathan Groff (Mindhunter) as King George, Renee Elise Goldsberry (The House with a Clock in Its Walls) as Angelica Schuyler and Phillipa Soo (the Broadway version of Amelie) as Eliza Hamilton. Once you've watched the small-screen version, you can get excited about seeing the stage production, too, as it's finally set to arrive in Australia in March 2021. Under the circumstances — and with international travel still banned for the foreseeable future — it's possible that this could be delayed, though. Hamilton is just the latest film to be fast-tracked to streaming, with other big-name flicks, such as Birds of Prey, The Invisible Man and Disney's Onward, also hitting small screens ahead of schedule. You can check out 12 of our favourites over here. While you're eagerly awaiting Hamilton to hit Disney+, you can watch (and rewatch) the trailer: https://www.youtube.com/watch?v=DSCKfXpAGHc Hamilton will hit Disney+ globally on July 3, 2020. Updated June 22, 2020.
Uniting Martin Scorsese, Robert De Niro and Leonardo DiCaprio on the same feature-length film for the first time ever, Killers of the Flower Moon felt like a culmination before a frame had been shot, let alone seen. Scorsese and De Niro have worked together for five decades, with a wealth of highlights such as Taxi Driver, Raging Bull, The King of Comedy, Goodfellas, Cape Fear and Casino to their names. Scorsese and DiCaprio have done the same for two, starting with Gangs of New York. Marty and Bob have known each other since they were 16, too, and it was the latter who told the former about Leo 20-plus years back after De Niro and DiCaprio made This Boy's Life together. Finally, then, one of cinema's golden triangles has connected all of its sides, apart from De Niro and DiCaprio playing themselves in Scorsese's 2015 comedy short The Audition. Doing the linking: a tale of murder, greed and betrayal that tells of the atrocities committed against the Osage Nation a century ago, relaying a chapter of US history that's conveyed on-screen with all the gutwrenching horror and heartbreak that it demands. And, as this story unfurls, watching Killers of the Flower Moon feels like joining the dots in another way as well. Even if Scorsese hadn't enlisted his two favourite actors, plus phenomenal Certain Women star Lily Gladstone as the film's heart, soul and spirit — and also continued his frequent collaborations with editor Thelma Schoonmaker, now-late composer Robbie Robertson and cinematographer Rodrigo Prieto — the 26th feature on his resume ties together much that's recurred throughout his filmography for more than half a century. Killers of the Flower Moon is a kind of gangster movie, as Goodfellas, Casino and The Irishman also are. It's unshakeably a crime flick, boxes that Mean Streets and The Departed also tick. Viewers can see the threads to the iconic filmmaker's past works about faith and spirituality, including The Last Temptation of Christ, Kundun and Silence. Greed and corruption have long featured across Scorsese's work, as seen in everything from Gangs of New York to The Wolf of Wall Street. This is a relationship drama as well, which brings The Age of Innocence to mind. As the movie makes plain almost immediately, and then repeatedly across its 206-minute running time, it's also more unsettling than Shutter Island. Ask Scorsese if Killers of the Flower Moon feels the same way to him, as Concrete Playground did, and he explains that piecing together threads that've been weaved throughout his career wasn't what overtly appealed to him. "I never thought of it that way," he notes. Instead, he advises that it was both the real-life stories and journalist David Grann's 2017 non-fiction novel Killers of the Flower Moon: The Osage Murders and the Birth of the FBI that steps through them that caught the filmmaker's interest. [caption id="attachment_923847" align="alignnone" width="1920"] Marion Curtis / StarPix for Apple[/caption] In Scorsese's instantly engrossing and deeply haunting film, those accounts of Indigenous Americans slain by white men chasing oil-fuelled wealth — and power and control, too — filter through the romance of World War I veteran Ernest Burkhart (DiCaprio, Don't Look Up) and Osage Nation member Mollie Kyle (Gladstone, Reservation Dogs). The pair meet when he seeks a job from his cattle rancher uncle William King Hale (De Niro, Amsterdam) upon returning from combat. Sparks fly immediately and their love is real, but Hale's pushing of Ernest in Mollie's direction isn't driven by wanting his nephew to be happy and follow his feelings. And, as too much surrounding the self-proclaimed 'king of the Osage' Hale does, it has consequences with a body count. Scorsese shared his thoughts on making his latest masterpiece with Concrete Playground during an international press conference for Killers of the Flower Moon, where he also answered questions about the biggest challenge in bringing the film to the screen, casting Gladstone, teaming up De Niro and DiCaprio, and how he approaches faith in his work. Not covered: the Oscar-winning director's new Letterboxd account, but you can check that out for yourself, then watch your way through his movie picks — such as what he recommends pairs well with his features. ON HOW KILLERS OF THE FLOWER MOON CONNECTS WITH SCORSESE'S PAST WORK "I just was attracted to the material, but then really became attracted to it because when we were doing research and meeting all the Osage people out in Oklahoma, the Osage Nation, in Gray Horse. They gave us a big dinner, and people got up and spoke about their ancestors, their great-grandfathers and grandmothers, and uncles and aunts, and that sort of thing, who were affected by this, who were killed during that period — and the fact that they never said anything about it, the generation of today and their parents, they kept it quiet. And now this book came out by David Grann, and now a film's being made. So naturally they had some caution as to me directing the film because of the nature of the films I've made in the past, like the violence in Goodfellas, etcetera. But it took a few meetings, and it took some conversation, and just basically being open-hearted with each other and trusting each other, with Chief Standing Bear and myself, and some of the other members of the Osage community. When I discovered that most of it really hinged on this love story between Mollie and Ernest, that's when I locked in on the project for real, in a sense. I was going another way at first. But in going the other way, meaning from the outside in, from Bureau Investigation in, I found that it was too reminiscent of films that I'd made in the past. It would've been good, I think, but I'd already been there — but what really got me was that what if this trust is betrayed through love? That has to do in the marriage, has to do with these two people who really love each other, and the husband is very weak. I thought that was interesting. And I have a feeling that relates more to The Age of Innocence than to some of my other films." ON THE CHALLENGES OF MAKING KILLERS OF THE FLOWER MOON "I think the biggest challenge was balancing the narrative parts of the story with the emotional aspects. I think what I mean by 'the narrative parts', there are some plot points that had to be connected — and that is with the Bureau of Investigation coming in and trying to figure out who was doing what, and what Bill Hale eventually did, and what he eventually accomplished, and what he tried to accomplish, and how he tried to clean up his steps, clean up everyone around him by getting them killed or whatever. But the real core of the picture was between Mollie and Ernest. And so, the emotional core of the film really had to revolve around them because all the plot points could be easily, easily absorbed as long as they connected. If it was just done on a narrative plot, it would be good, I think. But in my mind it would've been more like films that I've seen like police procedurals, which I enjoy watching, but I don't know if I could make. So, the biggest challenge was balancing the emotional complexity of the relationship between Mollie and Ernest, knowing that the two of them were in love, basing this on information we got from the Osage people themselves, who were descendants of them. They pointed out to us: "don't forget — this isn't a matter of straight villains and victims; these people were all either best friends or in love, and yet all this happened." And so that was the biggest challenge: to keep balancing that." ON CASTING LILY GLADSTONE "Ellen Lewis, who does my casting, had worked with Rene Haynes. They had worked on a television series that had a lot of Native American actors in it [2017's Godless]. And so she put out the feelers there, Ellen, and ultimately saw Kelly Reichardt's film Certain Women. In that film, Lily has quite, quite a sequence in it. Before the COVID pandemic hit, we were really concerned about could we get somebody who could play Mollie effectively. And Ellen, whom I've worked with since Goodfellas, since 1989, she said to me, 'I think we might be okay'. And she showed me Certain Women, the film. I thought that Lily was marvellous in it. Then we got to meet, but we could only meet on Zoom because the pandemic was beginning. And from that one Zoom call, we had to wait another almost year before we could come back together again on another Zoom, get Leo on the Zoom, discuss Mollie, discuss all of that. But during that year we worked on Mollie's character. And the whole point being, of course, that their story, Mollie and Ernest, is sort of a metaphor for the entire picture, the entire world that we're depicting and this horrendous situation that occurred at that time. So what I found from Lily was perfect cinema face. I mean, she could be saying nothing, but you feel everything going on behind her eyes, and in the positioning of her face, the way she moves. But there's so much going on inside of her, and it's reflected in a very still way. She doesn't have to provoke it. She also is very strong on Native American views and activism, and helped us steer the project as best we could in the proper direction in terms of Native Americans and European Americans." ON FINALLY GETTING ROBERT DE NIRO AND LEONARDO DICAPRIO TO SHARE THE SCREEN IN A SCORSESE FEATURE "With them, the thing is that I've known Robert De Niro since we were 16 years old. So he knows where I come from, and he knows my old friends, and I know his. And we found that when we started working together on Mean Streets and particularly Taxi Driver, we found that we shared the same sensibilities, or similar interests — and also that he was a fearless kind of actor. And the key element, aside from being a genius actor, was that we trusted each other. I trusted him for many different reasons, beyond the creative issues because there were a lot of political issues, too, at that time: making films for studios, studios would take the film away from you, actors would come in and re-cut them. He would never do that. He would never insist on something if I didn't feel it was right. We had an understanding that all he needed from me was to really listen to him and sometimes show me what he wanted to try. And we got to trust each other very strongly on that. Years go by, we wound up making Raging Bull and The King of Comedy. And then it took a while again before we got to make another picture: Goodfellas. But then, we hadn't worked for 19 years before we worked on this film — before we worked on The Irishman, I should say. And he had introduced me to Leo DiCaprio 20 years ago. He said 'he's a very young actor, and he's very, very good'. And I got to know Leo, and we did Gangs of New York together. But on The Aviator, a film we did after, I found similarities, in a way. I don't say same style — a very different style — but he had the openness, and he had the trust. And he had a crazy fearlessness in the same way as De Niro. Despite the fact that we're 30 years difference, there is that trust and enjoyment working together. Really, there's a love there between the three of us. So, it also happened that suddenly they came together on this movie." ON SCORSESE'S APPROACH TO FAITH IN HIS FILMS "I think, first of all, it's not an immediate dismissal of other faiths. As much as my roots are in Roman Catholicism of the mid-20th century here in New York, I have my differences with that. But I also, in supporting my own faith, or trying to support my faith, I found it interesting to learn about other religions, other faiths, philosophy as much as possible, taking it seriously. I don't mean superstition. And yet, even in superstition, the very act of the ritual itself reflects faith. For example, if you take Roberto Rossellini's film Stromboli, there's a great sequence in it where they fish for the tuna — and before they fish for the tuna, they all say a prayer, and then there's the slaughter of the tuna. It reflects something that is a need for spirituality in having to survive as a human being. The lack of spirituality. They need spirituality going deep down into the roots, primeval roots, before you can even find the sustenance to continue to live, you see? And so, somehow that is a gift: to find the food. That's a gift from god. And so for me, that's always something that is to be respected. People feel that way about the world around them, and to be respectful of the world around them. It's more like a blessing of being alive despite all the problems. I find that with many different groups of people, and many different ways of thinking. For me, it comes down to respect and dignity for what other people believe. You may not believe that, but it comes down to that. I think a world that's like in this film, it's a world of corruption that has no roots in morality or spirituality. They [Hale and company] think they do. You can say 'well, they have religion', but that's not spirituality, you see, and so anything goes. The most important thing is winning. The most important this is getting as much money as you can, especially if some civilisation is on its way out anyway. 'As much as I love them,' Bill Hale says. 'I love them. They're great people, but they're gonna die off.' So, this is something that fascinates me and makes me think 'is that part of me, too?'. In other words, am I capable of that kind of behaviour? I'm not saying killing. I'm talking about complicity in it, by being quiet about it. So that's where all of it comes together. I think maybe that's why I was attracted to it." Killers of the Flower Moon opened in cinemas Down Under on Thursday, October 19. Read our review.
Catching a blockbuster or indie flick beneath the stars is already pretty special. Yet part of the reason so many people love Moonlight Cinema is that you can bring your dog along for the ride. Good luck finding a conventional cinema with that perk — unless Yarraville's Sun Theatre and their doggy day sessions are within reach. Now the experience for your pooch is getting even better, as Moonlight Cinemas across the country (except Perth) are adding exclusive Lyka doggie bag meals to the menu for the first time. So, when it's time to hit up the kitchen and bar for your movie night snacks, pet parents can also grab some dog-friendly goodies to keep their pup occupied. While you get stuck into the popcorn and perhaps a wine or two, your dog could be munching on a tasty kangaroo meal. Served as part of a goodie bag for $17, it comes with a handy DOG by Dr Lisa Lick Mat and a Turkey Dental Jerky Treat, perfect for times when your dog grows a little restless. And with everything handed over inside a convenient Lyka cooler bag, it's easy to keep the doggy snacks chilled on a warm evening. Ready for a night out with the fam — pets and all? Moonlight Cinema's 30th season kicks off on Friday, November 21, in Sydney, with Adelaide, Brisbane and Melbourne soon to follow.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from January's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW ARCHIVE 81 Australian Malignant, The Conjuring and Saw filmmaker James Wan doesn't direct any episodes of Netflix's new sci-fi/horror series Archive 81, but he does lend his executive producing skills to the podcast-to-screen show — and it's easy to see why. The immediately creepy found-footage effort slots in seamlessly among the fright-inducing fare that's helped make his career, all while taking its time to dole out its scares, shocks and eeriness. It's also plain to see why Resolution, The Endless and Synchronic directors Justin Benson and Aaron Moorhead helm two episodes, too, thanks to their already-demonstrated affection for mind-bending, genre-twisting tales that play with space and time. That pedigree alone makes Archive 81 a must-see for movie buffs, and so does the fact that the series also doubles a love letter to everything strange and out-there that's ever been captured on celluloid. Usually devoting his time to unearthing lost gems or just trawling through old video tapes looking for recorded treasure, film archivist Dan Turner (Mamoudou Athie, Black Box) gets an unexpectedly lucrative job offer: restoring Hi8 footage shot by college student Melody Pendras (Dina Shihabi, Altered Carbon) back in 1994. He has to agree to live in a remote compound, under video surveillance, to take the gig — and he'll be sifting through material that Melody filmed in the Visser, an odd New York apartment building where she was looking for her mother but started to notice otherworldly things afoot. Much of the thrill of the impeccably made Archive 81 stems from its multi-layered mysteries, including what's actually happening back in the 90s, the real motives behind Dan's well-paying position and why the two time periods seem to start bleeding together. Developed, produced and mostly penned by The Boys alum Rebecca Sonnenshine, it makes for tense, trippy and often daring viewing, even when things get a tad silly in the supernatural department. The first season of Archive 81 is available to stream via Netflix. THE TOURIST If making TV shows and movies bubbles down to a formula, it doesn't take much to glean how The Tourist came about. Starring Jamie Dornan as a man caught up in a mystery in Australia's sprawling outback, this six-part series jumps on several popular trends — saddling a famous face with battling the Aussie elements chief among them (see also: the film Gold, which plonks Zac Efron amid the nation's dusty, yellow-hued expanse). Dornan's trip Down Under also plunges into a familiar thriller setup, with memory loss playing a key role. Memento famously did it. The Flight Attendant did as well. Combine the two, throw in all that striking scenery that constantly defines Australia on-screen, and that's the template beneath this well-greased, cleverly plotted, easy-to-binge newcomer. Adding another TV role to his resume alongside The Fall, Death and Nightingales, New Worlds and Once Upon a Time — and another part to his eclectic filmography, given that he's been in the vastly dissimilar Synchronic and Wild Mountain Thyme in the past year, and looks set to get an Oscar nomination for Belfast — Dornan plays an Irish traveller in Australia. The character's name doesn't matter at first, when he's using the bathroom at a petrol station in the middle of nowhere. But after he's run off the road by a steamrolling long-haul truck, he desperately wishes he could remember his own moniker, plus everything else about his past. Local Constable Helen Chalmers (Danielle Macdonald, French Exit) takes a shine to him anyway; however, piecing together his history is far from straightforward. His other immediate questions: why is he in the middle of Australia, why does a bomb go off in his vicinity and why is he getting calls from a man trapped in an underground barrel? The Tourist is available to stream via Stan. Read our full review. THE HOUSE Not to be confused with well-cast but decidedly unfunny Will Ferrell and Amy Poehler-starring comedy of the same name, The House dedicates its weird and wonderful stop-motion animated frames to three tales all set in the same abode. In the anthology film's first chapter, a poverty-stricken family mocked by richer relatives luck into a deal with an architect, which results in the movie's central dwelling being built — and its new inhabitants getting more than they bargained for. In the second part, a developer, who also happens to be a rat, finalises his renovations and readies the place for sale; however, two odd prospective buyers won't leave after the first viewing. And in the third section, the home towers above an apocalyptic future flooded with water, with its owner, a cat, struggling with her fellow feline tenants. Each of The House's films-within-a-film hail from a different creative team, boast different voice casts and splash around their own aesthetics — and they're all a delight. The constants: the titular structure, the fabric-style look to the animation (even as each director comes up with their own take) that makes you want to reach out and touch it, and mix of creativity and emotion in its dark-skewing stories. This is a movie that questions the comfortable mindset that bricks and mortar are expected to bring, and where where just trying to get by is recognised as the struggle it is in a variety of wild and inventive ways. And as for that vocal talent, Matthew Goode (The King's Man), Mia Goth (Emma.), Helena Bonham Carter (The Crown), Susan Wokoma (Truth Seekers) and Pulp frontman Jarvis Cocker all do ace work. The House is available to stream via Netflix. THE TENDER BAR Playing Batman has rarely been about smiles and laughs, but spending time in the cape and the cowl was particularly grim for Ben Affleck. He wasn't the best Bruce Wayne or Dark Knight, and he couldn't have looked more miserable. He hasn't seemed to have had a great time on-screen for a while, in fact, other than his OTT recent performance in The Last Duel. He's a charismatic dream in The Tender Bar, though, with coming-of-age drama enlisting him as the supportive uncle and surrogate dad to the film's lead character and still giving him top billing. With the Sad Affleck memes and the chaos frequently surrounding his personal life, it can be easy to forget how charming an actor the elder Affleck brother can be — and this is also his best performance since 2014's Gone Girl, and by far. That uncle, Charlie, tends bar and helps his sister (Lily Rabe, The Undoing) bring up her son JR (debutant Daniel Ranieri) given that the boy's radio DJ dad (Max Martini, The Purge) is happily and drunkenly mostly absent from their lives. It's the self-taught Charlie that sparks JR's desire to become a writer, too, with The Tender Bar based on real-life novelist and journalist JR Moehringer's memoir. There's much that's familiar about the overall narrative, but George Clooney — in filmmaker mode, but without also appearing on-screen as he did with The Midnight Sky — recognises that a comfortable story told well, and with warmth, affection and thoughtfulness, can still strike a chord. The performances he gets out of Affleck, the engaging young Ranieri, plus Tye Sheridan (The Card Counter) as the college-aged JR, also help considerably, as do the moments between the former and his two main co-stars that firmly fit the film's title: tender. The Tender Bar is available to stream via Amazon Prime Video. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK THE AFTERPARTY Only Murders in the Building isn't the only new comic murder-mystery series worth streaming from the past few months. Joining it is The Afterparty, which also sports a killer cast — this time Sam Richardson (Detroiters), Ben Schwartz (Space Force), Zoe Chao (Love Life), Ilana Glazer (Broad City), Ike Barinholtz (The Mindy Project), Dave Franco (If Beale Street Could Talk) and Tiffany Haddish (The Card Counter) — and a savvy spin on an oft-used gimmick. Rather than skewering true-crime podcasting, this quickly addictive comedy from writer/director Christopher Miller (The Lego Movie) toys with the reality that every tale differs depending on the perspective. Whodunnits always hinge upon that fact, and Miller has also clearly seen iconic Japanese film Rashomon. And, considering that its big murder takes place after a school function, there's a touch of Big Little Lies at play, too. With his directing partner Phil Lord, Miller has made a career out of getting smart and funny with familiar parts, however, and that doesn't change here. The setup: at the afterparty following his 15-year high-school reunion, obnoxious autotune-abusing pop star Xavier (Franco) winds up dead on the rocks beneath his lavish mansion. Enter the determined Detective Danner (Haddish), who starts grilling his former classmates one by one to find out who's responsible. Her interrogations start with the sensible Aniq (the always-great Richardson), who was hoping to finally make a move on his schoolyard crush Zoe (Chao) — and after his version of events, Danner hears from Zoe's macho ex Brett (Barinholtz) in The Afterparty's second episode, then from Aniq's best bud Yasper (Schwartz, riffing on Parks and Recreation's Jean-Ralphio without being quite as ridiculous). The cast is top-notch, the writing is clever, there's much fun to be had with its genre- and perspective-bending premise, and the throwaway gags are simply glorious. The first three episodes of The Afterparty are available to stream via Apple TV+, with new instalments dropping weekly. PEACEMAKER Simply being better than its terrible predecessor couldn't make The Suicide Squad a great movie; however, the DC Extended Universe is still betting big on James Gunn's over-the-top vision for its supervillains. Yes, just like Marvel, the comic-book company has its own sprawling big-screen franchise filled with interconnected films — and now, thanks to spinoff streaming series Peacemaker, that caped crusader-focused world also extends to the small screen, too. John Cena (Fast and Furious 9) returns as the titular character, and feels more comfortable in the role this time around. Gunn is back as the show's creator, writer and main director, helming all but three of the first season's eight episodes. And the tone is still devil-may-care with irreverence and flair, aka the filmmaker's usual mode, complete with rampant helpings of raunch and gore. If you loved The Suicide Squad, this is all clearly great news. Even better: if you weren't fussed overly or at all about Gunn's sequel-slash-do-over and now understandably approach the idea of a TV offshoot with caution, Peacemaker still proves plenty of fun. It follows its central figure after the events of the film, where he's spared from going back to prison by being dragged into another black-ops government squad on a super-secret mission — and while Gunn isn't doing anything new here, he's found a better balance for his brash and raucous approach in this entertaining series than in the flick that preceded it. Casting the radiant Danielle Brooks (Orange Is the New Black) as one of the agents overseeing the egotistical, frequently dancing, often half-naked, always-comic Peacemaker is also a masterstroke. The first five episodes of Peacemaker's first season are available to stream via Binge, with new instalments dropping weekly. SERVANT Ted Lasso is the Apple TV+ series that's been scoring all the praise and love for the past few years, and rightfully so — but the platform's M Night Shyamalan-produced Servant is also one of its winners. Perched at the complete opposite end of the spectrum to the warm-hearted soccer comedy, this eerie horror effort spends the bulk of its time in a well-appointed Philadelphia brownstone where TV news reporter Dorothy Turner (Lauren Ambrose, The X-Files) and her chef husband Sean (Toby Kebbell, Bloodshot) appear the picture of wealthy happiness, complete with a newborn son, Jericho, to fulfil their perfect family portrait. But as 18-year-old nanny Leanne Grayson (Nell Tiger Free, Too Old to Die Young) quickly learned in Servant's first season, there's nothing normal about their baby — which, after the tot's death, has been replaced by a lookalike doll to calm the otherwise-catatonic Dorothy's grief. That's how the series began back in 2019, with its second season deepening its mysteries — and Leanne's place with the Turners, even as her own unconventional background with cult ties keeps bringing up questions. With the just-started third season, the household is once again attempting to pretend that everything is normal and to also keep Dorothy unaware of the real Jericho's fate, even with a flesh-and-blood infant now back in her arms. But in a slowly paced series that's perfected its unsettling and insidious tone from episode one, serves up a clever blend of atmospheric and claustrophobic thrills mixed with gripping performances, makes exceptional use of its setting and also features Rupert Grint in his best post-Harry Potter role yet, there's always more engrossing twists to rock the status quo. The first two episodes of Servant's third season are available to stream via Apple TV+, with new instalments dropping weekly. EXCELLENT FILMS FROM THE PAST FEW YEARS TO CATCH UP ON BLACK BEAR Aubrey Plaza's resume isn't short on highlights, but Black Bear sits right at the top alongside her instantly iconic turn as Parks and Recreation's April Ludgate and her also-excellent performance in Ingrid Goes West. She does deadpan like few other actors currently working, and can convey more with her eyes and otherwise expressionless face than most of her colleagues can with their entire bodies — but she's asked to use every acting tool in her arsenal in this two-part affair. She always plays a woman called Allison, but her character is initially introduced as a former actress-turned-filmmaker decamping to a scenic lake house in upstate New York's Adirondack Mountains, with getting some writing done (and finding the inspiration to do so) her aim. She's easily distracted by her hosts, though, with Gabe (Christopher Abbott, Possessor) showing Allison a little too much attention amid his bickering with his pregnant partner Blair (Sarah Gadon, True Detective). In the movie's second half, everything changes, including all that the audience knows about the characters, their jobs and their relationships with each other. Now the film takes place in the same spot, but in the middle of a movie shoot that's proving as chaotic as the initial Allison's attempt at a relaxing stay. Helming his third feature, writer/director Lawrence Michael Levine (Wild Canaries) leans heavily upon his cast — especially Plaza; Allison is told she's hard to read, and that's a key part to the twisty narrative — but he's also trusted himself with an astute, insightful and playful deconstruction of art and authenticity. There are no weak links at any moment, including in the feature's seesawing between dark comedy and dramatic thrills, and the distinctive aesthetic he applies to the film's two parts. Plaza is astonishing, unsurprisingly, but Abbott and Gadon are similarly impressive in a movie that isn't easily forgotten. Black Bear is available to stream via Netflix. THE RIDER The past two years have been nothing short of spectacular for filmmaker Chloé Zhao. She directed the best feature of 2020, aka Nomadland, then became only the second woman ever — and first woman of colour — to win the Best Director Oscar. And, mere months after achieving that historic feat, she gave the Marvel Cinematic Universe its most ambitious movie yet (and its most gorgeously and naturalistically shot) courtesy of Eternals. But the writer/director's career didn't start here, and also didn't start being phenomenal with Nomadland. A hit on the festival circuit in 2017 and 2018 (the latter in Australia), The Rider wasn't her first excellent film either (that'd be 2015's Songs My Brothers Taught Me), but the empathetic modern-day take on the western genre instantly cemented her as a talent to watch In this rodeo drama, Brady Blackburn (real-life cowboy Brady Jandreau, playing a version of himself) just wants to hop back onto a horse. He's also a gifted trainer, and this line of work is what he's compelled to do. Watching him struggle with life without his only passion makes for soulful and heart-wrenching viewing, as Brady wades through the aftermath of an in-ring incident that almost killed him. Shot with lyrical images that find tenderness in the story, suffering and situation, The Rider proves a case of art imitating life after Jandreau went through the same scenario himself after meeting Zhao back in 2015 — and she turns the results into a feature that's partly a specific character study and partly a universal tale of chasing and losing a dream, then trying to come out of the other side. Also starring members of Jandreau's family, and told with devastating intimacy, the end result boasts a heart as big as America's sweeping plains. The Rider is available to stream via SBS On Demand. A BELOVED SITCOM TO BINGE — AND CHECK OUT ITS NEW SEASON IT'S ALWAYS SUNNY IN PHILADELPHIA Since 2005, one sitcom has devoted 162 episodes to the world's worst bar owners, spanning their attempts to run a watering hole, their constant bickering with each other and everything else that life has thrown their way. That show is It's Always Sunny in Philadelphia, of course. As well as now being the longest-running live-action sitcom ever made, it's a gem filled with the devious, darkly amusing and downright odd antics of the Paddy's Pub gang. Those pals — as played by Charlie Day (Pacific Rim: Uprising), Glenn Howerton (AP Bio), Rob McElhenney (Mythic Quest), Kaitlin Olson (Hacks) and Danny DeVito (Jumanji: The Next Level) — usually fail at everything they attempt, and the show never pretends otherwise. Indeed, with a nihilistic and irreverent sense of humour that's all its own, it's one of the least sensible yet also savagely smart shows currently airing. Season 15, which is now on Disney+ alongside the 14 seasons before it — bringing its eight-episode run our way quite swiftly after it aired in America in December last year — sees Charlie, Dennis, Mac, Dee and Frank keep doing what they've always done, and keep pouring out comedy gold in the process. It's the show's first season since COVID-19, so it finds ways to work the pandemic into its always-outrageous setups. Given the American political landscape since 2019, when the previous season aired, It's Always Sunny has much to mine there as well. And, a trip to Ireland, aka hallowed ground for the longterm owners of an Irish pub, also fills half of its episodes. Even this far in, the show never stops surprising, pushing every boundary it can and being sidesplittingly hilarious — and long may it continue, with another three seasons already greenlit. All 15 seasons to-date of It's Always Sunny in Philadelphia are available to stream via Disney+. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December last year — and our top new TV shows of 2021, best new television series from this year that you might've missed and top straight-to-streaming films and specials as well. Top image: Quantrell D Colbert/Netflix.
We're living in unprecedented times and, thanks to Pantone's colour experts, we now have the hue to match. Every year, the Pantone Colour Institute selects a shade that it thinks will both set the trend for and sum up the 12 months ahead — and for 2022, it's even created a new colour to take the honours for the first time ever. 2022's Colour of the Year: Very Peri, aka Pantone 17-3938, a brand-new shade that's been described as "a dynamic periwinkle blue hue with a vivifying violet red undertone". Pantone is never short on words for its picks of the year, and has also dubbed this purplish blue as "inquisitive and intriguing" and "displaying a carefree confidence and a daring curiosity that animates our creative spirit". Very Peri is meant to represent transformation, too, as well as the fusion of the physical world and the digital space — all concepts very relevant to forging onwards during the pandemic. Pantone Colour Institute Executive Director Leatrice Eiseman also called it "a spritely, joyous attitude and dynamic presence that encourages courageous creativity and imaginative expression." Introducing the Pantone Color of the Year 2022, PANTONE 17-3938 Very Peri, a dynamic periwinkle blue hue with a vivifying violet red undertone blends the faithfulness and constancy of blue with the energy and excitement of red. Learn more: https://t.co/eNIwkTq2K8 pic.twitter.com/hBfiDusFKU — PANTONE (@pantone) December 9, 2021 Explaining the decision to come up with a new colour, rather than hone in on an existing one, Pantone Colour Institute Vice President Laurie Pressman said that "the Pantone Colour of the Year reflects what is taking place in our global culture, expressing what people are looking for that colour can hope to answer." She continued: "creating a new colour for the first time in the history of our Pantone Colour of the Year educational colour program reflects the global innovation and transformation taking place. As society continues to recognise colour as a critical form of communication, and a way to express and affect ideas and emotions and engage and connect, the complexity of this new red violet infused blue hue highlights the expansive possibilities that lay before us." Expect to see all things Very Peri popping up around the place when the new year hits, with Pantone suggesting how they can be used in fashion and accessories, home decor, design and beauty, too. The new shade takes over from 2021's two colours of the year, Ultimate Gray (Pantone 17-5104) and the vibrant yellow Illuminating (13-0647). The year before, Pantone went with Classic Blue, while 2019's colour was Living Coral, 2018's was Ultra Violet and 2017's was Greenery. To find out more about Very Peri — and to check out all the previous Colours of the Year — head to the Pantone website.
Sometimes one pizza isn't enough. Sometimes your stomach is a ravenous bottomless pit. Sometimes you need all-you-can-eat. Luckily, Sydney is not lacking in this department — there are restaurants offering all-you-can-eat sushi, pizza and pasta every day of the week. And we've wrapped up our favourites, so you can satisfy your insatiable cravings, no matter what day it is.
Good weather and good vibes are on the way, which means the adventure lovers are gearing up for sunshine escapades. If your gear is in dire need of a revamp, iconic sustainable lifestyle brand frank green is here with the solution of three prize packs now up for grabs. frank green aims to end single-use plastic waste by crafting stylish and functional solutions that are built to last. Each of the lucky winners will score two Ceramic Reusable Bottles (grip finish) with Grip Lids, two 3-in-1 Insulated Drink Holders and two Stainless Steel Bowls with Glass Lids. The one-litre Ceramic Reusable Bottle is made for adventures — in the wild and in the city — and for this prize pack, it comes with the newly launched easy-to-grab Grip Lid, which is compatible with all frank green cups and bottles. The bottles also have a durable powder coat for added grip — so no bottles slipping from sweaty hands here. If you want your cold drinks to stay cool or hot drinks to stay hot, the bottles are triple wall vacuum insulated to retain temperature. Plus, because the bottles have a ceramic lining inside, they don't take on any of the flavours of your beverages, whether it's tea, coffee, infused water or anything else. The 3-in-1 Insulated Drink Holder keeps your bevvy ice-cold for longer. You can use it as a stubby holder or a tumbler, or add the included splash-proof lid and stainless steel straw to use it as a next-level cold-brew cup while you are road-tripping to your next adventure. Keep yourself nourished on your adventures, and pack snacks or meals in plastic-free, reusable Stainless Steel Bowls with Glass Lid. They are airtight with a soft-touch silicone seal and lightweight enough to pack in your day pack or to use as your daily lunchbox — to the envy of the office. So, if you and a mate or your partner are keen on adventuring this summer, fill out the form below to be in with a shot of upgrading your gear. [competition]917837[/competition]
In the US, The Bear releases each summer. When winter comes Down Under, however, so does another chance to feast on one of TV's best current series. The above was true in 2022, when the Jeremy Allen White (The Iron Claw)-, Ayo Edebiri (Inside Out 2)- and Ebon Moss-Bachrach (Hold Your Breath)-led show premiered. It remained the case in 2023 and 2024 as well. 2025 is continuing the trend, with The Bear locked in for a June release. The date in America: Wednesday, June 25, 2025, which makes it Thursday, June 26, 2025 in Australia and New Zealand. As in past years, The Bear will be available for binge-viewing ASAP, dropping its entire season — ten episodes this time — in one hefty helping to continue streaming's tastiest southern-hemisphere winter tradition. Season four of the series has been in locked in since before season three even aired, and will continue to chart what happens when a sandwich diner levels up in a big way, becoming a fine-diner that's angling for a spot among Chicago's very best restaurants. So far in the show's narrative, White's Carmy, Edebiri's Sydney, Moss-Bachrach's Richie and their friends and colleagues initially focused on getting their beef-slinging eatery (where season one's action took place) running smoothly, then switched their attention to transforming the site into an upscale fine-diner (with that process fuelling season two) and ensuring that, too, worked as it should (as seen in season three). If you need more details about The Bear to date, its debut season jumped into the mayhem when Carmy took over the diner after his brother's (Jon Bernthal, The Accountant 2) death. Before returning home, the chef's resume featured Noma and The French Laundry, as well as awards and acclaim. Then, in season two and three, Carmy worked to turn the space into an upmarket addition to his hometown's dining scene, with help from the restaurant's trusty team — including a roster of talent also spans Abby Elliott (Cheaper by the Dozen) as Carmy's sister Natalie, aka Sugar, plus Lionel Boyce (Shell), Liza Colón-Zayas (Cat Person), Edwin Lee Gibson (Unprisoned) and IRL chef Matty Matheson among the other staff. Season four will throw new challenges at The Bear crew, continuing to raise that perennial question along the way: what should you cling to when you're chasing greatness, and in life in general? Also popping up in the series so far: everyone from Jamie Lee Curtis (The Last Showgirl), Molly Gordon (Theatre Camp), Will Poulter (Warfare), Olivia Colman (Paddington in Peru) and Bob Odenkirk (Lucky Hank) to John Mulaney (Poker Face), Joel McHale (Yellowjackets), John Cena (Jackpot!), Josh Hartnett (Trap) and Noma's René Redzepi. There's no trailer yet for The Bear season four, but check out the trailers for seasons one, two and three below: The Bear season four will stream via Disney+ in Australia from Thursday, June 26, 2025. Read our reviews of seasons one, two and three. Via Variety. Images: FX / Disney+.
When Josh and Julie Niland announced in 2024 that they're launching their debut Queensland restaurant this year, with Hamilton Island their destination, it was huge news. As the venue gets closer to welcoming patrons in the door — from Thursday, April 24, in fact — it remains one of the big culinary openings of 2025. You'll find the pair's first Sunshine State eatery at The Sundays, a brand-new hotel that's launching on the same date. But Catseye Pool Club, as the Nilands' venture is called, stands out from the pair's other restaurants. There's the location, of course — and eating here does indeed mean dining at an oceanfront spot in The Whitsundays. Then there's the fact that Catseye Pool Club isn't a seafood joint. Whenever Josh and Julie's names come up, it's usually in the same breath as their preferred form of protein. Acclaimed Sydney restaurants, award-winning cookbooks, global kudos, a sustainable seafood restaurant in Singapore: championing a fin-to-tail approach to the ocean's finest, their footprint spans all of the above. Whole-fish cookery remains a feature at Catseye Pool Club, though, but it's just one part of the menu. The plan is to hero Australian ingredients and celebrate shared dining, with dishes designed to be tucked into communally. Taking your time in the sun, making the most of the fact that you're on an island and relaxing in general are also key aspects of the vibe — and the pool club part of the restaurant's name says plenty. Yes, it the eatery is by the pool, too, so you'll be peering at water from multiple sources. "Whilst 'family-style' or 'share-style' dining is very much a way restaurants have operated for many years, the Catseye Pool Club approaches its menu with each item very much designed to be enjoyed as a whole table, with all the trimmings coming with each dish," explains Josh. "The menu is still undergoing final deliberation, but guests can expect beautiful fresh pastries made by the team, 'CPC' spanner crab royale, and coconut and verjuice honey bircher." The Nilands have released a sample menu, to give a further idea of the types of dishes that might be on offer. Think: eastern rock lobster with white bread rolls and tarragon mayonnaise; roasted chicken for two and four, paired with slow-cooked zucchini, chicken-fat roast potatoes, and tomato and grilled bread salad; grass-fed beef rib eye for four, accompanied by boiled greens and house fries; hard line-caught coral trout in salt pastry, again for four; and a neapolitan sundae for dessert. Catseye Pool Club will also serve up breakfast just for hotel guests — and you'll be able to enjoy its range of meals if you're hanging out by the pool rather than sitting at a table. "It's about creating an atmosphere where everyone can detach, unplug and simply enjoy being together. We will also extend our hospitality offering to the guest's pool and sun loungers, with a Queensland ingredient-focused cocktail menu curated by Sam Cocks, the Saint Peter Bar Director," explains Josh. While The Sundays is a luxury boutique hotel, being family friendly is part of the point of difference for the 59-room venue at Catseye Beach's northern end. That mindset applies to the new restaurant, too, with catering to family holidays a guiding principle. At a hotel run by Hamilton Island Enterprises, which is also behind qualia, guests can also look forward to that oceanfront swimming pool surrounded by private cabanas, alongside a pickleball court and tropical gardens. Room options include balcony and terrace, plus interconnecting family rooms, all decked out in calming hues. Find Catseye Pool Club at The Sundays, Catseye Beach, Hamilton Island, from Thursday, April 24, 2025. Head to the hotel's website for more details in the interim. Images: Hamilton Island Photography, Sharyn Cairns, Adam Rikys, Nick Leary.
It's no secret that most new year's resolutions fall by the wayside by mid-January. But there's one goal that's worthy of a year-round effort — and that's to cut back on meat. It's well documented that eating less meat is good for the environment, so that should probably be reason enough for most of us to introduce more plant-based meals into our lives. But the truth is that most of us need a couple of selfish incentives to really get the ball rolling — thankfully, vegetarian options have plenty of those, too. Firstly, plant-based meals are just as tasty as their meat-laden siblings (we promise), but they're also often a bit cheaper and, anecdotally speaking, fill you up without giving you that too-full bloat we know all too well. To get the creative juices flowing, we've teamed up with Yumi's to put together a list of cracking plant-based dinner ideas that you can easily whip up mid-week, or as a weekend feast with friends. [caption id="attachment_817040" align="alignnone" width="1920"] Melanie Dompierre (Pexels)[/caption] EGGPLANT PARM Heading to the pub for a parmi or parma (depending on where you are, of course) is one of life's little joys, but did you know you can make an eggplant version at home that pretty well involves the same ingredients you know and love in the pub staple (minus the chicken) but stays true to its Italian roots? Essentially a layered Italian bake (picture a lasagne without the heavy lifting), an eggplant parm sees slices of grilled eggplant sandwich a fresh tomato pasta sauce and finely-grated parmesan, and is topped with mozzarella and pangrattato to add some crispiness. Alternatively, you could even try this fun mushroom-based parm for something a little different. Of course, if you want to go vegan then you simply need to switch to a dairy-free cheese alternative — vegan parmesan definitely stacks up against the real deal. [caption id="attachment_817045" align="alignnone" width="1920"] Alesia Kozik (Pexels)[/caption] SOUTHERN-STYLE CAULIFLOWER Cauliflower is a perfect gateway for any person considering a plant-based lifestyle. Its ability to soak up flavours and maintain its structural integrity during the cooking process makes it a no-brainer when making vegetarian versions of fan favourites, including Southern-style wings. You have a couple of options when making cauliflower 'wings' and your decision will largely depend on how much effort you're willing to put in. If you've got some time or are cooking up a feast for your mates, then whipping up a sweet and smoky marinade to mimic a buffalo wing is a great shout. For a simpler take, these sriracha-spiced spiced cauliflower bites are ideal, and can be eaten for lunch the next day on a sandwich, salad or even as a taco. [caption id="attachment_817052" align="alignnone" width="1920"] Ketut Subiyanto (Pexels)[/caption] MUSHROOM BOLOGNESE Did you grow up with a weekly spag bol night? We all love mum's (mom's?) spaghetti, but just because you're going meat-free you don't need to miss out. Adapting your bolognese to be vegetarian every once in a while is perhaps one of the easiest and most satisfying meat-to-vegetable swaps you could make. The combination of the meaty mushrooms and fragrant herbs sitting pretty on a pile of comforting spaghetti will always be a thing of pure joy. Of course, it's going to taste a little bit different when you swap meat for lentils and mushrooms (so you can't trick your mates into thinking they're eating meat) but at its heart, this version is just as delicious and warming a dinner. FALAFEL BOWL Gone are the days of having to hunt down falafels from a specialty store (or even making your own) — Yumi's are serving up a great range of ready-to-eat falafels, which you can find in all major supermarkets. Falafel bowls are the probably simplest plant-based meal to prepare, and a great jumping-off point if you're new to the meat-free world. Simply fill a bowl with all of your favourite salad ingredients (fresh herbs, tomato, cucumber and olives, for example) and top with falafels, which are best enjoyed after a 30-second zap in the microwave. We also highly suggest you mix through a generous dollop of Yumi's Classic Hommus or flavoured dip to amp up your dressing. After something a little more indulgent? Trade the HSP for an FSP — a smashed falafel snack pack that will satisfy at any time of the day. [caption id="attachment_817058" align="aligncenter" width="1920"] Alesia Kozik (Pexels)[/caption] CHICKPEA AND TEMPEH CURRY A curry is perhaps the quintessential winter dinner. Not only are they often nice and spicy, but they're also loaded with flavour and warm you from the inside out. Choosing a curry that combines filling vegetarian ingredients like protein-rich chickpeas and tempeh with a flavoursome sauce is the key to creating a satisfying dinner you'll want to make again and again. For the uninitiated, tempeh is similar to tofu in the sense that it's made from soybeans, but unlike tofu, it's much firmer and is made from fermented soybeans. The firmness and nuttier flavour are what makes tempeh ideal for curries because it won't disintegrate into mush when you cook it in the sauce, and. You can grab it at your local supermarket and simply cut it into cubes before adding it to your favourite curry recipe. JACKFRUIT TACOS The best gotcha in the vegan world is making jackfruit tacos for a friend who vehemently believes a meal isn't a meal unless there's a truck-tonne of meat. From the same family as the fig tree, jackfruit is native to the Western Ghats of southern India, Sri Lanka and the rainforests of Malaysia, so it's fairly common in these nations' cuisines. Arguably the best way to trick your friends into thinking they're eating pulled pork, though, is to whip up a batch of jackfruit tacos. You'll struggle to come by a jackfruit in the produce section of your supermarket, but you'll definitely find canned unripe, green or young jackfruit in the canned vegetable section, and it works best for this recipe anyway. The main difference between preparing jackfruit (versus pork) is that you drain the can and shred it prior to cooking it in your sauce. If you find any large, woody chunks, simply chop these up before cooking. For more meat-free dinner inspiration, check out the full range of Yumi's falafels, veggie bites and dips.
Good news hasn't been easy to find among Australia's music festival scene in 2024, but Strawberry Fields is bucking the trend. The annual fest on the banks of the Murray River is only just dropping its lineup now, on Monday, July 8, but it's already almost at ticketing capacity. Some events are all about who's taking to the stage. Some boast a setup and setting worth spending a weekend in no matter which acts are on the bill. Strawberry Fields doesn't skimp on talent, of course, but its location is a hefty drawcard all by itself. That spot: Tocumwal in New South Wales, where the regional weekend-long party sports not just multiple stages pumping out tunes in leafy surroundings, but also a bush spa. Having a soak between sets is worth entry alone. So far, 95 percent of Strawberry Fields' tickets have been snapped up — a huge feat that was achieved in a mere three hours — but more are going on sale from 9am on Tuesday, July 9. If you're lucky enough to secure your attendance from now, you won't be locking in a music-fuelled getaway across Friday, November 15–Sunday, November 17 sans lineup. The just-unveiled roster of acts is massive, including DJ EZ, KiNK, Daddy G from Massive Attack and Seun Keuti & Egypt 80 just for starters. Some will make the Wildlands stage their temporary home, such as Sam Alfred, SWIM, DJ Theo Parrish and DJ TSHA among the other names. Others, like Jaubi, KOKOKO! and Soichi Terada, will hit up The Grove stage. The Deep Jungle stage will welcome Circle of Live's Australian debut, plus DJ Paula Tape, Sébastien Léger and Township Rebellion. And over at expanded The Beach stage for 2024, which will indeed get you making shapes while in the river, Physical Therapy leads the charge. Also, a showcase from Japan's underground scene is sure to be a highlight. Beyond the tunes, a new amphitheatre is part of this year's fest, focusing on performance art, lifestyle and chilling out; the bush spa now boasts a sauna; and a special projection art installation will pay tribute to Nick Azidis. Also, the Moroccan Bedouin lounges and tea ceremonies will be running in the festival's Mirage Motel space again, plus the glamping options are back to make your weekend as lavish and as low-maintenance as possible. For another year, if you happen to be born on this year's festival dates, you can register to score a free ticket. Happy birthday to you indeed. Tickets for locals come at a discount, too, costing half the regular price if your postcode is in the Berrigan Shire. In addition to all of the above, Strawberry Fields lays claim to being one of the country's most-sustainable festivals, doing the environment a solid while unfurling its fun. It is powered by biodiesel fuel as well as solar power, its rewash revolution system has diverted over 200,000 single-use plastics from landfill, composting toilets are provided and all transport is carbon offset via Treecreds. Strawberry Fields 2024 Lineup: DJ Afrodisiac Aldonna Babycino Bertie Byron Yeates College of Knowledge DJs Daddy G (Massive Attack) x Don Letts Dameeeela DJ EZ DJ Pgz featuring Ecstatic Mob Dr Banana Ed Kent Emmyk & Tilly Hiroko Yamamura Jordan Brando B2B Luke Alessi Kia Kim Ann Foxmann Laura King Livwutang Lovefoxy Marie Montexier Mikalah Watego Minyerra Mothafunk Naycab Niks Nooriyah Paula Tape Physical Therapy Pnny Poli Pearl Rainbow Disco Club featuring Kikiorix, Sisi, Kuniyuki (live) Rona. B2B Dima Sam Alfred Sébastien Léger Simona Castricum Sky High Trio Soul Clap Stev Zar Suze Ijó SWIM Theo Parrish Township Rebellion TSHA U.R.Trax Vanna Zjoso Live Alisa Mitchell Cinta Circle of Live featuring Kuniyuki, Sebastian Mullaert and Sleep D Evening News Harvey Sutherland Immy Owusu Jaubi Jupita Kaiit Karo X Kee'ahn KiNK Kobie Dee Kokoko! Mandeng Groove Mildlife Miss Kaninna Pataphysics Sachém Sarita Mcharg Seun Kuti & Egypt 80 Sinj Clarke Soichi Terada Tarabeat x Mz Rizk Versace Boys Viken Armen Wulumbarra Xmunashe Zfex & Ausecuma Beats Zourouna [caption id="attachment_887378" align="alignnone" width="1920"] Will Hamilton-Coates[/caption] [caption id="attachment_887377" align="alignnone" width="1920"] Will Hamilton-Coates[/caption] Strawberry Fields 2024 will take place at Tocumwal, New South Wales, from Friday, November 15–Sunday, November 17. The final release of tickets go on sale at 9am on Tuesday, July 9. Head to the festival website for further details. Strawberry Fields images: Duncographic.
The zombie apocalypse has evolved. When just 28 days had passed, survivors faced a nightmare. Little had improved when 28 weeks had gone by. Now, following 28 years of chaos, Jodie Comer (The Bikeriders), Aaron Taylor-Johnson (The Fall Guy), Ralph Fiennes (The Wonderful Story of Henry Sugar), Jack O'Connell (Back to Black) and Alfie Williams (His Dark Materials) are dealing with the aftermath of a society ravaged by a horrific infection for decades. Yes, the trailer for the aptly named 28 Years Later is here. Although 2030 will mark 28 years since viewers were treated to one of the best zombie movies ever, aka 28 Days Later from filmmaker Danny Boyle (Yesterday), you'll be watching a new flick from Boyle in the same franchise in 2025. First confirmed at the beginning of 2024, the movie has dropped its first full sneak peek to help close out the year — complete with Teletubbies, towers of skulls and bones, a possibly familiar-looking zombie, and the grim reality after days became weeks and then years of coping with the new status quo. 28 Days Later has already spawned one follow-up thanks to 2007's 28 Weeks Later, but Boyle didn't direct it. Screenwriter Alex Garland, who also penned Sunshine for Boyle, then hopped behind the camera himself with Ex Machina, Annihilation, Men, Civil War and TV series Devs, wasn't involved with 28 Weeks Later, either. But they're both onboard for the third film in the series, which is the start of a new trilogy. The saga's fourth feature 28 Years Later Part II: The Bone Temple has already been shot, in fact, with Candyman and The Marvels' Nia DaCosta directing. The setup this time around: almost three decades after the rage virus initially seeped through humanity after escaping from a biological weapons laboratory, some survivors have etched out a life on a small island. Elsewhere, quarantine remains a key way of tackling the infection. With that starting point — and with unease dripping through the first trailer, complete with stunning imagery — expect Boyle and Garland to dig into the terrors that linger when two of the island's residents venture over to the mainland. With 28 Days Later among the movies that helped bring Oppenheimer Oscar-winner Cillian Murphy to fame, the actor is an executive producer on 28 Years Later. That mightn't be all that's in store for him, though, if you pay close attention to the trailer. In the original film, he played Jim, a bicycle courier who wakes up from a coma in a deserted hospital 28 days after an outbreak changed the world forever. Marking Boyle and Garland's first proper collaboration after Boyle adapted Garland's best-selling novel The Beach for the big screen two years prior, 28 Days Later still ranks among the best work on either's resume — and on Murphy's as well, even if it didn't win him any of Hollywood's top shiny trophies. Set in the aftermath of the accidental release of a highly contagious virus, the film's images of a desolated London instantly became iconic, but this is a top-notch movie on every level. That includes its performances, with then-unknowns Murphy and Naomie Harris (the Bond franchise's current Moneypenny) finding the balance between demonstrating their characters' fierce survival instincts and their inherent vulnerability. If you wondering why 28 Months Later wasn't made, it was talked about for years, but the time has now passed unless the new trilogy includes a flick set between 28 Weeks Later and 28 Years Later. Check out the first trailer for 28 Years Later below: 28 Years Later releases in cinemas Down Under on Thursday, June 19, 2025.
Celine Song understands the power of a moment. Past Lives, her debut feature, is filled with scenes and meetings — minutes and mere seconds, too — that are so potent they're almost overwhelming. Making the leap to cinema from the stage, the playwright-turned-filmmaker has crafted a quiet, patient, contemplative and deeply felt romantic drama that knows intimately how emotions can swell to bursting point in something as simple and commonplace as a glance, walk, Skype call or drink at a bar. One of the movies that had 2023's Sundance Film Festival talking, plus everywhere from Berlin to Sydney to New Zealand since — and is destined to be showered in awards love, too — Past Lives is well-aware of what it's like to spend oh-so-many moments wondering what could've been or still might, and about what's meant to. Arriving after focusing on the stage, getting experimental with Chekhov live and online with The Seagull on The Sims 4 and writing for the initial season of streaming series The Wheel of Time, Song's first effort as a filmmaker springs from a specific moment, in fact — and one that she also recreates on-screen with her characters Nora (Greta Lee, Russian Doll), Hae Sung (Teo Yoo, Decision to Leave) and Arthur (John Magaro, The Many Saints of Newark). Past Lives takes inspiration from the writer/director's own experiences in a number of ways. "I would say it's an adaptation of my life, or inspired by," she tells Concrete Playground. It was the power of a moment sat in a New York bar with her American husband and Korean childhood sweetheart, however, that helped put the picture in motion. "I wasn't sure if there was a movie in it, but I think that what I really did feel is that it did feel like a significant and special moment, and a very revelatory moment in my own life," Song shares, chatting in August when she was in Australia for the Melbourne International Film Festival. "I feel like living your life as an ordinary person, I think that there are moments in your life where your life suddenly feels completely extraordinary — and it's totally epic, too. Then you just suddenly feel the total sheer scale of your life expand." "That kind of was this weird moment where I was like 'huh, nobody in this bar probably knows this or feels this, but I think that I just am feeling so massive sitting here in this little bar with these two people'," Song continues. "I think that it made me feel like 'maybe this is something that might connect with other people?'. And then, more and more, I learned that it does connect with a lot of people, and that honestly has made me feel less lonely more than anything." Past Lives begins with Nora, Hae Sung and Arthur sipping and chatting as fellow bar patrons observe, guessing about who the trio are to each other. From the outset, the film connects with that powerful moment in Song's own existence, with the three figures that'll wander through her feature's frames coping with love and life, and with viewers doing their own watching and pondering as well. From there, the movie heads backwards, first to Nora (Moon Seung-ah, Voice of Silence) and Hae Sung's (Leem Seung-min, Good Deal) time together as pre-teens, before the former and her family move to Canada. Then, it jumps forward twice in 12-year increments, checking in wth the pair — and Arthur once he enters Nora's life — as time passes on and distance stretches their youthful bond. As this tender and heartbreakingly honest picture unfurls, Past Lives' audience doesn't just experience an affinity with folks realising that they're having a moment, but with the "what if?" questions in life, being torn between the past and the present, and trying to work out who you truly are. With its title drawn from the Korean concept of in-yeon, aka the fate that connects anyone who crosses paths, Past Lives' viewers feel a date with destiny as well. Getting swept away by Past Lives is easy; making it play that way wasn't, of course. Song chatted us through the details, including subjectivity, authenticity, getting the personal to feel personal to everyone else, and the ins and outs of casting when you're taking cues from your own life. ON MAKING SONG'S FIRST FEATURE "I wish that I could give you some a lofty thing that I was trying to do. But honestly, I think because it was my first movie, it was just getting through the day and getting a movie made more than anything. I think that every day, the number-one goal that you're facing is just 'okay, how do I make this movie — how do I get through today, and get the footage and get the performances I need?'. That really was the primary drive. I wish I had big, lofty dreams for things, but it was so much more like I was like learning how to do it as I go because it was my first movie. That really was so fully occupying me that it was hard actually for me to feel like I could have any goals beyond making the movie." ON TAKING INSPIRATION FROM REALITY, AND FROM SONG'S OWN STORY "It really does start from that amazing subjective place — that is the part that is the autobiographical moment, which is that moment in the bar. But then, of course, in turning it into a script there is an objectification of the subjective moment, where it becomes a script that you're writing. And then from there, there's another layer of objectification, where you, with hundreds of people who are working on the movie, turn it into a film — which is then a whole other set of objectification. And, part of it is the subjectivity of the actors, for example: they come into the picture and you're working with the actors to create these characters. So, by the time that I was making the movie properly and then finishing the movie and all that, I really was looking at the thing as making this movie. I think that at that point I felt pretty distant from the aspects of the movie that were that started from an autobiographical place. But now that what I really love is it's kind of full circle now — the audience is coming to meet this movie, and they're actually then able to experience it subjectively. They feel like it connects with them autobiographically on their own, too. I think that's the process of making personal work, and I think that's really what the process was for this. I really do think of it as a very personal film because of that. And the words I would usually use, I would say it's an adaptation of my life, or inspired by, or something like that." ON MAKING A PERSONAL FILM THAT FEELS PERSONAL TO AUDIENCES, TOO "That's always the dream and goal for it, because I feel like I have to believe that if I'm being as honest and authentic with the experience of what it's like to be a person, I just know that there is an audience that's going to also connect to it like that. I've really treated it very much as a test of how real can I be with the audience, and how real can the filmmaking be. Of course, I'm talking about the truth of the thing, rather than the facts, because some of it is about the truth of what it's like to be a person. As long as it is communicated in the best way, as clearly as possible — I think I used the word 'clearly' often, as you want to be able to tell the story as clearly as possible — at the end of it you really do want the audience to come along for this journey. And even though it's really specific, I think that the dream is that you're able to see yourself in it and you're able to connect it to your own life. This movie doesn't have conventional ideas of spectacle. We don't have wild costumes. We don't have VFX. We don't do anything that is outside of what is likened to human experience. So I think some of it just had to be relying on the authenticity of performance, and that's where the story is going to be. That's how the story was going to connect with the audience — they're going to feel how real the movie is going to be, the way that the movie is going to reach everyone. I've been finding that no matter what walk of life you come from, you're going find something in the movie that you feel connected to." ON MAKING AN AUTHENTIC "WHAT IF?" STORY WHEN EVERYONE SHARES THAT TRAIN OF THOUGHT "That really is the the part that is difficult about making a movie where you can really feel connected to it. It's going to live and die on if the audience will come along for the journey and believe it, and believe the characters and believe the story. I think without question, that's where you're going to be able to see very, very high emotional standards. We do, of course, all experience 'what could have been?'. Sometimes it's the person, but sometimes it's a city — and sometimes it's a lifestyle or a job. If you ever have had an experience like that, I think you're going to connect to the movie." ON THE INTRICACIES OF CASTING WHEN YOU'RE TAKING CUES FROM YOUR OWN LIFE "I don't think that I was looking for actors who were going to play basically those people [IRL]. I was looking for people who were going to play the characters that I've written. So something that I wanted is to make sure that none the actors thought that what they were trying to do is to replicate people who exist. I wanted then to come with me in finding the characters that we're trying to to pick for the screen, because it's a completely different thing altogether — characters in movies are very different than people in real life. People in real life, it's not so clear what their arc is. In our lives, I don't think that we know what our arc is in our real life, because we don't live in narrative. We live in a life, compared to characters in a film who have to live in a narrative, because that's what we're going to be watching. Without question, the actors were not being asked to replicate real people. What they were being asked to do is the scenes, and part of the thing that I was looking for in the actors is, first of all, are they great actors? The way that I wanted to make the movie, sometimes I would ask the actors to just do the whole scene — which is, of course, something that comes from my background as a playwright — and I really wanted them to be able to do the whole scene if I asked them to. That's something that only actors that are really excellent actors are able to do. So, that was the first thing that I was looking for. The other thing I'm looking for is what I would call a soul match to the characters, where I really wanted the actors to have some deep kind of soul connection to the characters — it has to do with the way they're talking about the characters, but it's also, more importantly, the engine or the fire that a character has to have. It is something that the actors themselves could have — that the heart of Nora is going to be found in Greta's heart as well. I think you could really feel that in the film, where Nora is showing up but it's not just that Greta is playing Nora. I know that for the film, the only way that this movie can work is that Greta had become Nora. That's what's both amazing about casting and also what's very difficult." ON THE RESPONSE TO PAST LIVES SO FAR — AND THE SUNDANCE EXPERIENCE "You just hope for the best for the movie that you're making kind of in secret. I really did think about it as something that was a bit of a secret between me and everybody who was working on the movie. Then, as for how the world was going to receive it, that's been an amazing part — it's just nothing but joy and like excitement. I remember at Sundance, I'd been working on the movie again in secret with the people who worked on the movie with me for many years. Then I remember waiting at the backstage of Sundance, knowing that it's going to be in the in the public's hands from this moment on. I remember really feeling in that moment like everything's going to change, and this is going to be a moment where I'm going to have to let go of control or let go of everything. It really was like wandering into the unknown. I think that every time that there has been such a warm response, which is how it been, it's just such an exciting thing — because great word of mouth means that more people are going to come see the movie, and I think that's always the dream for it. You want to be able to share this thing that you made." Past Lives opened in cinemas Down Under on August 31. Read our review. Images: courtesy of A24.
What does Brisbane have in common with music superstars Beyoncé, Björk, Lady Gaga and Rihanna, and also Oscar-winners Cate Blanchett and Tilda Swinton? An appreciation for fashion designer Iris van Herpen. The avant-garde Dutch talent has dressed them all, including creating the breathtaking Heliosphere dress that proved a showstopper on Beyoncé's Renaissance tour. The latter gigs haven't made it Down Under, but the Australian-exclusive Sculpting the Senses exhibition at the Queensland capital's Gallery of Modern Art will take you into the world of the haute couture figure who played a part in it. Fashion lovers have until Monday, October 7, 2024 to explore one of GOMA's big showcases for 2024, which continues to plunge the South Brisbane site into an enchanting and ethereal realm after Fairy Tales, its huge summer exhibition, did the same. Pieces by van Herpen can't be mistaken for designs by anyone else, sitting at the intersection of couture, art and design, while also exploring technological advancements such as 3D printing. In that field, she's widely considered the first to make a garment this way. [caption id="attachment_966401" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including Fractal Flows dress, from the 'Sensory Seas' collection 2020 by Iris van Herpen with collaborator Perry Hall; and Cosmica gown, from the 'Shift Souls' collection 2019 by Iris van Herpen with collaborator Kim Keever / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.[/caption] From gowns to accessories, a massive 130 of van Herpen's pieces are now on display in the River City. Across nine chapters — some nodding to the dreamlike sheen that accompanies the designer's pieces, others focusing on skeletal structures, inspirations, and how the sea and the cosmos are an influence — Iris van Herpen: Sculpting the Senses steps through the work of a creative who boasts stints alongside Alexander McQueen and Claudy Jongstra on her resume. It was almost two decades back, in 2007, that the Maison Iris van Herpen came to life in Amsterdam. Evoking her studio, complete with a cabinet of curiosities, is also part of GOMA's celebration. In this section of the exhibition, attendees will also see a space dedicated to fashion shows and unpack the various development stages of a dress. Hitting Brisbane after a run in Paris, co-organised by the Musée des Arts Décoratifs, and boasting the organisation's Dr Cloé Pitiot and Louise Curtis on curatorial duties alongside QAGOMA's Nina Miall and Jacinta Giles, Iris van Herpen: Sculpting the Senses takes its name seriously. This is a feast for the eyes, clearly, but also comes paired with a soundscape by Dutch sound artist Salvador Breed — not just a collaborator of van Herpen's, but her partner — to enhance the experience. [caption id="attachment_966406" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' at the Gallery of Modern Art, Brisbane / Photograph: C Callistemon © QAGOMA[/caption] Among the specific fashion gems featured, the exhibition draws from 2010's water-themed 'Crystallization' collection, which took its cues from water being splashed at models; 2020's 'Sensory Seas', with hydrozoa such as the bluebottle an influence; and 2012's 'Micro' and 'Hybrid Holism', each teeming with microscopic detail that mimics the natural world — just for starters. Elsewhere, van Herpen's designs use X-rays, MRIs, neuroscience, mythology, alchemy, biotech, NASA's James Webb space telescope and more as guides. In one clear highlight, 2019's cape-slash-dress Hypnosis, she deploys a kaleidoscopic pattern in inky black to touch upon the mind's movement between the conscious and unconscious — and, in the process, also fashions up an optical illusion. [caption id="attachment_966399" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including Iris van Herpen / Netherlands b.1984 / Philip Beesely (Collaborator) / Canada b.1956. Hypnosis cape-dress, from the 'Hypnosis' collection 2019 / Laser-cut duchesse satin, mylar, tulle. Radiography dress, from the 'Magnetic Motion' collection 2014 / Laser-cut and thermally expanded PETG, silicone, microfibre. Iris van Herpen / Netherlands b.1984 / Shift Souls dress, from the 'Shift Souls' collection 2019 / Laser-cut Komon Koubou, silk organza, mylar. Courtesy: Iris van Herpen atelier / © Iris van Herpen / Photograph: C Callistemon © QAGOMA[/caption] Visitors will equally spy a range of complementary pieces surrounding van Herpen's designs, weaving in Yayoi Kusama, Cai Guo-Qiang, Japanese art collective Mé and Kohei Nawa, for instance. Megan Cope, Philip Beesley, Anne Noble, Damien Jalet, Casey Curran, Rogan Brown, Ren Ri and Courtney Mattison also have works in Iris van Herpen: Sculpting the Senses, as does the Living Architecture Systems Group. Natural history objects add yet another layer. The dramatic staging, especially when van Herpen's work is set against a black background, achieves the same. Similarly featuring: installations, videos and photographs. Designs by van Herpen are unsurprisingly no stranger to galleries and museums, with New York's Metropolitan Museum of Art, Paris' Palais Galliera and Melbourne's National Gallery of Victoria among the institutions to include her work in their collections. [caption id="attachment_966414" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses'. (l) Iris van Herpen / Netherlands b.1984 / Shelee Carruthers (Collaborator) / Australia b.1977 / Hydrozoa dress, from the 'Sensory Seas' collection 2020 / PETG, glass organza. (r) Iris van Herpen / Netherlands b.1984 / Hydromedusa dress, from the 'Sensory Seas' collection 2020 / Printed organza, laser-cut Komon Koubou, mylar, tulle. Courtesy: Iris van Herpen atelier / © Iris van Herpen / Photograph: C Callistemon © QAGOMA[/caption] [caption id="attachment_966412" align="alignnone" width="1917"] Installation view of the Cabinet of Curiosities in 'Iris van Herpen: Sculpting the Senses', Gallery of Modern Art, Brisbane / © Iris van Herpen / Photograph: J Ruckli © QAGOMA.[/caption] [caption id="attachment_966409" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including: Tim Walker (Photographer) / United Kingdom b.1970 / Iris van Herpen (Designer) / Netherlands b.1984 / David Altmejd (Sculptor) / Canada b.1974 / Duckie Thot (Model) / Australia b.1995 / Kiki Willems (Model) / Netherlands b.1996 / Fashion: Iris van Herpen 2018 / Exhibition print / Courtesy: Tim Walker Studio. Kohei Nawa / Japan b.197 / PixCell-Double Deer #4 2010 / Mixed media / Purchased 2010 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through the Queensland Art Gallery Foundation. Iris van Herpen / Netherlands b.1984 / Airborne dress, from the 'Aeriform' collection 2017 / Laser-cut crepe, mylar, tulle / Courtesy: Iris van Herpen atelier. © The artists / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966411" align="alignnone" width="1917"] Iris van Herpen: Runway films 2017-23 (installation view, 'Iris van Herpen: Sculpting the Senses') / Video, colour, sound, 57:51 minutes (total, looped) / Editor: Simona Gol / Music selection: Salvador Breed / Courtesy: Iris van Herpen Atelier / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966407" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses'. (l) Iris van Herpen / Netherlands b.1984 / Water dress, special project 2010 / Heat-moulded PETG / Collection: Groninger Museum, Netherlands / © Iris van Herpen. (r) David Spriggs / Canada b.1978 / Origins 2018 / PET film, acrylic Plexiglas, LED, acrylic paint, metal / Collection: Dr Pierre Miron / © David Spriggs. Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966405" align="alignnone" width="1917"] Haruka Kojin / Japan b.1983 / Contact Lens (installation view, 'Iris van Herpen: Sculpting the Senses') 2023 / Acrylic lenses, wire / Courtesy: The artist and SCAI THE BATHHOUSE, Tokyo / © Haruka Kojin / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966400" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including: Iris van Herpen / Netherlands b.1984 / Kim Keever (Collaborator) / United States b. 1955 / Cosmica gown, from the 'Shift Souls' collection 2019 / Organza, tulle / Iris van Herpen / Netherlands b.1984 / Azari dress, from the 'Carte Blanche' collection 2023 / Laser-cut crepe de Chine, silk organza, tulle. Courtesy: Iris van Herpen atelier / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966396" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including (l-r) Foliage dress, from the 'Ludi Naturae' collection 2018 by Iris van Herpen with collaborators Delft University of Technology and Stratasys Ltd.; Gaia gown, from the 'Roots of Rebirth' collection 2021 and Ammonite dress, from the 'Seijaku' collection 2016 both by Iris van Herpen; and Explosion Process Drawing for Dragon or Rainbow Serpent: A Myth Glorified of Feared: Project for Extraterrestrials No.28 1996 by Cai Guo-Qiang / © The artists / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966410" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including (front) Cosmica gown, from the 'Shift Souls' collection 2019 by Iris van Herpen with collaborator Kim Keever / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.[/caption] [caption id="attachment_966397" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses'. (l) Iris van Herpen / Netherlands b.1984 / Entangled Life gown, from the 'Roots of Rebirth' collection 2021 / Hand-pleated silk organza, embroider thread, tulle, wire / Worn by singer-songwriter Lorde performing at Radio City Music Hall, New York, 2022 / Courtesy: Iris van Herpen Atelier / © Iris van Herpen. (r) Yann Arthus-Bertrand (Director and photographer) / France b.1946 / Michael Pitiot (Director) / France b.1970 / Wim van Egmond (Photographer) / Netherlands b.1966 / Terra 2015 / Video, colour, Dolby Digital, 98 minutes, France, French, English subtitles / Music: Armand Amar / Voice: Vanessa Paradis / Production: Hope Production / Courtesy: Hope Production. Photograph: C Callistemon © QAGOMA[/caption] [caption id="attachment_966408" align="alignnone" width="1917"] Installation view of 'Iris van Herpen: Sculpting the Senses' including (l-r) Contact 2023 by 目[mé]; Hydrozoa dress, from the 'Sensory Seas' collection 2020 by Iris van Herpen with collaborator Shelee Carruthers; Mirror of the Mind dress, from the 'Micro' collection 2012 and Hydromedusa dress, from the 'Sensory Seas' collection 2020 both by Iris van Herpen / © The artists / Photograph: C Callistemon © QAGOMA.[/caption]Iris van Herpen: Sculpting the Senses displays at the Gallery of Modern Art, Stanley Place, South Brisbane, from Saturday, June 29–Monday, October 7, 2024 — for more information, head to the venue's website. Top images: Iris van Herpen / Netherlands b.1984 / Daniel Widrig (Collaborator) / United Kingdom b.1977 / Materialise (Collaborator) / Belguim est.1990 / Crystallization top and skirt, from the 'Capriole' collection 2011 / 3D-printed polyamide using selective laser sintering, eco-leather, cotton, nylon thread / Purchased thanks to the patronage of Doctor and Madam Léon Crivain, 2018 / Collection: Musée des Arts Décoratifs, Paris. // Courtney Mattison / United States b.1985 / Malum Geminos 2019 / Glazed stoneware and porcelain / Courtesy: The artist. // Iris van Herpen / Netherlands b.1984 / Nicholas Koscinski (Collaborator)/ United States b.1992 / Futurama gown, from the 'Meta Morphism' collection 2022 / 3D-printed Bluesint (upcycled polyamide) using selective laser sintering, silver, silk, organza, tulle / Courtesy: Iris van Herpen atelier. // © The artists / Photograph: C Callistemon © QAGOMA Installation view of 'Iris van Herpen: Sculpting the Senses' including (front l-r) Symbiotic asymmetric dress, from the 'Shift Souls' collection 2019 by Iris van Herpen; Fractal Flows dress, from the 'Sensory Seas' collection 2020 by Iris van Herpen with collaborator Perry Hall; and Cosmica gown, from the 'Shift Souls' collection 2019 by Iris van Herpen with collaborator Kim Keever / © Iris van Herpen / Photograph: C Callistemon © QAGOMA. Installation view of 'Iris van Herpen: Sculpting the Senses'. (l) Iris van Herpen / Netherlands b.1984 / Holozoic dress, from the 'Hybrid Holism' collection 2012 / Eco-leather, Swarovski crystals / Courtesy: Iris van Herpen atelier / © Iris van Herpen. (r) Tim Walker (Photographer) / United Kingdom b.1970 / Iris van Herpen (Designer) / Netherlands b.1984 / David Altmejd (Sculptor) / Canada b.1974 / Duckie Thot (Model) / Australia b.1995 / Kiki Willems (Model) / Netherlands b.1996 / Fashion: Iris van Herpen 2018 / Exhibition print / Courtesy: Tim Walker Studio / © Tim Walker. Photograph: C Callistemon © QAGOMA. Installation view of 'Iris van Herpen: Sculpting the Senses'. (l)目[mé] / Japan est.2012 / Contact 2023 / Mixed media / Courtesy: The artists. (r) Iris van Herpen / Netherlands b.1984 / Shelee Carruthers (Collaborator) / Australia b.1977 / Hydrozoa dress, from the 'Sensory Seas' collection 2020 / PETG, glass organza / Courtesy: Iris van Herpen atelier. Photograph: C Callistemon © QAGOMA. Installation view of 'Iris van Herpen: Sculpting the Senses' including (front) Cosmica gown, from the 'Shift Souls' collection 2019 by Iris van Herpen with collaborator Kim Keever / © Iris van Herpen / Photograph: C Callistemon © QAGOMA.
For everyone who has ever had a cringeworthy boss, annoying co-worker or soul-crushing office job, one sitcom franchise has understood for more than two decades now. It was back in 2001 that the original UK version of The Office arrived, introducing the world to the literally paper-pushing David Brent. And, in 2005, an American series featuring the also-awkward Michael Scott hit the small screen as well. More international takes on the show have followed, including an in-the-works Australian series that'll mark the 13th iteration beyond Britain to-date. Next, so might a big return, with the US version reportedly set to score a reboot. Might, could, apparently, rumoured, possibly, hopefully: they all fit this news, which Puck dropped in the wake of Hollywood's current writers' strike looking like it is nearing its end. "Greg Daniels is set to do a reboot of The Office," the publication noted in its wrap-up of where things stand now that the Writers Guild of America has reached a provisional deal with the Alliance of Motion Picture and Television Producers. That sentence, naming the US version of The Office's creator (who has also been behind Space Force and Upload), is all there is to go on for now; however, it hails from an outlet that's all about insider conversation in Hollywood, Silicon Valley, Wall Street and Washington. As for how a restocked take on the Dunder Mifflin-set The Office might work, who'd star, if any of the OG cast will return, if it'll still feature Scranton in Pennsylvania, how many desk supplies might get put in jelly and all the other burning questions that everyone has right now, there's no answers as yet. On its first go-around, the American The Office proved one of the rare instances where a TV remake is better than the original. It was also immensely easy to just keep rewatching, as fans have known since the 2005–13 show finished its run. Of course, that's what you get when you round up Steve Carell (Asteroid City), John Krasinski (Tom Clancy's Jack Ryan), Jenna Fischer (Splitting Up Together), Rainn Wilson (Weird: The Al Yankovic Story), Mindy Kaling (Velma), Ed Helms (Rutherford Falls), Ellie Kemper (Happiness for Beginners), Craig Robinson (Killing It) and more in the same show, and let all of them break out their comedic best. As for The Office Australia — which comes after everywhere from Canada, France and Germany to Israel, India and Poland have similarly given the idea a go — it's on its way in 2024 thanks to Prime Video. In the Aussie series, it will be Hannah Howard's turn to become the manager that no one wants but everyone has worked for. Played by actor and comedian Felicity Ward (Wakefield), she'll oversee a packaging company called Flinley Craddick. And, when she receives news that head office is shutting down her branch — with everyone working from home instead — she's determined to keep her team together. Obviously that won't go smoothly, or there'd be no sitcom antics to be had in The Office Australia. Joining Ward is a hefty cast spanning Edith Poor (The Lord of the Rings: The Rings of Power), Steen Raskopoulos (The Duchess), Shari Sebbens (Preppers), Josh Thomson (Young Rock), Jonny Brugh (What We Do in the Shadows), Pallavi Sharda (The Twelve), Susan Ling Young (Barons), Raj Labade (Back of the Net), Lucy Schmit and Firass Dirani (House Husbands). There's no sneak peek yet at whatever the US reboot of The Office pans out to be, and no trailer yet for The Office Australia, either. But, in the interim, you can check out a couple clips from the US version below: The rumoured reboot of the US version of The Office doesn't have a release date yet — we'll update you with more information when it is announced. The Office Australia will stream via Prime Video sometime in 2024 — we'll update you with an exact launch date when one is announced.
That moment when you don't know if a film franchise has become more juvenile, or whether it's you that's grown up. This was the uncomfortable experience of watching Kick-Ass 2, and after days of quiet contemplation, I've come to the conclusion: it's not me. Based on the comics by Mark Millar and brought to the screen by Matthew Vaughn (Layer Cake, Stardust), the first Kick-Ass film was a high point in the 'real superhero' wave — a funny counterpoint to the likes of Watchmen. Catching bits of it on TV recently, I thought it seemed only more razor-sharp. The new Kick-Ass 2 disappoints by pitching way too low. There is, for starters, an insane number of dick biting jokes. And it's not a running gag. It seems almost unbelievable that an objective party read the script and didn't think to say, 'hey, how about we stop at separate dick biting joke no.3'? Impotence, race and sexuality are also targets of choice. It seems new writer and director Jeff Wadlow has decided his audience is teenage boys, and no one else. Plot-wise, Kick-Ass 2 picks up about three years after its predecessor. Dave Lizewski (previously weedy, now hunky Aaron Taylor-Johnson) has hung up the Kick-Ass wetsuit, while the orphaned Mindy MacCready (Chloe Grace Moretz), aka Hit Girl, keeps her ongoing training a secret from her guardian, her dad's good friend, Sergeant Marcus Williams (Morris Chestnut). But when Dave gets restless and Mindy gets obedient, their crime-fighting status is reversed, and for camaraderie Dave instead joins the superhero team calling themselves 'Justice Forever' (led by a well prosthetised Jim Carrey as Colonel Stars and Stripes) to rid the streets of evil. The devoted amateurs are no match, however, for the coming storm from Dave's spoilt and abandoned schoolmate Chris D'Amico (Christopher Mintz-Plasse), who's graduated from being Red Mist to the moniker the Motherfucker and who has Kick-Ass obsessively in his sights. It's a unique mix of unimpressiveness at work in this film. On top of the lumpen humour, there's also extreme violence and schlock sentimentality that together are supremely weird. Kick-Ass 2's one redeemer is Hit Girl. If the whole film had been 'Hit Girl Goes to High School', it would have been great. She's always been a special character that challenges every idea we have of girlhood, and the Professional-meets-Mean Girls-like scenes of her dealing with dating, dance club, the popular crowd and bullying are smart, fresh and compelling. The film also deals well with her sexuality, now she's 15. Her costume remains fabulously unsexy and practical, so that's how we view her fights, but she's given room to explore some of her own sexual feelings. In what's possibly the film's best scene, a One Direction replica band plays, and we see that even the disciplined teen warrior is unable to resist their charms. Later, she has a quick perv at a shirtless Dave. This is a character whose impact will carry on, even if there's no Hit-Girl movie in multiplexes. https://youtube.com/watch?v=YWozxV3fsAU
It happened with The Nutcracker, Mary Poppins Returns, Aladdin, Maleficent: Mistress of Evil, Frozen II, Cinderella and Beauty and the Beast, just to name a few past Disney movies, and it's occurring again for Snow White: to immerse everyone in the world of the Mouse House's new film beyond cinemas, The Grounds of Alexandria in Sydney has given itself a temporary makeover. Expect social media feeds to be filled with snaps of this enchanted garden, plus the themed dishes now on the menu for the next couple of months — and expect Harbour City locals and visitors alike to flock in. How have all things Snow White taken over? With scenery that looks like it's been transported out of the film — greenery aplenty, plus woodland creatures as well — and everything from red apple mocktails to sweet treats inspired by the movie on offer. Yes, there's a magic mirror on the wall. And also yes, you'll spot more than a few apples. You've got until Sunday, May 25, 2025 to head by, and to sip that Evil to the Core drink (made with red apple, raspberry and citrus) at The Cafe, The Garden and The Potting Shed at The Grounds of Alexandria. Food-wise, Waiting on a Wish (a toasted almond sponge with pear cream and blackberry compote) is on the menu in The Cafe and the Poison Apple for two (spiced caramelised apple, dulcey crèmeux and mascarpone cream) is available in The Potting Shed over the same period. The film in the spotlight releases in cinemas on Thursday, March 20, starring Rachel Zegler (The Hunger Games: The Ballad of Songbirds & Snakes) as Snow White and Gal Gadot (Heart of Stone) as her evil stepmother. Marc Webb (The Only Living Boy in New York, Gifted, The Amazing Spider-Man and The Amazing Spider-Man 2: Rise of Electro) is behind the lens. Remaking Disney's 1937 animated hit, Snow White joins list of the company's cartoon classics given a live-action or photorealistic do-over. See also: The Jungle Book, Maleficent and its sequel, Cinderella, Beauty and the Beast, Dumbo, Aladdin, The Lion King, Lady and the Tramp, Mulan, Pinocchio, Peter Pan & Wendy and The Little Mermaid so far, with Lilo & Stitch and Moana also to come. It's been a great time to be a pop-culture fan in Down Under of late, and to take that love beyond the screen, following multiple Squid Game pop-ups, plus a Stranger Things experience on the way. Snow White at The Grounds runs at The Grounds of Alexandria, Building 7A, 2 Huntley Street, Alexandria, Sydney until Sunday, May 25, 2025 — head to The Grounds of Alexandria's website for further details. Images: Scott & Co.
Can a pair of glasses really help a world-renowned superhero become unrecognisable? If you've always queried that detail in Superman's story, rest assured that James Gunn has thoughts, too — as the full trailer for the writer/director and DC Studios co-CEO and co-Chairman's Superman makes plain. The latest sneak peek, following an initial teaser late in 2024 and an almost five-minute glimpse earlier in 2025, begins with an interrogation. Lois Lane (Rachel Brosnahan, The Marvelous Mrs Maisel) is doing the questioning, and a normally close-kept secret is clearly not a factor in this take on the Kryptonian. As Lois and the Man of Steel (David Corenswet, Lady in the Lake) dig into what makes a hero — and how accountable they need to be — the just-dropped trailer also offers looks at Superman's other battles. Lex Luthor (Nicholas Hoult, Nosferatu) features, naturally. So do Superman's efforts to stop wars and save everyday folks, and take on other villains. The new sneak peek has arrived just two months before the film hits cinemas, racing onto the big screen Down Under on Thursday, July 10, 2025. Gunn has penned, helmed and produced Superman. In his DC roles, he's also overseeing the new DC Universe. His picture will be followed by Supergirl: Woman of Tomorrow in 2026, as directed by Dumb Money's Craig Gillespie and starring Milly Alcock (House of the Dragon) — after she also plays the part in Superman. Clayface will release in the same year as well, working with a script from Doctor Sleep and The Fall of the House of Usher's Mike Flanagan. Alongside Corenswet, Brosnahan, Hoult and Alcock, Superman features Gunn regular Nathan Fillion (Deadpool & Wolverine) as Green Lantern and Anthony Carrigan (Barry) as Metamorpho, plus Isabela Merced (The Last of Us), Frank Grillo (Tulsa King), Skyler Gisondo (The Righteous Gemstones) and Wendell Pierce (Elsbeth). As always in the Super, The Suicide Squad, and three-time Guardians of the Galaxy filmmaker's work, Gunn's brother Sean (Creature Commandos) is among the ensemble. An angle for this Superman: Gunn's take on the character is a superhero who believes in humanity's goodness — even if presumably Lex Luthor tests that idea, and even if he draws queries about why he does what he does. If it feels like Superman has been missing for cinemas for a while — well, in these superhero movie-heavy days, that is — that's because it's been eight years, since Justice League. That's when Zack Snyder's film initially arrived in its theatrical version (Zack Snyder's Justice League, aka the Snyder Cut, debuted on streaming in 2021). Check out the new Superman trailer below: Superman releases in cinemas Down Under on Thursday, July 10, 2025. Read James Gunn's thoughts on the initial trailer.
