Do you like doughnuts? Of course you do. And even though you think your love is peak right now, you're probably going to like them a whole lot more when you taste what Doughnut Time has to offer. That's right — one of Queensland's favourite sources of doughy deliciousness is heading down south. A Doughnut Time pop-up has just opened in Topshop in Sydney's Market Street, which is just the start of their interstate venture. New stores in Newtown, Bondi and Chippendale will soon be serving up the likes of the Cate Blanchett (with milk and dark chocolate glaze, Tim Tams and white chocolate curls) and the Wake Me Up Before You Vovo: a doughy with a light strawberry glaze, jam and coconut marshmallows. After that, a couple of Melbourne-based pop-ups and standalone shops in Fitzroy and Hawthorn will follow suit. So pretty. A photo posted by DOUGHNUT TIME (@doughnut_time) on Oct 29, 2015 at 4:01pm PDT Of course, the full rotating range of delectable iced, filled bites will be on offer, so prepare to devour the Melon Degeneres with watermelon and sour green glaze, the pretzel-topped George Costanza and the Fruit Loop-laden Cereal Killer, among others. Picking something based on its name alone is completely acceptable. Branching into New South Wales and Victoria caps off what has already been a massive year for Doughnut Time — they only started trading in Queensland earlier in 2015, after all. Since that first Fortitude Valley store opened its doors to lines down the street, three other Brisbane outlets have been added to the mix, plus two on the Gold Coast and a roving Doughnut Time van. Yes, it's a good time to love those damn fine orbs of pastry goodness. For the moment, you can find Doughnut Time's pop-up at Topshop at 45 Market Street, Sydney. For more information about their upcoming openings in Sydney and Melbourne, keep an eye on their website and Facebook page. Via Good Food.
Lamingtonuts, cruffins, flagels, take a hike. There's a new savoury hybrid in town. Goodgod Small Club's Belly Bao eatery has spent the last six months secretly fusing their signature bao bun with Sydney's cult edible go-to, the burger. Finally, BAM. We have a baoger. Yep, a BAOGER. The mighty 'Belly Baoger' is now available at Goodgod's Taiwanese street food eatery. Sink your teeth into Belly Bao’s handmade bao burger bun, a juicy grilled beef patty, melted cheese, crisp lettuce, onion, pickled radish and special sauce. But you can't just rock up any ol' time and demand baogers all over the joint; they're only available on Thursdays from 5pm. It's $10 for a single patty, $13 for a double. Right here, right bao, is the hybrid dinner you've been waiting for. Find Belly Bao and the brand new BellyBaoger at Goodgod Small Club, 53-55 Liverpool Street, Sydney.
When it was announced back in 2016 that Moulin Rouge! was being turned into a stage musical, fans around the world thought the same thing in unison: the show must go on. Since then, the lavish production premiered in the US in 2018, then hit Broadway in 2019, and also announced that it'd head Down Under in 2021 — and if you're an Aussie wondering when the latter would actually happen after all the chaos of the past two years, the same mantra thankfully applies to its upcoming Melbourne season. Originally set to debut in August — a date that was obviously delayed due to lockdown — Moulin Rouge! The Musical will now make its Australian debut at Melbourne's revamped Regent Theatre on Friday, November 12. It'll do so as a newly minted Tony-winner, too, after picking up ten awards earlier in October, and also becoming the first-ever Aussie-produced show to win the Tony for Best Musical. Based on Baz Luhrmann's award-winning, Nicole Kidman and Ewan McGregor-starring movie — which celebrates its 20th anniversary this year — the stage musical brings to life the famed Belle Époque tale of young composer Christian and his heady romance with Satine, actress and star of the legendary Moulin Rouge cabaret. Set in the Montmartre Quarter of Paris, the film is known for its soundtrack, celebrating iconic tunes from across the past five decades. The stage version carries on the legacy, backing those favourites with even more hit songs that have been released in the two decades since the movie premiered. The musical comes to Melbourne in the hands of production company Global Creatures, along with the Victorian Government. The Government is also a big player behind the Regent's upgrade works, having dropped a cool $14.5 million towards the $19.4 million project. It co-owns the site, along with the City of Melbourne. Moulin Rouge! The Musical's spectacular spectacular Melbourne season is set to stick around for a while, with tickets currently on sale until early April. You might want to get in quickly if you're keen on heading along, though — when pre-sale tickets were put up for grabs back in February for the original August dates, they broke the Regent Theatre's record for the most pre-sale tickets sold in a single day. Moulin Rouge! The Musical will hit The Regent Theatre, at 191 Collins Street, Melbourne from Friday, November 12. For further details or to buy tickets, head to the production's website. Moulin Rouge! The Musical image: Matthew Murphy.
As well as being the shopfront to the Funkis Köket Cafe, Funkis boasts an array of high-quality clothing, accessories and glasses that are definitely worth checking out if you're in the area. Just like the cafe's menu is inspired, the approach here is loving, sustainable, and features a timeless, elegant simplicity which will keep you coming back again and again. With spring in full swing, embrace some Nordic vibes with a fun yet functional strappy clog paired paired with a jumpsuit on a warm evening. Or, maybe you'd prefer to bring an outfit together with a pair of stylish and affordable glasses in a wide variety of bold colours. There are also some great bags in both bright florals or simple leathers, embracing both functionality and fashion for all tastes. Image: Funkis
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. DON'T WORRY DARLING Conformity rarely bodes well in cinema. Whenever everyone's dressing the same, little boxes litter the landscape or identical white-picket fences stretch as far as the eye can see, that perception of perfection tends to possess a dark underbelly. The Stepford Wives demonstrated that. Pleasantville, Blue Velvet and Vivarium all did as well. Yes, there's a touch of conformity in movies about the evils of and heralded by conformity; of course there is. That remains true when Florence Pugh (Black Widow) and Harry Styles (Eternals) navigate an ostensibly idyllic vision of retro suburbia in a desert-encased enclave — one that was always going to unravel when the movie they're in is called Don't Worry Darling. Don't go thinking that this handsome and intriguing film doesn't know all of this, though. Don't go thinking that it's worried about the similarities with other flicks, including after its secrets are spilled, either. It'd be revealing too much to mention a couple of other movies that Don't Worry Darling blatantly recalls, so here's a spoiler-free version: this is a fascinating female-focused take on a pair of highlights from two decades-plus back that are still loved, watched and discussed now. That's never all that Olivia Wilde's second feature as a filmmaker after 2019's Booksmart is, but it feels fitting that when it conforms in a new direction, it finds a way to make that space its own. That's actually what Pugh's Alice thinks she wants when Don't Worry Darling begins. The film's idealised 1950s-style setting comes with old-fashioned gender roles firmly in place, cocktails in hand as soon Styles' Jack walks in the door come quittin' time and elaborate multi-course dinners cooked up each night, with its protagonist going along with it all. But she's also far from keen on having a baby, the done thing in the company town that is Victory. It'd curtail the noisy sex that gets the neighbours talking, for starters. Immaculately clothed and coiffed women happily playing dutiful housewives in a cosy sitcom-esque dream of America generations ago: that's Wilde and screenwriter Katie Silberman's (also Booksmart) entry point; however, they waste zero time in showing how rebelling in her own child-free way isn't enough to quell Alice's nagging and growing doubts about utopia. There's much to get her querying, such as the earth-shaking sounds that rumble when Victory's men are at work, doing top-secret business on "progressive materials" out in the sandy expanse. There's the reflections in the mirror that briefly take on a life of their own, too — starting in a ballet class that's about retaining control, coveting symmetry and never upsetting the status quo far more than dancing. And, there's the pushed-aside Margaret (KiKi Layne, The Old Guard) after she disrupts a company barbecue. All the rules enforced to keep Victory's women in their places, and the cult-like wisdom that town and company founder Frank (Chris Pine, All the Old Knives) constantly spouts, are also inescapable. So is the force with which asking questions or daring to be different is publicly nixed, as Alice quickly discovers. And, it's impossible to avoid how the men band together when anything or anyone causes a bump, even their own other halves. Swiftly, Alice's days scrubbing and vacuuming her Palm Springs-inspired bungalow, then sipping cocktails poolside or while window shopping with fellow Victory spouses like Bunny (Wilde, Ghostbusters: Afterlife) and Peg (Kate Berlant, A League of Their Own), fall under a shadow — not literally in such sunnily postcard-perfect surroundings, but with shade still lingering over every part of her routine. Speaking up just gets dismissed, and Frank and his underlings (including a doctor played by Timothy Simmons, aka Veep's Jonah Ryan, who is instantly unnerving thanks to that stroke of casting) have too-precise answers to her concerns. Read our full review. THE STRANGER No emotion or sensation ripples through two or more people in the exact same way, and never will. The Stranger has much to convey, but it expresses that truth with piercing precision. The crime-thriller is the sophomore feature from actor-turned-filmmaker Thomas M Wright — following 2018's stunning Adam Cullen biopic Acute Misfortune, another movie that shook everyone who watched it and proved hard to shake — and it's as deep, disquieting and resonant a dance with intensity as its genre can deliver. To look into Joel Edgerton's (Thirteen Lives) eyes as Mark, an undercover cop with a traumatic but pivotal assignment, is to spy torment and duty colliding. To peer at Sean Harris (Spencer) as the slippery Henry Teague is to see a cold, chilling and complex brand of shiftiness. Sitting behind these two performances in screentime but not impact is Jada Alberts' (Mystery Road) efforts as dedicated, determined and drained detective Kate Rylett — and it may be the portrayal that sums up The Stranger best. Writing as well as directing, Wright has made a film that is indeed dedicated, determined and draining. At every moment, including in sweeping yet shadowy imagery and an on-edge score, those feelings radiate from the screen as they do from Alberts. Sharing the latter's emotional exhaustion comes with the territory; sharing their sense of purpose does as well. In the quest to capture a man who abducted and murdered a child, Rylett can't escape the case's horrors — and, although the specific details aren't used, there's been no evading the reality driving this feature. The Stranger doesn't depict the crime that sparked Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer, or any violence. It doesn't use the Queensland schoolboy's name, or have actors portray him or his family. This was always going to be an inherently discomforting and distressing movie, though, but it's also an unwaveringly intelligent and impressive examination of trauma. There's no other word to describe what Mark and Rylett experience — and, especially as it delves into Mark's psychological state as he juggles his job with being a single father, The Stranger is a film about tolls. What echoes do investigating and seeking justice for an atrocious act leave? Here, the portrait is understandably bleak and anguished. What imprint do such incidences have upon society more broadly? That also falls into the movie's examination. Mark, along with a sizeable group of fellow officers, is trying to get a confession and make an arrest. Back east, Rylett is one of the police who won't and can't let the situation go. Doling out its narrative in a structurally ambitious way, The Stranger doesn't directly address the human need for resolution, or to restore a semblance of order and security after something so heinously shocking, but that's always baked into its frames anyway. Travelling across the country, Henry first meets a stranger on a bus, getting chatting to Paul (Steve Mouzakis, Clickbait) en route. It's the possibility of work that hooks the ex-con and drifter — perhaps more so knowing that his potential new gig will be highly illicit, and that evading the authorities is implicit. Soon he meets Mark, then seizes the opportunity to reinvent himself in a criminal organisation, not knowing that he's actually palling around with the cops. It's an immense sting, fictionalised but drawn from actuality, with The Stranger also playing as a procedural. The connecting the dots-style moves remain with Rylett, but Wright's decision to hone in on the police operation still means detailing how to catch a killer, astutely laying out the minutiae via action rather than chatting through the bulk of the ins and outs. Read our full review. AMSTERDAM There's only one Wes Anderson, but there's a litany of wannabes. Why can't David O Russell be among them? Take the first filmmaker's The Grand Budapest Hotel, mix in the second's American Hustle and that's as good a way as any to start describing Amsterdam, Russell's return to the big screen after a seven-year gap following 2015's Joy — and a starry period comedy, crime caper and history lesson all in one. Swap pastels for earthier hues, still with a love of detail, and there's the unmistakably Anderson-esque look of the film. Amsterdam is a murder-mystery, too, set largely in the 1930s against a backdrop of increasing fascism, and filled with more famous faces than most movies can dream of. The American Hustle of it all springs from the "a lot of this actually happened" plot, this time drawing upon a political conspiracy called the White House/Wall Street Putsch, and again unfurling a wild true tale. A Russell returnee sits at the centre, too: Christian Bale (Thor: Love and Thunder) in his third film for the writer/director. The former did help guide the latter to an Oscar for The Fighter, then a nomination for American Hustle — but while Bale is welcomely and entertainingly loose and freewheeling, and given ample opportunity to show his comic chops in his expressive face and physicality alone, Amsterdam is unlikely to complete the trifecta of Academy Awards recognition. The lively movie's cast is its strongest asset, though, including the convincing camaraderie between Bale, John David Washington (Malcolm & Marie) and Margot Robbie (The Suicide Squad). They play pals forged in friendship during World War I, then thanks to a stint in the titular Dutch city. A doctor, a lawyer and a nurse — at least at some point in the narrative — they revel in love and art during their uninhabited stay, then get caught in chaos 15 years later. Amsterdam begins in the later period, with Burt Berendsen (Bale) tending to veterans — helping those with war injuries and lingering pain, as he himself has — without a medical license. He once had a Park Avenue practice, but his military enlistment and his fall from the well-heeled set afterwards all stems from his snobbish wife Beatrice (Andrea Riseborough, The Electrical Life of Louis Wain) and her social-climbing (and prejudiced) parents. As he did in the war, however, Burt aids who he can where he can, including with fellow ex-soldier Harold Woodman (Washington). That's how he ends up lending a hand (well, a scalpel) to the well-to-do Liz Meekins (Taylor Swift, Cats) after the unexpected death of her father and their old Army general (Ed Begley Jr, Better Call Saul). The bereaved daughter suspects foul play and Burt and Harold find it, but with fingers pointing their way when there's suddenly another body. Two police detectives (The Old Guard's Matthias Schoenaerts and The Many Saints of Newark's Alessandro Nivola), both veterans themselves, come a-snooping — and Burt and Harold now have two tasks. Clearing their names and figuring out what's going on are intertwined, of course, and also just the start of a story that isn't short on developments and twists (plus early flashes back to 1918 to set up the core trio, their bond, their heady bliss and a pact that they'll keep looking out for each other). There's a shagginess to both the tale and the telling, because busy and rambling is the vibe, especially with so much stuffed into the plot. One of Amsterdam's worst traits is its overloaded and convoluted feel, seeing that there's the IRL past to explore, a message about history repeating itself to deliver along with it, and enough mayhem to fuel several romps to spill out around it. The pacing doesn't help, flitting between zipping and dragging — and usually busting out the wrong one for each scene. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; and September 1, September 8, September 15, September 22 and September 29. You can also read our full reviews of a heap of recent movies, such as Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three and The Humans.
When Betty's Burgers and Concrete Co started dishing up burgs, fries and shakes, it gave hungry (and grateful) Australian tastebuds a Shake Shack-style burger experience. The chain has done well with that approach, unsurprisingly, expanding from its Noosa beginnings to now boast joints in Brisbane, Sydney, Melbourne, Adelaide and Perth — and a trio of ex-staff members are aiming for the same success with new venture Slim's Quality Burger. There's plenty that's familiar about Slim's template, in fact. Swap out the Shake Shack nods, substitute in a 50s- and 60s-inspired setup that takes its cues from American diner culture, and that's the concept. Once again, the focus is on classic-style burgs rather than OTT numbers in this new spot from Michael Tripp, Nik Rollison and Betty's founder, David Hales; however, the burgers here are paired with old-school ice cream sundaes instead of Betty's frozen custard 'concretes'. Now open in the new Marrickville Metro, with other stores set to come around the country — next up is Mount Druitt — Slim's is all about a lean menu of options made with simple but quality ingredients. Burger-wise, customers can choose between original ($8.50), cheeseburger ($6.50), deluxe cheeseburger ($7.50) and 'the works' ( $9.50) burgs, all made with angus beef, plus five different chicken varieties — including with crispy fried ($8.50) or grilled chook ($8.50) — and a veggie option ($9) using a plant-based patty. Sides focus on fries either with sea salt ($3.50), loaded with cheese and grilled onion ($6), or also featuring maple-smoked bacon ($7). As for those sundaes ($5), they come in hot fudge, salted caramel and strawberry flavours. And to wash it all down, there are spiders ($5) — because plonking a scoop of ice cream in some soft drink never gets old — plus post-mix from the fountain ($3.75), and chocolate, vanilla and strawberry thickshakes ($6). And with its vibrant red bench seating — the same hue beaming up from the chequerboard-tiled floor and a curved order counter — the Marrickville decor clearly takes Slim's chosen retro aesthetic seriously. Also a feature in Sydney: outdoor dining, plus a blast from the past-meets-modern overall feel.
Next time that you grab a drink in Melbourne or Sydney, you might want to get sipping at one of the globe's top watering holes. Those must-visit spots: Melbourne's Caretaker's Cottage and Sydney's Re, which just nabbed rankings in 2022 version of The World's 50 Best Bars extended 51–100 list. Each year, The World's 50 Best Bars does exactly what its name says, picking the best 50 bars on the planet — and 2022's top 50 will be announced on Tuesday, October 4 in Barcelona. But why stop at 50? This ranking doesn't, despite its moniker. That's where the longlist comes in, throwing some love at the next 50 venues worth checking out. [caption id="attachment_871415" align="alignnone" width="1920"] Caretaker's Cottage[/caption] Little Lonsdale Street's Caretaker's Cottage came in at 60th spot, and marked its first year in the list — while Re, Matt Whiley (Scout) and Maurice Terzini's low-waste bar in South Eveleigh, took out 87th position. For the latter, it marks a slip from 46th place in 2021, after opening last year. Caretaker's Cottage and Re are the only Australian bars to make the cut so far — sorry, folks in Brisbane, Adelaide, Perth and the rest of the country — with the 51–100 list including tipple-serving spots from 32 different cities in 25 countries, complete with 15 new entries scoring a place. The location with the most must-visit bars in this secondary rundown? Singapore, with eight; however, spots chosen elsewhere include bars in first-timers Kraków, Bratislava, Manchester, Playa Del Carmen and Bogotá as well. [caption id="attachment_871414" align="alignnone" width="1920"] Re[/caption] When the full list drops — being announced outside of London for the first time — here's hoping that Australia is well-represented. In 2021, Sydney's Maybe Sammy took out 22nd place, with The Rocks' venue making the top 50 list for the third year in a row. Fellow Sydneysider Cantina OK! came in at number 23 last year, Melbourne's Above Board earned a spot at number 44 and the aforementioned Re placed, too. In 2021's longlist, Melbourne's Byrdi nabbed 56th spot. Watch this space — we'll run through the winners of the World's 50 Best Bars 2022 list when they're announced next week. [caption id="attachment_871416" align="alignnone" width="1920"] Re[/caption] And yes, if you choose where to drink and eat based on these kinds of rankings, you've got a few spots to visit. So far this year, Melbourne's Gimlet at Cavendish House made The World's Top 100 Restaurant longlist for 2022, while Sydney's Josh Niland placed in 78th spot at The Best Chef Awards 2022. For the full 51–100 list of the World's 50 Best Bars for 2022 (and past years' lists), see the website. The top 50 rankings will be revealed from 8.15pm GMT on Tuesday, October 4 via Facebook and YouTube.
Thought meditation retreats were all about early wake-up calls and lots of serious silences? Well, not anymore. Say hello to Soundscape, a new three-day sensory experience to be held in NSW's Southern Highlands this March. A wellness getaway that breaks the mould, this one's focused on music, food and great company. It's the brainchild of the team at Surry Hills mindfulness studio The Indigo Project, a progressive practice that runs naptime and mindful pasta-making classes, and relatable courses like Get Your Shit Together. And it's being helmed by a trio that describes themselves as "an experimental chef, a rebel psychologist and an electronic music producer". Over one weekend at Highball House, they'll guide guests through an exploration of sound, designed to help recharge, connect and unravel all that stress. Forget about any 'hippy' stuff — here, you'll take meditative walks through the forest, feel inspired during guided creativity sessions and experience fun sound immersion sessions based around The Indigo Project's popular Listen Up workshops. And with Love Supreme chef Harry Bourne helping to run the show, boring food is definitely not part of the agenda. Instead, enjoy gourmet eats at every meal and have your mind blown wide open during a series of curated food and music experiences. "We felt that it was time to re-imagine your typical meditation retreat format," says The Indigo Project founder and head psychologist Mary Hoang. "People are in for a colourful, deep, creative journey into their minds." If this sounds like your bag, you'll probably be interested in Yoga Cucina, a yoga, wine and pasta-filled retreat that takes place a couple of times a year also in the Southern Highlands. Soundscape will run from March 16–18, at Highball House, Bundanoon in NSW's Southern Highlands. Places cost between $595 and $1390 for the weekend. To book or for more info, visit theindigoproject.com.au.
Start planning your costumes: when Halloween hits in 2024, Sydney will welcome a brand-new festival celebrating the horror-themed occasion that'll be filled with spooky treats. Scary movies? Tick. A haunted house? Tick again. A murder-mystery party? Keep ticking. A zombie disco? That earns a big tick, too. Ghost in The Rocks Festival will debut on the absolute right day for it, Thursday, October 31, 2024, then run across four days until Sunday, November 3. The full program won't drop until September, but the idea is to turn The Rocks into a feast of frights and fright-inspired fun, including via tentacles taking over buildings, lights flickering around the place and creatures of the night — well, people dressed up, clearly — roaming the streets. The event is the brainchild of the team behind Mov'in Cinemas, Sydney's Bastille Festival and Canberra's Xmas in July Festival, which knows a thing or two about sprawling fests, theming around a beloved date on the calendar and adding a big-screen component. The plan: not just to put on the festival as a once-off, but to make it an annual happening. For now, until more details arrive, get excited about the fact that the House of Horror won't just be about eeriness, but will also be a party spot. Also, the Ghost Cinema will be dedicated to horror movies and thrillers, and feature an atmosphere to match; the Murder Bar will get you sleuthing; and the Zombie Disco will be where you make shapes. [caption id="attachment_937709" align="alignnone" width="1920"] Mov'In Bed Cinema[/caption] There'll be a parade as well, where costumed characters and Halloween floats take to the streets. Some aspects will be free, such as the disco, parade and entry to the bar. Others will be ticketed, like the haunted house and the cinema. There's no word yet on trick-or-treating, themed food and drink options, and if venues around The Rocks will also be getting into spirit of the occasion — but cross your fingers and broomsticks that all of the above is part of Ghost in The Rocks Festival, too. Ghost in The Rocks Festival will run from Thursday, October 31–Sunday, November 3, 2024 around The Rocks, Sydney, with the full program revealed in September. Head to the event's website for further details in the interim. Top image: BBR Group.
Next time you're on the hunt for something tasty that won't break the bank in Circular Quay, head to Belles Hot Chicken's third and most impressive Sydney outpost. Here the cult-favourite Nashville-style fried chicken chain (among our contenders for the best fried chicken in Sydney) is swapping takeaway boxes for table service with a 130-seat flagship restaurant. Open in the Quay Quarter Tower, Belles Hot Chicken Circular Quay brings the expected hallmarks of the chain to an expansive new space with views of the Sydney Harbour Bridge. Belles' vintage Americana style is delivered in spades. Architectural studio Ewert Leaf has collaborated with Belles' Design Director Vicki Punch to create a warm, welcoming space tricked out with neon signs, vintage tiling and vending machines, plus an entirely chrome ceiling and cork detailing. On the menu, things stick close to the other locations, with an elevated and varied drinks menu to complement the eats. Pair tenders, drumsticks, wings and buffalo cauliflower — all available in heat levels ranging from chicken salt to Really F**king Hot — with Belles Original Draught, orange wines and house cocktails like spiked iced tea. Spicy chicken sandwiches and loaded fries also feature, with a highlight-reel set menu available for $40 per person if you want the decisions taken out of your hands. Some of the more extravagant drinks include Old Rip Van Winkle 15-year bourbon, Louis Roederer Cristal Brut (who doesn't want to pair champagne and fried chicken?), and the canned rakija and tonic RTDs that are the result of an inspired collab between Baba's Place and DNA Distillery. Rounding out the vibrant energy of this outpost is a set of vinyl turntables ready for a DJ to take hold and spark a party at any point in time. With enough champagne and spiked iced tea, it's very likely to happen.
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 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 through to old and recent favourites, here are our picks for your streaming queue in April. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW DEAD RINGERS Twin gynaecologists at the top of their game. Blood-red costuming and bodily fluids. The kind of perturbing mood that seeing flesh as a source of horror does and must bring. A stunning eye for stylish yet unsettling imagery. Utterly impeccable lead casting. When 1988's Dead Ringers hit cinemas, it was with this exact combination, all in the hands of David Cronenberg following Shivers, The Brood, Scanners, Videodrome and The Fly. He took inspiration from real-life siblings Stewart and Cyril Marcus, whose existence was fictionalised in 1977 novel Twins by Bari Wood and Jack Geasland, and turned it into something spectacularly haunting. Attempting to stitch together those parts again, this time without the Crimes of the Future filmmaker at the helm — and as a miniseries, too — on paper seems as wild a feat as some of modern medicine's biggest advancements. This time starring a phenomenal Rachel Weisz as both Beverly and Elliot Mantle, and birthed by Lady Macbeth and The Wonder screenwriter Alice Birch, Dead Ringers 2.0 is indeed an achievement. It's also another masterpiece. Playing the gender-swapped roles that Jeremy Irons (House of Gucci) inhabited so commandingly 35 years back, Weisz (Black Widow) is quiet, calm, dutiful, sensible and yearning as Beverly, then volatile, outspoken, blunt, reckless and rebellious as Elliot. Her performance as each is that distinct — that fleshed-out as well — that it leaves viewers thinking they're seeing double. Of course, technical trickery is also behind the duplicate portrayals, with directors Sean Durkin (The Nest), Karena Evans (Snowfall), Lauren Wolkstein (The Strange Ones) and Karyn Kusama's (Destroyer) behind the show's lens; however, Weisz is devastatingly convincing. Beverly is also the patient-facing doctor of the two, helping usher women into motherhood, while Elliot prefers tinkering in a state-of-the-art lab trying to push the boundaries of fertility. Still, the pair are forever together or, with unwitting patients and dates alike, swapping places and pretending to be each other. Most folks in their company don't know what hit them, which includes actor Genevieve (Britne Oldford, The Umbrella Academy), who segues from a patient to Beverly's girlfriend — and big-pharma billionaire Rebecca (Jennifer Ehle, She Said), who Dead Ringers' weird sisters court to fund their dream birthing centre. Dead Ringers streams via Prime Video. Read our full review. AUNTY DONNA'S COFFEE CAFE If comedy is all about timing, then Aunty Donna have it — not just onstage. In 2020, Aunty Donna's Big Ol' House of Fun was the hysterical sketch-comedy series that the world needed, with the six-episode show satirising sharehouse living dropping at the ideal moment. While the Australian jokesters' Netflix hit wasn't just hilarious because it arrived when everyone had been spending more time than anyone dreamed at home thanks to the early days of the pandemic, the ridiculousness it found in domesticity was as inspired as it was sidesplittingly absurd. Three years later, heading out is well and truly back, as are Aunty Donna on-screen. Their target in Aunty Donna's Coffee Cafe: cafe culture, with Mark Samual Bonanno, Broden Kelly and Zachary Ruane returning to make fun of one of the simplest reasons to go out that there is. Grabbing a cuppa is such an ordinary and everyday task, so much so that it was taken for granted until it was no longer an easy part of our routines. Unsurprisingly, now that caffeine fixes are back and brewing, Aunty Donna finds much to parody. With fellow group members Sam Lingham (a co-writer here), Max Miller (the show's director) and Tom Zahariou (its composer), Aunty Donna's well-known trio of faces set their new six-parter in the most obvious place they can: a Melbourne cafe called 'Morning Brown'. The track itself doesn't get a spin, however, with the show's central piece of naming is its most expected move. As demonstrated in episodes that turn the cafe into a courtroom, ponder whether Broden might still be a child and riff on Australian Prime Minister Harold Holt's 1967 disappearance, nothing else about Aunty Donna's Coffee Cafe earns that description. Pinballing in any and every direction possible has always been one of the Aussie comedy troupe's biggest talents, with their latest series deeply steeped — riotously, eclectically and entertainingly, too — in that approach. Think: Richard Roxburgh (Elvis) playing Rake, even though that's not his Rake character's name; Looking for Alibrandi's Pia Miranda making tomato day jokes;. stanning Gardening Australia and skewering unreliable streaming services, complete with jokes at ABC iView's expense; and relentlessly giggling at the hospitality industry again and again. Aunty Donna's Coffee Cafe streams via ABC iView. Read our full review. RYE LANE When Dom (David Jonsson, Industry) and Yas (Vivian Oparah, Then You Run) are asked how they met, they tell a tale about a karaoke performance getting an entire bar cheering. Gia (Karene Peter, Emmerdale Farm), Dom's ex, is both shocked and envious, even though she cheated on him with his primary-school best friend Eric (Benjamin Sarpong-Broni, The Secret). It's the kind of story a movie couple would love to spin — the type that tends to only happen in the movies, too. But even for Rye Lane's fictional characters, it's a piece of pure imagination. Instead, the pair meet in South London, in the toilet at an art show. He's crying in a stall, they chat awkwardly through the gender-neutral space's wall, then get introduced properly outside. It's clumsy, but they keep the conversation going even when they leave the exhibition, then find themselves doing the good ol' fashioned rom-com walk and talk, then slide in for that dinner rendezvous with the flabbergasted Gia. It's easy to think of on-screen romances gone by during British filmmaker Raine Allen-Miller's feature debut — working with a script from Bloods duo Nathan Bryon and Tom Melia — which this charming Sundance-premiering flick overtly wants viewers to. There's a helluva sight gag about Love Actually, as well as a cameo to match, and the whole meandering-and-nattering setup helped make Before Sunrise, Before Sunset and Before Midnight an iconic trilogy. That said, as Rye Lane spends time with shy accountant Dom, who has barely left his parents' house since the breakup, and the outgoing costume designer Yas, who has her own recent relationship troubles casting a shadow, it isn't propelled by nods and winks. Rather, it's smart and savvy in a Starstruck way about paying tribute to what's come before while wandering down its own path. The lead casting is dynamic, with Jonsson and Oparah making a duo that audiences could spend hours with, and Allen-Miller's eye as a director is playful, lively, loving and probing. Rom-coms are always about watching people fall for each other, but this one plunges viewers into its swooning couple's mindset with every visual and sensory touch it can. Rye Lane streams via Disney+. BEEF As plenty does (see also: Rye Lane above), Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. Beef streams via Netflix. Read our full review. TOTALLY COMPLETELY FINE In Thomasin McKenzie's breakout role in 2018's deeply thoughtful and moving Leave No Trace, she played a teen being the responsible one while living off the grid with her PTSD-afflicted father. She turned in a magnificent performance in a film that also earns the same description — one of that year's best — and a portrayal that rightly ensured that more work came her way. In Totally Completely Fine, the New Zealand actor is again excellent, as she's been in Jojo Rabbit, The Justice of Bunny King, Old and Last Night in Soho in-between; however, this six-part Australian series, which makes ample use of its Sydney setting, casts McKenzie as the least responsible among her siblings. Vivian Cunningham's elder brothers John (Rowan Witt, Spreadsheet) and Hendrix (Brandon McClelland, Significant Others) are conscientious and family-focused, respectively, while she has internalised her bad decisions to the point of thinking that she ruins everything. But then her grandfather passes away when she's at a particularly low moment, wills only her his cliffside house and also leaves a note saying that she'll learn what to do with it. When Totally Completely Fine begins, Vivian is close to saying goodbye. Soon, she discovers that her inherited home is a destination for others feeling the same way. Creator Gretel Vella (a staff writer on The Great, and also a scribe on Christmas Ransom and Class of '07) doesn't shy away from a a tricky topic, as her definitely-not-totally-completely-fine protagonist becomes an unofficial counsellor to strangers — like runaway bride Amy (Contessa Treffone, Wellmania) — who step into her yard planning to commit suicide. This character-driven series doesn't ever reductively posit that only struggling people can help struggling people. Instead, it sees life's difficulties everywhere, the many ways that folks attempt to cope and don't, and the parts that others can have in that journey. McKenzie's performance is pivotal, selling the deep-seated grief that has defined Vivian's life, the chaos she's embraced as an escape, and how telling others that they have something to live for is both complicated and crucial. Totally Completely Fine streams via Stan. HUNGER Let's call it the reality TV effect: after years of culinary contests carving up prime-time television, the savage on-screen steps into the food world just keep bubbling. The Bear turned the hospitality industry into not just a tension-dripping dramedy, but one of 2022's best new shows. In cinemas, British pressure-cooker Boiling Point and the sleek and sublimely cast The Menu have tasted from the same intense plate. Now Hunger sits down at the table, giving viewers another thriller of a meal — this time focusing on a Thai noodle cook who wants to be special. When Aoy's (Chutimon Chuengcharoensukying, One for the Road) street-food dishes based on her Nanna's recipes get the attention of fellow chef Tone (Gunn Svasti Na Ayudhya, Tootsies & the Fake), he tells her that she needs to be plying her talents elsewhere. In fact, he works for Chef Paul (Nopachai Jayanama, Hurts Like Hell), who specialises in the type of fine-dining dishes that only the wealthiest of the wealthy can afford, and is as exacting and demanding as the most monstrous kitchen genius that fiction has ever dreamed up. There's more to making it in the restaurant trade than money, acclaim and status, just like there's more to life as well. As told with slickness and pace, even while clocking in at almost two-and-a-half hours, that's the lesson that director Sitisiri Mongkolsiri (Folklore) and screenwriter Kongdej Jaturanrasamee (Faces of Anne) serve Aoy. She's tempted by the glitz and recognition, and being steeped in a world far different from her own; however, all that gleams isn't always palatable. Plot-wise, Hunger uses familiar ingredients, but always ensures that they taste like their own dish — in no small part thanks to the excellent casting of Chuengcharoensukying as the film's conflicted but determined lead. A model also known as Aokbab, she proved a revelation in 2017's cheating heist thriller Bad Genius, and she's just as compelling here. The two movies would make a high-stakes pair for more than just their shared star, both sinking their teeth into class commentary as well. Yes, like The Menu before it, Hunger is also an eat-the-rich flick, and loves biting into social inequity as hard as it can. Hunger streams via Netflix. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK BARRY Since HBO first introduced the world to Barry Berkman, the contract killer played and co-created by Saturday Night Live great Bill Hader has wanted to be something other than a gun for hire. An ex-military sniper, he's always been skilled at his highly illicit post-service line of work; however, moving on from that past was a bubbling dream even before he found his way to a Los Angeles acting class while on a job. Barry laid bare its namesake's biggest wish in its 2018 premiere episode. Then, it kept unpacking his pursuit of a life less lethal across the show's Emmy-winning first and second seasons, plus its even-more-astounding third season in 2022. Season four, the series' final outing, is no anomaly, but it also realises that wanting to be someone different and genuinely overcoming your worst impulses aren't the same. Barry has been grappling with this fact since the beginning, of course, with the grim truth beating at the show's heart whether it's at its most darkly comedic, action-packed or dramatic — and, given that its namesake is surrounded by people who similarly yearn for an alternative to their current lot in life, yet also can't shake their most damaging behaviour, it's been doing so beyond its antihero protagonist. Are Barry, his girlfriend Sally Reid (Sarah Goldberg, The Night House), acting teacher Gene Cousineau (Henry Winkler, Black Adam), handler Monroe Fuches (Stephen Root, Succession) and Chechen gangster NoHo Hank (Anthony Carrigan, Bill & Ted Face the Music) all that different from who they were when Barry started? Have they processed their troubles? Have they stopped taking out their struggles not just on themselves, but on those around them? Hader and his fellow Barry co-creator Alec Berg (Silicon Valley, Curb Your Enthusiasm) keep asking those questions in season four to marvellous results. Barry being Barry, posing such queries and seeing its central figures for who they are is an ambitious, thrilling and risk-taking ride. When season three ended, it was with Barry behind bars, which is where he is when the show's new go-around kicks off. He isn't coping, unsurprisingly, hallucinating Sally running lines in the prison yard and rejecting a guard's attempt to tell him that he's not a bad person. With the latter, there's a moment of clarity about what he's done and who he is, but Barry's key players have rarely been that honest with themselves for long. Barry streams via Binge. Read our full review. LOVE & DEATH In the late 70s, when Texas housewife, mother of two and popular church choir singer Candy Montgomery had an affair with fellow congregation member Allan Gore, commenting about her being a scarlet woman only had one meaning. If anyone other than Elizabeth Olsen was stepping into her shoes in true-crime miniseries Love & Death, it would've remained that way, too; indeed, Jessica Biel just gave the IRL figure an on-screen portrayal in 2022 series Candy. Of course, Olsen is widely known for playing the Wanda Maximoff aka the Scarlet Witch in the Marvel Cinematic Universe, as seen in WandaVision and Doctor Strange in the Multiverse of Madness most recently. So, mention 'scarlet' in a line of dialogue around her, and it calls attention to how far she is away from casting spells and breaking out superhero skills. And she is, given that Montgomery keeps fascinating Hollywood (see also: 1990 TV movie A Killing in a Small Town) due to the fact that she was accused, arrested and put on trial for being an axe murderer. The victim: Betty Gore, Allan's wife, who was struck with the blade 41 times. It's with pluck and perkiness that Olsen brings Candy to the screen again, initially painting the picture of a perfect suburban wife and mum. She keeps exuding those traits when Candy decides that she'd quite fancy an extra-marital liaison with Allan (Jesse Plemons, The Power of the Dog) — slowly winning him over, but setting ground rules in the hope that her husband Pat (Patrick Fugit, Babylon) won't get hurt, nor Betty (Lily Rabe, Shrinking) as well. For viewers that don't know the outcome when first sitting down to the seven-episode series, that bloody end is referenced in the first instalment. With restraint, sensitivity and a suitably complicated lead performance, Love & Death then leads up to it amid local scandals over a beloved pastor (Elizabeth Marvel, Mrs Davis) leaving and being replaced (by Keir Gilchrist, Atypical). It also explores the legal proceedings that follow (with She Said's Tom Pelphrey as Candy's lawyer). Olsen is terrific whether she's in bubbly, dutiful, calculating or unsettling mode, and the show itself slides in convincingly alongside writer/producer David E Kelley's recent slate of twisty tales with Big Little Lies, The Undoing and Nine Perfect Strangers (Nicole Kidman is also an executive producer). Love & Death streams via Binge. Read our full review. THE BIG DOOR PRIZE Sometimes Apple TV+ dives into real-life crimes, as miniseries Black Bird did. Sometimes it mines the whodunnit setup for laughs, which The Afterparty winningly achieved. The family feuds of Bad Sisters, Servant's domestic horrors, Hello Tomorrow!'s retrofuturistic dream, the titular take on work-life balance in Severance — they've all presented streaming audiences with puzzles, too, because this platform's original programming loves a mystery. So, of course The Big Door Prize, the service's new dramedy, is all about asking questions from the outset. Here, no one is wondering who killed who, why a baby has been resurrected or if a situation that sounds too good to be true unsurprisingly is. Rather, in a premise isn't merely a metaphor for existential musings, they're pondering a magical machine and what it tells them about themselves. Everyone in The Big Door Prize does go down the "what does it all mean?" rabbit hole, naturally, but trying to work out why the Morpho has popped up in the small town of Deerfield, where it came from, whether it can be trusted, and if it's just a bit of fun or a modern-day clairvoyant game are pressing concerns. When the machine arrives, it literally informs residents of their true potential. Crowds flock, but not everyone is initially fascinated with the mysterious gadget. Turning 40, and marking the occasion with that many gifts from his wife Cass (Gabrielle Dennis, A Black Lady Sketch Show) and teenage daughter Trina (Djouliet Amara, Devil in Ohio), high-school history teacher Dusty Hubbard (Chris O'Dowd, Slumberland) is nonplussed. Amid riding his new scooter and wondering why he's been given a theremin, he's baffled by all the talk about the Morpho, the new reason to head to Mr Johnson's (Patrick Kerr, Search Party) store. As school principal Pat (Cocoa Brown, Never Have I Ever) embraces her inner biker because the machine said so, and charisma-dripping restaurateur Giorgio (Josh Segarra, Scream VI) revels in being told he's a superstar, Dusty claims he's happy not joining in — until he does. The Big Door Prize streams via Apple TV+. Read our full review. MRS DAVIS It was back in March 2022 that the world first learned of Mrs Davis, who would star in it and which creatives were behind it. Apart from its central faith-versus-technology battle, the show's concept was kept under wraps, but the series itself was announced to the world. The key involvement of three-time GLOW Emmy-nominee Betty Gilpin, Lost and The Leftovers creator Damon Lindelof, and The Big Bang Theory and Young Sheldon writer and executive producer Tara Hernandez was championed, plus the fact that Black Mirror: San Junipero director Owen Harris would helm multiple episodes. Accordingly, although no one knew exactly what it was about, Mrs Davis existed months before ChatGPT was released — but this puzzle-box drama, which is equally a sci-fi thriller, zany comedy and action-adventure odyssey, now follows the artificial intelligence-driven chatbot in reaching audiences. Indeed, don't even bother trying not to think about the similarities as you're viewing this delightfully wild and gleefully ridiculous series. There's also no point dismissing any musings that slip into your head about social media, ever-present tech, digital surveillance and the many ways that algorithms dictate our lives, either. Mrs Davis accepts that such innovations are a mere fact of life in 2023, then imagines what might happen if AI promised to solve the worlds ills and make everyone's existence better and happier. It explores how users could go a-flocking, eager to obey every instruction and even sacrifice themselves to the cause. In other words, it's about ChatGPT-like technology starting a religion in everything but name. To tell that tale, it's also about nun Simone (Gilpin, Gaslit), who was raised by magicians (Love & Death's Elizabeth Marvel and Scream's David Arquette), and enjoys sabbaticals from her convent to do whatever is necessary to bring down folks who practise her parents' vocation and the show's titular technology. She also enjoys quite the literal nuptials to Jesus Christ, is divinely bestowed names to chase in her quest and has an ex-boyfriend, Wiley (Jake McDorman, Dopesick), who's a former bullrider-turned-Fight Club-style resistance leader. And, she's tasked with a mission by the algorithm itself: hunting down the Holy Grail. Mrs Davis screens in Australia via Binge. Read our full review. RECENT MOVIES FROM THE PAST FEW YEARS THAT YOU NEED TO CATCH UP WITH EMA Every project by Chilean director Pablo Larraín is always cause for excitement, and Ema, his drama about a reggaeton dancer's crumbling marriage, personal and professional curiosities, and determined quest to be a mother, rewards that enthusiasm spectacularly. It's a stunning piece of cinema, and one that stands out even among his impressive resume. He's the filmmaker behind stirring political drama No, exacting religious interrogation The Club, poetic biopic Neruda, and the astonishing Jackie and Spencer — with Natalie Portman earning an Oscar nomination for the former, and Kristen Stewart for the latter — so that's no minor feat. For the first time in his career, Larraín peers at life in his homeland today, rather than in the past. And, with his six-time cinematographer Sergio Armstrong (Tony Manero, Post Mortem), he gazes intently. Faces and bodies fill Ema's frames, a comment that's true of most movies; however, in both the probing patience it directs its protagonist's way and the fluidity of its dance sequences, this feature equally stares and surveys. Here, Larraín hones in on the dancer (Mariana Di Girólamo, La Verónica) who gives the feature its name. After adopting a child with her choreographer partner Gastón (Gael García Bernal, Werewolf by Night), something other than domestic bliss has followed. Following a traumatic incident, and the just as stressful decision to relinquish their boy back to the state's custody, Ema is not only trying but struggling to cope in the aftermath. This isn't a situation she's simply willing to accept, though. Ema, the movie, is many things — and, most potently, it's a portrait of a woman who is willing to make whatever move she needs to, both on the dance floor and in life, to rally against an unforgiving world, grasp her idea of freedom and seize exactly what she wants. Di Girólamo is magnetic, whether she's dancing against a vivid backdrop, staring pensively at the camera or being soaked in neon light, while Larraín's skill as both a visual- and emotion-driven filmmaker is never in doubt. Ema streams via SBS On Demand. Read our full review. SHE DIES TOMORROW When She Dies Tomorrow splashes Kate Lyn Sheil's face across the screen, then bathes it in neon flashes of pink, blue, red and purple, it isn't easily forgotten. It's a vivid, visceral, even psychedelic sight, which filmmaker Amy Seimetz lingers on, forcing her audience to do the same as well. Viewers aren't just soaking in trippy lights and colours, though. They're staring at the expression beneath the multi-hued glow, which seethes with harrowing levels of shock, fright, distress and anxiety. That's understandable; this is the look of someone who has just had the most unnerving realisation there is: that she is going to die tomorrow. In her second stint directing a feature after 2012's Sun Don't Shine, Pet Sematary, Lean on Pete and Alien: Covenant actor Seimetz serves up a straightforward concept that's all there in the title. Her protagonist — who is also called Amy (Swarm's Sheil) — believes that her life will end the next day, plain and simple. But it's how the on-screen Amy copes with the apocalyptic news, and how it also spreads virally from person to person, that fuels the movie. Initially, she responds by searching for urns, researching how leather jackets are made and roaming aimlessly around the new home she has recently purchased, and by brushing off her worried but sceptical friend Jane (Hacks' Jane Adams). If Amy is merely being paranoid, that persecution-driven delusion soon proves contagious, with the feature's cast also including Katie Aselton (Bombshell), Chris Messina (Air), Josh Lucas (Yellowstone), Tunde Adebimpe (Marriage Story) and Jennifer Kim (Dr Death). Among of the joys of She Dies Tomorrow is that it's never one for obvious or easy answers, or for explaining any more than it needs to. Indeed, how it morphs from exploring one woman's fears to cataloguing a shared nightmare that spreads like a pandemic is best discovered by watching; however, Seimetz crafts a gloriously smart and unsettling thriller that toys with surreal Lynchian moments yet always feels disarmingly astute. The film was made prior to COVID-19, so it pre-dates our coronavirus-afflicted world — but, as it ponders humanity's reaction to life-shattering news both on an individual and collective basis, the way that panic and doubt spreads oh-so-quickly, and how one idea can soon overtake entire communities, it's hard not to think of the real-life parallels. She Dies Tomorrow streams via Stan from Saturday, April 29. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2022 — plus January, February and March 2023. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BODIES BODIES BODIES The internet couldn't have stacked Bodies Bodies Bodies better if it tried, not that that's how the slasher-whodunnit-comedy came about. Pete Davidson (The Suicide Squad) waves a machete around, and his big dick energy, while literally boasting about how he looks like he fucks. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Oscar-nominee Maria Bakalova plays the cautious outsider among rich-kid college grads, who plan to ride out a big storm with drinks and drugs (and drama) in one of their parents' mansions. The Hunger Games and The Hate U Give alum Amandla Stenberg leads the show as the gang's black sheep, turning up unannounced to zero fanfare from her supposed besties, while the rest of the cast spans Shiva Baby's Rachel Sennott, Generation's Chase Sui Wonders and Industry's Myha'la Herrold, plus Pushing Daisies and The Hobbit favourite Lee Pace as a two-decades-older interloper. And the Agatha Christie-but-Gen Z screenplay? It's drawn from a spec script by Kristen Roupenian, the writer of 2017 viral New Yorker short story Cat Person. All of the above is a lot. Bodies Bodies Bodies is a lot — 100-percent on purpose. It's a puzzle about a party game, as savage a hangout film as they come, and a satire about Gen Z, for starters. It carves into toxic friendships, ignored class clashes, self-obsessed obliviousness, passive aggression and playing the victim. It skewers today's always-online world and the fact that everyone has a podcast — and lets psychological warfare and paranoia simmer, fester and explode. Want more? It serves up another reminder after The Resort, Palm Springs and co that kicking back isn't always cocktails and carefree days. It's an eat-the-rich affair alongside Squid Game and The White Lotus. Swirling that all together like its characters' self-medicating diets, this wildly entertaining horror flick is a phenomenal calling card for debut screenwriter Sarah DeLappe and Dutch filmmaker Halina Reijn (Instinct), too — and it's hilarious, ridiculous, brutal and satisfying. Forgetting how it ends is also utterly impossible. The palatial compound where Bodies Bodies Bodies unfurls belongs to David's (Davidson) family, but it's hurricane-party central when the film begins. That said, no one — not David, his actor girlfriend Emma (Wonders), the no-nonsense Jordan (Herrold) or needy podcaster Alice (Sennott), and definitely not Greg (Pace), the latter's swipe-right older boyfriend of barely weeks — expects Sophie (Stenberg) to show as they're swigging tequila poolside. She hasn't responded to the group chat, despite claiming otherwise when she arrives. She certainly hasn't told them, not even her childhood ride-or-die David, that she's bringing her new girlfriend Bee (Bakalova) along. And Sophie hasn't prepared Bee for their attitudes, all entitlement, years of taken-for-granted comfort and just as much mouldering baggage, as conveyed in bickering that's barely disguised as banter. When the weather turns bad as forecast, a game is soon afoot inside the sprawling abode. Sharing the movie's title, the fake murder-mystery lark is this crew's go-to — but, even with a hefty supply of glow sticks (handy in the inevitable power outage), it doesn't mix too well with booze, coke and Xanax. The essentials: pieces of paper, one crossed with a X; everyone picking a scrap, with whoever gets the marked sliver deemed the perpetrator; and switching off the lights while said killer offs their victim, which happens just by touching them. Then, it's time to guess who the culprit is. That's when the mood plummets quickly, because accusing your friends of being faux murderers by publicly checking off all their shady traits will do that. It gets worse, of course, when those bodies bodies bodies soon become literal and everyone's a suspect. Read our full review. MOONAGE DAYDREAM Ground control to major masterpiece: Moonage Daydream, Brett Morgen's kaleidoscopic collage-style documentary about the one and only David Bowie, really makes the grade. Its protein pills? A dazzling dream of archival materials, each piece as essential and energising as the next, woven into an electrifying experience that eclipses the standard music doco format. Its helmet? The soothing-yet-mischievous tones of Ziggy Stardust/Aladdin Sane/The Thin White Duke/Jareth the Goblin King himself, the only protective presence a film about Bowie could and should ever need and want. The songs that bop through viewers heads? An immense playlist covering the obvious — early hit 'Space Oddity', the hooky glam-rock titular track, Berlin-penned anthem 'Heroes', the seductive 80s sounds of 'Let's Dance' and the Pet Shop Boys-remixed 90s industrial gem 'Hallo Spaceboy', to name a few — as well as deeper cuts. The end result? Floating through a cinematic reverie in a most spectacular way. When Bowie came to fame in the 60s, then kept reinventing himself from the 70s until his gone-too-soon death in 2016, the stars did look very different — he did, constantly. How do you capture that persistent shapeshifting, gender-bending, personal and creative experimentation, and all-round boundary-pushing in a single feature? How do you distill a chameleonic icon and musical pioneer into any one piece of art, even a movie that cherishes each of its 135 minutes? In the first film officially sanctioned by Bowie's family and estate, Morgen knows what everyone that's fallen under the legend's spell knows: that the man born David Jones, who'd be 75 as this doco hits screens if he was still alive, can, must and always has spoken for himself. The task, then, is the same as the director had with the also-excellent Cobain: Montage of Heck and Jane Goodall-focused Jane: getting to the essence of his subject and conveying what made him such a wonder by using the figure himself as a template. Nothing about Bowie earns an easy description. Nothing about Bowie, other than his stardom, brilliance and impact, sat or even stood still for too long. Driven by themes and moods rather than a linear birth-to-death chronology, Moonage Daydream leaps forward with that same drive to ch-ch-change, the same yearning to keep playing and unpacking, and the same quest for artistry as well. Taking its aesthetic approach from its centre of attention means peppering in psychedelic pops, bursts of colour, neon hues, and mirrored and tiled images — because it really means making a movie that washes over all who behold its dance, magic, dance. That's the reaction that Bowie always sparked, enchanting and entrancing for more than half a century. In successfully aping that feat, Morgen's film is as immersive as an art installation. Exhibition David Bowie Is has already toured the world, including a 2015 stint Down Under in Melbourne; Moonage Daydream sits partway between that and a Bowie concert. This gift of sound and vision is as glorious as that gig-meets-art concept sounds — and yes, live footage beams and gleams throughout the documentary. Among the snippets of interviews, smattering of music videos, melange of clips from cinema touchstones that reverberate on Bowie's wavelength in one way or another, and scenes from his own acting career on-screen and onstage, how could it not? During his five years, fittingly, spent making Moonage Daydream, Morgen had access to the original concert masters, from which he spliced together his own mixes using alternative angles. Zooming back to the androgynous space-alien Ziggy Stardust and the Spiders from Mars tour is exhilarating, including when the feature's eponymous song explodes. Jumps to the 90s, to the Outside and Earthling tours, resonate with awe of a more grounded but no less vibrant kind. The Serious Moonlight segments, hailing from the 80s and all about pale suits and glistening blonde hair, see Bowie relaxing into entertainer mode — and, amid discussions about his wariness about making upbeat tunes, mastering that like everything else. Read our full review. TICKET TO PARADISE Here we go again indeed: with the George Clooney- and Julia Roberts-starring Ticket to Paradise, a heavy been-there-done-that air sweeps through, thick with the Queensland-standing-in-for-Bali breeze. The film's big-name stars have bounced off each other in Ocean's Eleven, Ocean's Twelve and Money Monster before now. Director Ol Parker has already sent multiple groups of famous faces to far-flung places — far-flung from the UK or the US, that is — as the writer of the Best Exotic Marigold flicks and helmer of Mamma Mia! Here We Go Again. Enough destination wedding rom-coms exist that one of the undersung better ones, with Keanu Reeves and Winona Ryder, is even called Destination Wedding. And, there's plenty of romantic comedies about trying to foil nuptials, too, with My Best Friend's Wedding and Runaway Bride on Roberts' resume since the 90s. Hurriedly throw all of the above into a suitcase — because your twentysomething daughter has suddenly announced she's marrying a seaweed farmer she just met in Indonesia, if you're Clooney and Roberts' long-divorced couple here — and that's firmly Ticket to Paradise. As The Lost City already was earlier in 2022, it too is a star-driven throwback, endeavouring to make the kind of easy, glossy, screwball banter-filled popcorn fare that doesn't reach screens with frequency lately. It isn't as entertaining as that flick, and it certainly isn't winking, nodding and having fun with its formula; sticking dispiritingly to the basics is all that's on Parker's itinerary with his first-timer co-scribe Daniel Pipski. But alongside picturesque vistas, Ticket to Paradise shares something crucial with The Lost City: it gets a whole lot of mileage out of its stars' charisma. A quarter-century back, David (Clooney, The Midnight Sky) and Georgia (Roberts, Gaslit) were the instantly besotted couple impulsively tying the knot (if Ticket to Paradise is successful enough to spawn more movies, a prequel about the pair's younger years will likely be on the list). Alas, when this film begins, they can't stand to be anywhere near each other — room, city or state — after splitting two decades back. With their only child Lily (Kaitlyn Dever, Dopesick) graduating from college, they're forced to play faux nice for a few hours, but squabble over the armrest, then get publicly competitive about who loves their daughter more. This wouldn't be a rom-com led by Clooney and Roberts if schoolyard teasing logic didn't apply, though: they fight because sparks still fly deep down. And they keep verbally sparring when Lily announces a month later that she's met Bali local Gede (Maxime Bouttier, Unknown) on a getaway before she's supposed to put her law degree to its intended use, and that she'll be hitched within days. If another template that Ticket to Paradise happily follows is to be believed, parents don't respond well to their kids plunging into matrimony, especially without notice. David and Georgia are no different, desperately wanting to stop Lily from repeating their own mistakes and willing to zip halfway around the world to do so — hence the feature's airfare moniker. They attempt to unite over sabotaging the wedding, but old habits die hard amid tussling with biting dolphins, stealing rings and putting up with Paul (Lucas Bravo, Emily in Paris), Georgia's younger, deeply infatuated boyfriend. Amid drunken beer pong matches and daggy dances to 90s tracks, plus getting stuck in the Balinese jungle overnight as well, older feelings die harder still, of course — and a ticket to surprises or fresh material, this clearly isn't. Read our full review. CLEAN "It's a shock to the system. It's a change to the everyday, regular routine. It's where the unhappy gene comes out — and it's a sign of the times today." That's the gloriously candid and empathetic Sandra Pankhurst on trauma, a topic she has literally made her business. Later in Clean, the documentary that tells her tale, she describes herself as a "busy nose and a voyeur"; however, that's not what saw her set up Melbourne's Specialised Trauma Cleaning. For three decades now, her company has assisted with "all the shitty jobs that no one really wants to do," as she characterises it: crime-scene cleanups, including after homicides, suicides and overdoses; deceased estates, such as bodies found some time after their passing; and homes in squalor, to name a few examples. As she explains in the film, Pankhurst is eager to provide such cleaning services because everyone deserves that help — and because we're all just a couple of unfortunate turns away from needing it. The 2008 movie Sunshine Cleaning starring Amy Adams (Dear Evan Hansen) and Emily Blunt (Jungle Cruise) fictionalised the trauma-cleaning realm; if that's your touchstone at the outset of Clean, prepare for far less gloss, for starters. Prepare for much more than a look at a fascinating but largely ignored industry, too, because filmmaker Lachlan Mcleod (Big in Japan) is as rightly interested in Pankhurst as he is in her line of work. Everything she says hangs in the air with meaning, even as it all bounces lightly from her lips ("life can be very fragile", "every dog has its day, and a mongrel has two" and "life dishes you out a good story and then life dishes you out a shit one" are some such utterances). Everything feels matter of fact and yet also immensely caring through her eyes, regardless of the situation that her Frankston-headquartered employees are attending to. Sometimes, STC does confront harrowing and grimy messes that could be ripped straight out of a crime drama, but ensuring that the families don't have to swab up themselves after a gory incident is a point of pride. Sometimes, it aids people with disability or illness by playing housekeeper when they can't, or sorts through a lifetime of possessions when someone has turned to hoarding. There's no judgement directed anyone's way, not by Pankhurst or the crew of committed cleaners who've formed a family-like bond under her watch. It takes a particular sort of person to do this gig, everyone notes, and the group is as sensitive and considerate as their boss because most have experienced their own hardships. They can also see what she sees: "everyone's got trauma; it's not the demographic, it's the circumstance". Pankhurst's company and tale isn't new to the public eye, thanks to Sarah Krasnostein's award-winning 2018 book The Trauma Cleaner: One Woman's Extraordinary Life in the Business of Death, Decay and Disaster — and both there and here, the role she has played and the fortitude she has displayed while sifting through her own personal traumas earns merited attention. Mcleod keeps his focus on STC for the film's first third, aided by Pankhurst's frank insights, but the many layers to the business, its workers and its clients are paralleled in her own multifaceted story. Clean takes her lead, though; never within its frames does Pankhurst offer up a simple assessment of herself, other than saying she'd liked to be remembered "as a kind human being — nothing more, nothing less". As a transgender woman who was adopted at birth, grew up in an abusive household, married and had a family, performed as a drag queen, undertook sex work, survived rape and drugs, transitioned, and became one of Australia's first female funeral directors, nothing about her can be deduced to a few mere words. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on June 2, June 9, June 16, June 23 and June 30; and July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; and September 1 and September 8. You can also read our full reviews of a heap of recent movies, such as Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl and Flux Gourmet.
When you're a kid, there's little that's more exciting than hopping into an inflatable pool in your backyard on a toasty summer day. When you're an adult, you've realised that filling a children's pool with ice makes a great esky — especially those clamshell setups — and you might think that your days of splashing around in a piece of vinyl are well behind you. No one is ever too old to cool down in a blow-up pool, though, so new Melbourne-based company Pool Buoy has made a range of inflatable numbers that look far more stylish than whatever plastic thing you had when you were a kid. Accordingly, they're designed for all ages — and, because they're made from non-toxic, heavyweight vinyl that's BPA, phthalate and lead-free, they're also environmentally friendly. Five styles currently sit in Pool Buoy's catalogue, so you can choose one that suits your mood, personality or outdoor decor. Or, just one that you'd like to escape the heat in — with a drink in your hand, with your pooch or with your mates. They all look the same in terms of shape and structure, but one comes in a flamingo pink hue with big orange splotches, and two different versions resemble terrazzo. There's also a peach number with a grid print, plus a design that things simple via a black squiggle across a white background. Whichever version takes your fancy, Pool Buoy's cute pools measure 165 centimetres in diameter and 35 centimetres high, and can fit two or three adults. They'll set you back $149 each — and, to inflate them, you can also buy a pump for $39. Because leaks happen, each pool also comes with a complimentary repair kit, and Pool Buoy will provide you with another one if you need to patch things up more than once. For more information about Pool Buoy's range — or to buy one of its pools — head to the company's website.
When Golden Century closed down it left a yum cha-sized hole in the heart of Sydney — one that was only compounded by the loss of Marigold later that year. While you can still get the Golden Century team's famous XO-drenched pipis at the appropriately named XOPP, the closing of the original location left many locals longing for the rattling of yum cha trollies and late-night feeds like no other. Thankfully, the old Golden Century space has not been renovated into a set of apartments or a high-end boutique, but instead has reemerged as Royal Palace Seafood Restaurant, an expansive 600-person Cantonese restaurant with dining until 3am, live seafood tanks and yum cha. The impressive Haymarket restaurant is split across three levels. On level one, you'll find the a la carte dining room lined with 24 live seafood tanks with lobsters, crabs and fish. Head upstairs to level two for yum cha service or to nab a private dining suite. And on level three, you'll discover a dedicated function space that can host 175 guests. Living up to its name, seafood plays a pivotal role on the menu, with highlights including pipis in XO sauce, lobster and braised noodles, and Singapore chilli crab. There are also plenty of crowd-pleasing classics like Peking duck pancakes, crispy roast pork and honey-glazed char siu. Up in Royal Palace Seafood Restaurant's yum cha zone, you can expect a classic spread. Prawn dumplings, siu mai and Cheung fun rice rolls are just some of the tasty plates being wheeled around. And, make sure to leave room for dessert, with egg tarts and mango pancakes available after you've worked through the dim sum offering. Golden Century's late-night opening hours were always a huge drawcard at the original restaurant, and Royal Palace Seafood Restaurant is committed to carrying this torch. The full menu is available until 10.30pm Sunday–Wednesday, and all the way until 3am Thursday–Saturday.
If you want to get yourself a pink pepper martini and some gluten-free tapas you've come to the wrong place, my lad. Get thee up the road and into the bosom of Surry Hills, for the East Sydney Hotel is a proper pub: no nonsense beer, a decent steak and plenty of merriment. And not a cocktail umbrella in sight. The East Sydney Hotel speaks to what a Sydney pub might have been fifty years or ago, or a hundred years ago for that matter. You can imagine proper men, from the age when men still wore hats and non-ironic moustaches, populating the amiable darkness of the pub and nursing their beers after a hard day. The East Sydney prides itself on being the last proper country-style pub left in Sydney, which has got to be a hard task when you're located between the borders of Surry Hills and Woolloomooloo. (Fun fact: 'Woolloomooloo' is my absolute favourite word to say, and spell, after a few drinks). But they've managed to firmly maintain their integrity, despite the waves of gentrification sweeping in from all sides. A haven from the crowds, the East Sydney has been serving beers since 1924 and after all this time is still a firm favourite of locals, as well as the drifters and transients which flock to that part of the city. Inside you'll find historically restored dark finishings, wooden floor boards with copper nails, an open fire place and, I kid you not, no pokies at all. Not one. You'd be foolish to drink anything fancier than a beer here and, in keeping with the country-establishment theme, the food conforms to your typical pub-fare expectations: schnitzel, sausages and a decent steak. There's also accommodation upstairs for those who decide they really never want to leave. In summer the outside seating provides respite from the heat when the sea breeze blows in the right direction, and in winter there's no better place to be than adjacent to the old open fire place. The service is friendly, the booths are comfortable and the warmth of the place provides a welcome respite from the storm of activity that carries on in the surrounding streets. Images: Cassandra Hannagan
When Black Widow reaches both cinemas and streaming this July, it'll mark only the second film in the Marvel Cinematic Universe that solely focuses on a female protagonist. Yes, really. Come September, when the franchise's next flick hits, it too will make history — because Shang-Chi and The Legend of The Ten Rings is the MCU's first movie with an Asian lead. Hitting that milestone is obviously long overdue; Shang-Chi and The Legend of The Ten Rings will be the 25th MCU flick, after all. Simu Liu is doing the honours, playing the titular martial artist and trained assassin, who has spent ten years living a normal life but is suddenly drawn back into the shady Ten Rings organisation. As the just-dropped first trailer for the new superhero feature shows, Kim's Convenience star Liu will have plenty of chances to show off his character's skills. He'll have impressive company, too. Shang-Chi and The Legend of The Ten Rings's cast includes Awkwafina, following on from her voice work in fellow Disney release Raya and the Last Dragon; the great Michelle Yeoh, who was last seen on the big screen in Last Christmas and Boss Level; and the just-as-iconic Tony Leung Chiu-Wai, a mainstay of Wong Kar-Wai's films such as In the Mood for Love, 2046 and The Grandmaster. Fala Chen (The Undoing), Florian Munteanu (Creed II), Ronny Chieng (Godzilla vs Kong) and debutant Meng'er Zhang also feature, while Short Term 12 and Just Mercy's Destin Daniel Cretton is on directing duties. And, while watching the initial teaser, you can be forgiven for looking out for familiar sights amid the heavy martial arts action, with the movie shot in Sydney. Shang-Chi and The Legend of The Ten Rings will be the second of three new Marvel flicks to reach cinemas this year, sandwiched between the aforementioned Black Widow and the Angelina Jolie-starring Eternals. The MCU is making up for lost time, after 2020 passed by without a new cinema release due to the pandemic — although the franchise has been busy on the small screen in 2021's first half, thanks to WandaVision, The Falcon and the Winter Soldier and the upcoming Loki. Check out the trailer below: https://www.youtube.com/watch?v=NzQbZjeBzHQ&feature=youtu.be Shang-Chi and The Legend of The Ten Rings releases in cinemas Down Under on September 2, 2021.
The Inner East's accommodation game is already strong, with the likes of The Ace Hotel and Crystalbrook Albion offering characterful guest rooms with plush facilities and top-of-class hospitality. However, a newcomer to the area is ready to loft this standard to even greater heights. The EVE — a luxury boutique stay operated by TFE Hotels at the newly minted Surry Hills Village development — is set to open on February 13, 2025 and the first guests to check in can expect an exclusive package in celebration. The brainchild of SJB's Adam Haddow, 360 Degrees' Daniel Baffsky and Interior Architect George Levissianis, The EVE is designed to reflect the vibrant and dynamic energy of its urban neighbourhood while offering a lush retreat that feels a million miles from the hustle of the city: a stylish intersection of art, hospitality and culinary excellence. This trio of creatives has crafted a series of spaces that pair their beautiful aesthetics with thoughtful functionality, delivering a stay that has all the mod cons you'd expect from a five-star stay as well as a whole lot of personality. [caption id="attachment_982262" align="alignnone" width="1920"] The EVE Hotel lobby[/caption] Visitors enter via an airy art-filled lobby bar, immediately immersing them in a world of vibrant creativity. The vaulted ceilings, curated interiors and bespoke art installations — including several pieces from prominent Surry Hills artist and gallery owner, Louise Olsen — offer a striking introduction to The EVE's design ethos. Next, guests can explore a rooftop garden landscaped by Daniel Baffsky combining native and exotic plants in layered arrangements that meld architecture with nature. The 20-metre rooftop pool, finished with natural stone and imported Sukabumi tiles provides the perfect setting for a lush urban haven with panoramic views over Redfern and Surry Hills. Baffsky's planting extends seamlessly into Wunderlich Lane, Surry Hills Village's hospitality and retail precinct, creating a conscious connection between the hotel and the area's varied dining options. [caption id="attachment_982258" align="alignnone" width="1920"] Rooftop garden and pool[/caption] At the heart of The EVE's hospitality offering is Bar Julius, the European-style neighborhood bar created by Liquid & Larder, the team behind celebrated Sydney venues including Bistecca and The Gidley. With an all-day dining concept, Bar Julius seamlessly transitions from morning espressos to evening cocktails, offering a menu that celebrates fresh, bold flavours and new takes on beverage classics. The inviting space, highlighting rich burgundy tones, tactile marble, and a striking ceiling mural captures the charm of a European bistro while staying firmly rooted in Sydney's dynamic culinary culture. To inspire visitors to become a part of The EVE's new beginning, the hotel will be offering a curated package titled The Reveal to welcome its first guests. Highlighting the hotel's celebration of culinary artistry, cultural immersion and luxurious ameneties, guests will be able to indulge in a Bar Julius signature cocktail and bespoke EVE gift to remember their stay. [caption id="attachment_982263" align="alignnone" width="1920"] Bar Julius[/caption] "The EVE is about creating spaces that inspire and connect, while paying homage to the rich cultural and natural heritage of Sydney," says Haddow. "Every detail — from handcrafted lighting to the Australian palette — has been designed to reflect this vision." You can find The EVE Hotel Sydney at 8 Baptist St, Redfern starting Feb 13, 2024. For bookings and more information, visit The Eve website.
Sydney's blazing summers aren't just a blessing for beachgoers. If you're fond of cooling down on dry land with a spritz in your hand and the sun's rays on your face, this is your time to shine. Our gorgeous climate, tastebud-tempting cocktails, and that carefree vibe that floats across the harbour as soon as the season hits are certain to bring Sydneysiders together. If you're wondering where to head, we've teamed up with Aperol to pick nine must-visit spots that'll take care of this year's holy trifecta: spritzes, all that glorious sunshine, and ample space for you and your pals.
Every last trilby-wearing tween celebrity, former President's daughter and your smug, smug US-based friends will be rubbing their paws together after this afternoon's Coachella festival lineup announcement. Running over two weekends from April 10–19, the Californian festival has delivered its usual jaw-dropper of a lineup. Leading the charge on both Saturday nights will be Travis Scott — who was set to perform in Australia this summer at the cancelled Sandtunes festival — while Frank Ocean will be doing the honours on Sundays. Fridays, however, will be led by the recently reunited 90s rock icons Rage Against the Machine. Elsewhere, a bonafide metric fucktonne of squealworthy acts fill out the rest of the bill — Lana Del Rey, Flume, Calvin Harris, FKA Twigs, Run the Jewels, Charli XCX and Fatboy Slim to name a few. Anyway, let's be honest, you haven't truly read any of those words — you'll be wanting this: https://www.instagram.com/p/B613-zinSA0/ Weekend one is already sold out, but presale tickets for weekend two are available from 7am AEDT, Tuesday, January 7. You can signup for access over at the website. Coachella runs from April 10–12 and 17–19 at the Empire Polo Club in Indio, California. Find out more info and register for tickets at coachella.com.
Already an enormous success on Broadway, in London's West End and in Melbourne, Tony and Olivier award-winning musical Come From Away is touring its remarkable true tale around Australia's east coast. Based on real post-September 11 events, the acclaimed production will actually return to Melbourne in January 2021 for an encore season of kind-hearted charm, before heading to Brisbane in March and Sydney in June — visiting the Queensland and New South Wales capitals for the first time. If you aren't familiar with the musical's plot or the actual events that inspired it, it's quite the exceptional story. In the week after the September 11 attacks in 2001, 38 planes were unexpectedly ordered to land in the small Canadian town of Gander, in the province of Newfoundland. Part of Operation Yellow Ribbon — which diverted civilian air traffic to Canada en masse following the attacks — the move saw around 7000 air travellers grounded in the tiny spot, almost doubling its population. Usually, the town is home to just under 12,000 residents. To create Come From Away, writers and composers Irene Sankoff and David Hein spent hundreds of hours interviewing thousands of locals and passengers, using their experiences to drive the narrative — and, in many cases, using their real names in the show as well. The result is a musical not just about people coming from away (the term that Newfoundlanders use to refer to folks not born on the island), but coming together, all at a time when tensions were running high worldwide. Since being workshopped in 2012, having a run in Ontario in 2013, then officially premiering in San Diego in 2015, Come From Away has become a global smash hit. After opening on Broadway in 2017, it was still running before the theatre district closed due to COVID-19. The musical wowed crowds in the West End, too — and, when it first opened in Melbourne in July 2019, it became the Comedy Theatre's most successful musical in the venue's 91-year history. Along the way, the show has picked up a Tony Award for best direction of a musical, six other nominations, and four Olivier Awards out of nine nominations. Come From Away was actually initially due to head from Melbourne to Sydney in 2020, but that's one of the many things that didn't happen this year. COME FROM AWAY 2021 AUSTRALIAN TOUR Melbourne: January 19–March 21, Comedy Theatre Brisbane: March 26–April 18, QPAC Lyric Theatre Sydney: June 3–July 21, Capitol Theatre https://www.youtube.com/watch?v=-zmvy1p2FOE&feature=emb_title Come From Away will return to Melbourne's Comedy Theatre from January 19–March 21, then hit Brisbane's QPAC Lyric Theatre from March 26–April 18 and Sydney's Capitol Theatre from June 3–July 21. For further information — or to buy tickets — visit the musical's website. Images: Jeff Busby.
Sometimes it takes a crisis to appreciate the little things in life — for example, what feels like to watch an acrobatic fly twizzle a matchstick with perplexing grace and accuracy. In 'normal times' we might have missed this moment of joy, but now, thanks to the Art Gallery of New South Wales' digital portal the three-minute archival film has lifted our spirits giving us an intriguing escape from 2020. "Optimism through art" is the aim of the new Together in Art digital space on the AGNSW website, says Art Gallery of NSW director Dr Michael Brand. It contains bite-sized art experiences that you didn't know you needed, but will capture your attention and give you something beautiful, inspiring, unsettling or unusual to hook onto — even for a short while. You can watch painter Ben Quilty and his daughter Livvy show you how to draw a face, artist Nell has an amusing and hopeful three-minute video on how to solve a problem (below), and there are clips of singers Sarah Belkner and Ngaiire performing in empty exhibition spaces. It's a digital gallery where you can actively learn, or simply tune into something more transportive than the latest Tik Tok track doing the rounds. The Art Gallery itself is closed to the public in line with the government's social distancing advice, and this means even the most regular visitors may have missed current exhibitions such as Shadow catchers or Under the stars, which opened just prior to the lockdown. You can explore the themes of these exhibitions in video interviews and tours. And, especially for Together in Art, there are Pocket Exhibitions put together by the Gallery's curators — such as Working from home: a Dog's perspective, a micro series of dog portraits and photographs compiled in a brief slideshow. Those looking for projects should make a beeline for the series of art-making classes from various artists in their studios. Though some of the videos are geared towards kids, there's a lot of accessible art tips that are just as appealing to adults. Our pick for a weekend project is learning how to turn your old magazine pile into a Dada poem with contemporary artist Tony Albert and his niece. The Gallery plans to add to its Together In Art series every day, and you can follow its program across social media pages, Youtube and on the Gallery's website. Images: 1. Musician Joji Malani performs in the Grand Courts at the Art Gallery of New South Wales. 2–3. Singer Sarah Belkner performs a vocal improvisation with herself in the exhibition 'Shadow catchers'. 4. Ngaiire performs in the Australian Galleries. All photography: Matt McGuigan, Hospital Hill.
The transformation of what was formerly The Bristol Arms Hotel — a classic CBD boozer on Sussex Street with traditional interiors and a bog-standard pub grub menu — into The Bristol — a five-level, multi-venue hospitality hotspot with a stunning rooftop bar, a celebrity chef overseeing the food offering and a no-expense-spared fitout — has captured the attention of Sydneysiders. While The Rooftop, with its colourful Mediterranean vibes and spacious terraces, is perfect for a sunset sip, The Bristol's sleek and sophisticated cocktail lounge, Midtown, is the place to be after dark. Its dark wood panelling, deep-pile carpets, velvet loungers and marble-topped bar set a luxuriant tone — a sultry, intimate space where Gatsby-coded art deco decor mingles with Vegas-esque levels of decadence and fun. Overseeing the all-important cocktail menu is Tom Opie, a finalist in the 2024 Bartender of the Year Awards and the recent National Winner of the Stauning Drinks Kollektive. Much like the decor, his approach fuses traditional concepts with contemporary flourishes, delivering riffs on the classics that also showcase a sense of play. Standouts include a singular take on the espresso martini featuring juiced sweet potato and sweet potato skin caramel and a dirty martini supercharged with absinthe, banana and olive brine. The infamous Sex On The Beach gets a classy makeover with the addition of acidified blood orange and okar amaro bitters, while more avant-garde libations for the true cocktail connoisseur include a signature champagne cocktail starring fermented calimansi, Armagnac and a calimansi reduction. Chef Peter Conistis (formerly of Alpha), who has delivered dining concepts for all five of The Bristol's venues, has created bar snacks that lean luxe while still being accessible. Think Thesauri Ossetra caviar served with blinis, crème fraîche, taramosalata and chives, and halloumi fries with mint and black olive crumble. For those with a sweet tooth, there are sharable treats like popcorn with dark chocolate and baklava. The entertainment offering will include live jazz performances, courtesy of a baby grand piano in the main bar area, while a striking, marble-clad fireplace adds a touch of cosiness when the colder months roll around. While Midtown is a nightlife destination in its own right, all the venues in The Bristol can work in concert to deliver an end-to-end solution for a complete night out all under one roof. Begin with drinks at The Rooftop or at the ground-floor casual bar before dinner at the soon-to-be-opened Greek diner, Ela Ela. After your meal, it's time for a few after-dinner drinks at Midtown before heading one floor down to the venue's nightclub Calypso, where you can dance into the small hours. Images: Steven Woodburn
For the better part of 80 years, a biannual charity event has been putting clothes on the backs of customers and vulnerable children alike. Hosted by Barnardos Australia and the Peter Pan Committee, the Peter Pan Winter Op Shop brings together donations from everyday Aussies as well as designer brands for a three-day event of clothing bargains. All the proceeds go to Barnardos, a charity dedicated to helping vulnerable children who suffer from abuse or neglect. The upcoming Peter Pan Winter Op Shop will be hosted at the Paddington RSL from Friday, June 2, to Sunday, June 4. On offer will be a massive haul of wearable items, including a surplus of designer goods, pre-loved favourites, vintage pieces or end-of-season stock from local retailers. Donations are still welcome and encouraged, so if your wardrobe is overflowing with outfits you never wear anymore, this is a great reason to send them to a new home. Your clothes will join a catalogue next to brands like Bianca Spender, Sass & Bide and Zimmermann. If you want to take it a step further, you can also volunteer to help set up, manage and pack away the event. Check the Barnardos website to find out how. The Peter Pan Winter Op Shop runs from 10.30am to 5pm on Friday, June 2 and Saturday, June 3, then 10.30am to 3pm on Sunday, June 4. For more information, visit the website.
This article is sponsored by our partners, lastminute.com.au. The Barossa Valley may produce a wide selection of mighty fine drops, but it's also one of the world's friendliest wine regions in the world. Wine makers will happily stop for a chat to let you in on a few of their techniques; cellar door staff don't mind helping you to distinguish your chocolate tones from your blackberry ones; and there's every chance your bed and breakfast hosts will feel like a homely aunt and uncle. What's more, the area is really accessible. Though it seems a world away, it's less than an hour's drive from Adelaide. And, to make it even easier, many of its 80 cellar doors and 150 wineries are grouped in clusters. So, in the absence of a designated driver, you can walk or cycle from one to the other without too much effort. The wine, of course, is the main attraction of the area. But the Barossa also has a range of other events and festivals. Here are five that are well worth the road trip. Barossa Film Festival For three days each spring, the Valley's wine cellars, brewery lawns and bars are transformed into mini cinemas. But don't expect your everyday blockbusters and rom coms. The Barossa Film Festival focuses on unconventional flicks: the too-often ignored yet totally brilliant creations of independent, underground and emerging filmmakers. And they're all screened free of charge. If you haven't booked your flight/train/camel yet, you'd better do so quick smart. November 28-30, Various venues in the Barossa Valley, FREE. Barossa Gourmet Weekend Held smack-bang in the middle of winter, the Barossa Gourmet Weekend is one sure-fire way to get through the colder months. Every third weekend in August, the valley is overtaken with all manner of food and wine adventures: from cooking lessons and wine masterclasses to long lunches and even longer dinners. As the weather's still nice and sunny, you'll have a while to wait for the program. Details are to be announced in mid-June. August 14-16, Various locations in the Barossa Valley, TBA. Barossa Vintage Festival Of all the wine festivals in Australia, Barossa Vintage is the biggest and longest-running. The event was first held in 1947 to celebrate the end of the grape harvest as well as the end of WWII. Since then it's become tradition; it's been around for nearly six decades. The next incarnation is promising all kinds of surprises, following the appointment of new festival manager Andrew Dundon. Adelaide Fringe-goers should know him well: he's been taking care of artists and venues there since 2011. Look out for the program announcement on December 9. April 15-19, Tanunda, FREE. Shakespeare in the Vines Quirky Melbourne theatre company Essential Theatre takes the bard on the road every year. Their tour of Australia's most beautiful gardens and wineries includes the Barossa Valley's Seppeltsfield Road, where Shakespeare in the Vines occurs on the Saturday of the Australia Day long weekend. Macbeth will be the next work to get the outdoor treatment in 2015, on January 24, 2015. Tickets are always limited to 400, so it's a good idea to book well in advance. January 24, Seppeltsfield Road, TBA. SALA Festival Even though SALA (South Australian Living Artists) Festival is a state-wide event, it takes on an especially vibrant presence in the Barossa. Sculptures, paintings, mosaics and installations are scattered around the area's rolling hills and vineyards; and there's plenty of opportunities to kick back at a gig with a nice drop of wine. SALA runs throughout August every year, so if you make it along to Barossa Gourmet Weekend, be sure to leave yourself a day or two to take in the culture. August 1-24, Various locations across South Australia, TBA. Now you've got your itinerary, book your getaway to the Barossa Valley now with lastminute.com.au.
Sydney has a surprisingly vibrant scene for art after dark. Even now, away from precint-linking festival evenings like Art Months' Art at Night and with Jurassic Lounge finished its summer season, a whole world of late night art remains to keep you warm with culture through the increasingly chilly autumn nights to come. In our city there are enough institutions, exhibitions and installations to fill a week's worth of evening art excursions. And while a week's worth of art after work takes a chunk of stamina, you'll soon find that (drinks aside) most of these excursions are free to boot. Check out Concrete Playground's guide to the best night art this city has to offer. Art After Hours You can get into Art Gallery of NSW electronically at all hours now. But the Gallery still owns Wednesday night in real life with programs big enough to occupy a whole evening on their own. A Sydney late-night pioneer, Art After Hours brings you a line-up of speakers, tours, film and exhibitions every Wednesday. Its current Archibald Prize-linked program of celebrity talks includes appearances from globe trotting correspondent Scott Bevan and, with films in its Postcards from LA series from David Lynch, Gus Van Sant and Steven Soderbergh, you could be forgiven for easily forgetting the art itself at the Archibald, Wynne and Sulman and the permanent exhibitions. Wednesday nights, the Art Gallery of NSW stays open until 9pm. Free, some special exhibitions charge for admission. Thursday Lates The Museum of Contemporary Art Australia's powerful new entry in the evening art calendar is an ongoing night art experience called Thursday Lates. As well as leaving the Clock (and the much-needed level four cafe) running 24 hours, Thursdays have the regular exhibitions open late into the evening, plus talks from curators, performance artists and thinkers add some ideas that aren't on the canvas. And on the first Thursday of the month, the Soap Box series invites you shout out your own ideas to the art public at large. The MCA stays open until 9pm Thursday nights, the Clock screening and cafe will be open all night until June 3. Free. Alaska Projects Artist-run initiative Alaska Projects brings good art to unused places, and its still freshly-minted gallery in a disused Kings Cross carpark gives you the chance to get underground in many senses of the word. While on weekends Alaska Project opens up at a party-friendly late afternoon hour, Thursday and Friday nights the space opens regularly from six. With previous occupants like Siouxzi Mernagh and Samuel Hodge, who knows what the coming cooler months will bring to this bastion of art under the asphalt. Alaska Projects is open 6-8pm on Thursday and Friday nights, 1-6pm on weekends. Free. The Tate Newly established, and ambitiously sharing its name with an older British art institution, the Tate brings art know-how from the Lo-Fi Collective across from Taylor Square to the Toxteth Hotel (next to Glebe Library). The Tate has its grand openings on Wednesday nights, but a unique byproduct of its pub-based locale is that its shows are open late on the weekend as well. Previous exhibitions have encompassed tattooed art and dancehall culture. And while there are no free drinks over the weekend, the prospect of a beer-in-hand with the art upstairs is none too unpleasant a prospect to explore. The Tate is open 6-9pm on Wednesday nights, 3-9pm Thursdays to Sunday. Free. Art Openings & Parties While it's no secret that Wednesday is the big night for Sydney's smaller galleries to run their exhibition openings, a few other evenings are vying for your attention as well. The promise of a little free booze and (hopefully) good art is laid out by galleries with the ambition of exchanging them for punters' attention at the show and (hopefully) a purchase as well. There's a rotating cast of galleries, ARIs and occasional pop-ups to turn your art-loving eye over. Here at Concrete Playground we cover a big chunk of these appealing-looking up and coming shows, but for the mother lode of an evening's worth of Sydney art opening information, you can consult the opening oracle that is Sydney Art Galleries and Art Community, or more formal country-wide art almanacs like Art Guide and Art What's On. Exhibition openings tend to run from 6-8pm and cluster around Surry Hills, Darlinghurst, Chippendale, the CBD and Marrickville. Wednesday night is the big night. Check our previews, or one of the almanacs above, for details of specific nights. Usually free. Leading image from Art Month Sydney. Art After Hours image by AGNSW. Image for Openings is of Vivid Creative Sydney Opening 2010. Vivid Light Sculptures will also be open late for art viewing during June.
It's not news that LAX is a hell hole to travel through. The long lines, endless delays and insane amount of swarming people can easily do your head in. That is, unless, you have $7500 to spare. As of May 15, VIP travellers at LAX now have access to an exclusive new terminal — The Private Suite makes the flying process laughably easy, offering luxury waiting suites, a dedicated TSA security line and even transport onto the tarmac in a BMW 7-Series sedan. On airport arrival, travellers are assigned a dedicated eight-person team to escort them to their personal suite, which includes a fully stocked bar and food pantry, two-person daybed, flatscreen TV, private bathroom and views of the airport runways. This team includes two personal assistants, one security personnel and one whom you never meet but handles all of your luggage. The entire process is reversed when members arrive into LAX, so you're covered either way. According to The Private Suite, it typically takes 2200 footsteps from car to plane, but, for members, they're cutting that number to a cool 70 steps total. While this service is the first of its kind in the States, similar VIP terminals exist at London's Heathrow, Munich and Dubai airports. It's clear each of these services is catering to dramatically affluent humans and, especially in LAX, the Hollywood 'elite' specifically. According to the website, "Members don't walk down long crowded concourses, or line up at ticket counters and boarding gates. They don't deal with baggage. And they don't deal with paparazzi." All this obviously sounds fantastic, but it comes at a serious price — the cost for The Private Suite during trial period is $3500 for domestic and $4000 for international, on top of your flight. The price does cover an entourage of three passengers, though, and they also offer slightly cheaper shared lounge services for $2000–$2500. On top of these charges, membership to the program costs an additional $7500 per year, but does get you in at a bit of a cheaper price point per flight. Membership will also get you the crème de la crème treatment, including complimentary in-suite massage, hair, make-up and nail services. Importantly, photography, video, and audio recordings are strictly prohibited in The Private Suite. What happens in The Private Suite, stays in The Private Suite. Images: The Private Suite.
One device to brew them all? Blending slow cold drip coffee with cold/hot pourovers in one genius brewing device, two Queensland coffee companies are teaming up to crowdfund the Brewover. Green coffee supplier Bean Grean and roaster Manna Beans are trying to raise $65,000 toward this new controllable flow hot/cold brewer, which would prick the ears of many an Australian cafe needing to save on space (or straight-up coffee nerds in general). The Kickstarter campaign, which prices the Brewover at around $60 a pop, has currently raised $13,300 with 29 days to go. So how does it work? Coffee purists might turn their nose up, but the team truly know what's up when it comes to coffee brewing methods. The Brewover all hinges on what's called the flow control valve, allowing to switch between three different brewing methods: hot/cold pourovers and cold drip. Pourovers are easy stuff; just pop a Chemex filter in the glass cone and brew hot/cold as usual. Cold drip? Just use the same glass cone as a water reservoir and attach an Aeropress filter under the brew chamber. Pure, well-brewed genius. Via Daily Coffee News.
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.
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? Fans of The Bear will soon find out. The show's third season is about to be served, arriving at the end of June — and in the latest trailer, culinary chaos remains on the menu. "This is a dysfunctional kitchen," says Sydney (Ayo Edebiri, Bottoms) in the new sneak peek. "Show me a functional one," pipes back Carmy (Jeremy Allen White, The Iron Claw) and Richie (Ebon Moss-Bachrach, No Hard Feelings) in unison. The rest of the trailer is teeming with the hustle and bustle of the trio, and their colleagues, friends and family, working through the reality of having made their hospitality dreams come true. [caption id="attachment_954671" align="alignnone" width="1920"] Chuck Hodes/FX[/caption] As the first glimpse at season three also showed, The Bear's namesake restaurant is now open, after Carmy, Sydney, Richie and the team transformed their beef-slinging eatery (where season one's action took place) into an upscale restaurant (with that process fuelling season two). But staying operational is still a struggle, with the new batch of episodes set to chart Carmy's quest for culinary perfection, plus the stresses that both it and being in the restaurant trade in general bring. How that pans out will be revealed on Thursday, June 27 both in the US and Down Under. In the past, there's always been a wait for Aussie and NZ viewers — season one hit in June in America, then in August in Australia; with season two, US viewers still had a June date, while Aussies and New Zealanders had to wait till July — but thankfully that isn't the case this time. Comfort food and winter do go hand in hand, after all — and since 2022, so have chaotic culinary dramedies and the frostiest time of the year Down Under. It was two years back that The Bear debuted to become one of the best new shows on television. In 2023, it then became one of the best returning shows on TV that year. The Bear was renewed for season three in November 2023 to the surprise of no one, but to the joyous shouts of "yes chef!" from everyone. Also, even though that third season hasn't yet dropped, it looks as if the show has been renewed for its fourth season already as well. If you've missed The Bear so far, its first season jumped into the mayhem when Carmy took over the diner after his brother's (Jon Bernthal, Origin) death. Before returning home, the chef's resume featured Noma and The French Laundry, as well as awards and acclaim. Then, in season two, Carmy worked towards turning the space into an upscale addition to his hometown's dining scene, with help from the restaurant's trusty team — including a roster of talent also spans Abby Elliott (Indebted) as Carmy's sister Natalie, aka Sugar, plus Lionel Boyce (Hap and Leonard), Liza Colón-Zayas (In Treatment), Edwin Lee Gibson (Fargo) and IRL chef Matty Matheson among the other staff. Check out the latest trailer for The Bear season three below: The Bear streams via Disney+ in Australia and New Zealand, with season three arriving on Thursday, June 27. Read our review of season one and review of season two.
When you've created a huge hit HBO TV show that's known for filling its frames with parties, drugs, attractive actors and plenty of drama, what do you move onto next? If you're Euphoria creator Sam Levinson, you keep doing what's worked for you so far. The writer, director, producer and creator isn't done with his Zendaya-starring success just yet — it's been renewed for a third season, so more is definitely in the works — but he's also teamed up with Abel 'The Weeknd' Tesfaye on upcoming HBO series The Idol. "If it ain't broke, don't fix it" is clearly Levinson's motto. "If it ain't broke, bust it out again elsewhere" works, too. This time, however, instead of exploring the ups and downs of high school, he's jumping into the music industry. Starring and co-created by The Weeknd — with writer and executive producer Reza Fahim also credited as a co-creator — The Idol is set to chronicle the chaos that comes with chasing pop stardom. From the just-dropped first teaser, it spans the parties and drugs as well. The focus: a self-help guru and leader of a modern-day cult, played by The Weeknd, as well as the up-and-coming pop idol that he starts a complicated relationship with. Lily-Rose Depp (Voyagers, The King) also stars. From there, details get thinner. The trailer sets a vibe but gives away few other narrative details, other than thrusting Depp's character into a heady new world — and having an unseen figure, presumably The Weeknd, ask if she trusts them. When it was originally announced in November 2021, The Idol was set to span six episodes, all filmed in Los Angeles — with She Dies Tomorrow's Amy Seimetz directing every single one. But back in April this year, it was revealed that Seimetz had left the project and reshoots were underway as a result. How that'll impact the end product is obviously yet to be seen. Exactly when The Idol will surface both in the US and Down Under hasn't been announced yet, either. Also set to pop up in the series: Troye Sivan (Boy Erased), Steve Zissis (Happy Death Day 2U), Melanie Liburd (This Is Us), Tunde Adebimpe (Marriage Story), Elizabeth Berkley Lauren (Saved By the Bell), Nico Hiraga (Booksmart) and Anne Heche (All Rise). That said, whether the show's cast has been affected by the reshoots also hasn't been revealed. Check out the first teaser trailer for The Idol below: The Idol doesn't yet have a release date, including Down Under — we'll update you when one is announced.
Pastry fans of Sydney, it's time to get excited — because Lune Croissanterie is launching its first-ever Sydney shopfront in Darlinghurst in 2023. Australian developer TOGA Group who is overlooking the transformation of 60, 90 and 120 Oxford Street has confirmed the first two tenants for the expansive project will be Lune Sydney and local customer service research start-up Dovetail. The croissanterie's inaugural Sydney outpost will occupy a 300-square-metre section of 60 Oxford Street on the building's lower ground floor with a restored heritage facade. The expansive new venue is also set to boast al fresco seating, with TOGA confirming the space will spill out onto neighbouring backstreets Foley and Burton Street. "We could not be more thrilled to have secured this marquee space in the beautiful Oxford and Foley development," Director and Founder of Lune, Kate Reid said. "One of the most iconic hospitality precincts in Sydney, the prospect of Lune being in the neighbourhood of many heavyweight Sydney greats in Darlinghurst and Surry Hills is incredibly exciting for us, and we only hope to add to this with our specific brand of buttery deliciousness. We can't wait to show the world what we have in store for Lune Sydney!" Reid continued. Lune's first-ever New South Wales store will become the chain's Sydney flagship — obviously with a menu of Lune Croissanterie favourites. If it's like the brand's other locations, coffee will be on offer as well, and Sydneysiders can look forward to a range of specials that'll rotate monthly. If this all sounds familiar, that's because Reid confirmed that the Lune crew was looking for a space to expand their empire to in Sydney back in early 2020. Lune also hinted that this announcement may be around the corner earlier this year, posting a job listing for a front-of-house manager back in May. It's been a big decade for the brand, after starting a tiny store in the Melbourne suburb of Elwood in 2012. Since then, Lune has grown into a converted warehouse space in Fitzroy (with perpetual lines out the front), opened a second store in the CBD and then launched in Brisbane in 2021. And, amid all that, it was even dubbed "the finest you will find anywhere in the world" by The New York Times. TOGA's multimillion-dollar revamp of Oxford Street has been in the works since 2021, with the developer undertaking three key Oxford Street buildings with refurbishment, restoration and renovation. Dubbed Oxford & Foley, the three buildings will play home to commercial, retail and boutique hotel spaces — with TOGA hoping to inject more art, culture and hospitality into the iconic Sydney street following a slew of tough lockout law- and pandemic-impacted years. Lune Croissanterie's flagship Sydney store will open at 60 Oxford Street, Darlinghurst in the Oxford & Foley development in 2023. Images: Marcie Raw.
Here's the scoop — this gelateria in Five Dock is slinging artisan gelato with Asian-inspired flavours at the core. Take a stroll along Great North Road and you'll find Small Joys Gelato next door to another crowd-favourite, Mr Ping's. The innovative gelato spot strikes a balance between maintaining tradition and experimenting with new flavour combinations. Head inside and you'll be met with an Italian pozzetti-style display, with the cold treats housed in silver tin casings to ensure the texture and temperature of the scoops remain perfect. While this set-up screams traditional, the combinations of flavours may surprise you. The locally-beloved gelato joint has 10–12 flavours available on its ever-changing rotation, which is tweaked and announced on the Small Joys Gelato Instagram page every three weeks. The flavours take inspiration from Asia, hence the appearance of some non-traditional and unexpected flavour pairings. When perusing the menu, you'll find some of the Small Joys staples, from Jersey milk and popcorn miso caramel to dark chocolate and milk chocolate honeycomb. Other creative combinations that have joined the queue previously include the likes of Hong Kong milk tea, pistachio sea salt, peanut butter jam toast and strawberry shizo. There's also a range of exciting sorbets on rotation, including a mango lemon myrtle flavour, umeshu (Japanese liquor) and coconut lime. Small Joys also offers a range of ways to devour your selection. For the standard approach, opt for a cone or cup. But if you're feeling adventurous and extravagant, try the bubble waffle cones along with some toppings or the deep-fried gelato. if you're catering for a larger group or looking to stock up on your favourite flavour, just opt for the large take-home tub.
Search engines are so engrained in our daily lives that one particular engine has become synonymous with the very act of searching online. And, more than that, many folks also rely on their search engine of choice for other internet-based services and platforms — such as browsers, maps and email. One engine, Ecosia, isn't likely to become your new term for searching or help you out with a heap of other online services, and it's completely fine with that. Instead, the Berlin-based company is using at least 80 percent of its profits to benefit the planet, investing the revenue it receives from advertising into planting new trees. First founded back in 2009, the search engine has been gaining traction over the past decade, to the point that it has now planted more than 27 million trees around the world. The company is hoping that number will grow considerably by 2020, too, with a target of one billion trees. It claims that an average Ecosia user helps finance 41 trees per year, with a new tree funded every 1.1 seconds. And, if you're wondering if they actually follow through with their eco-conscious promise, the company publishes its monthly financial reports and tree planting receipts online — so you can see that your clicks and queries are making a difference. The cash it doesn't put towards new trees is used to pay its staff. As for the specifics, Ecosia supports projects in particular forest ecosystems that desperately needed new greenery, committing its funds to areas that rank in the 25 most threatened forests — where at least 70 percent of the original natural vegetation has been lost, for example. Peru, Indonesia, Madagascar, Tanzania and the African nation of Burkina Faso are among the locations currently supported thanks to a few simple keystrokes. Who knew just searching for "ways to help the environment" could actually help the environment?
In many ways, our objects and possessions define us. In choosing to own something, we make a conscious (or perhaps subconscious) decision about its significance to our lives, who we are and, often, who we want to be. But in a time of mass production, excessive consumption and disposal incomes, perhaps it is the very same 'stuff' we choose to define ourselves by that in fact dilutes our true selves. Whether out in the open or organised neatly into cupboards and shelves, does the collective weight of our belongings mentally drag us down? New South Wales-based artist Lottie Consalvo has embarked on a yearlong performance piece that explores the effect our physical items have on us. Her project — Compartmentalise — was conceived after the birth of her first son, a time where Lottie felt she'd lost control over her time, life and home. In an attempt to find some sense of clarity and regain control, Lottie committed to living with minimal possessions — two tops, two pants, one dress, three pairs of underwear, one knife, one fork, etc. — for 12 months. Despite living with her husband and baby boy, working at a gallery, developing her artistic practice and maintaining an active social life, Lottie has remained within the performance since August 7, 2013, documenting her experiences and musings along the way. With three months until the conclusion of Compartmentalise, we spoke to Lottie about the discomforts and satisfactions of her minimal lifestyle, and whether de-cluttering her possessions has led her to find the clarity she so desperately sought. It's really interesting to see your development through the Compartmentalise entries. Do you feel you have become kinder to yourself throughout the process? I went to a talk this week by performance artist Tehching Hsieh who has done one-year performances, and a 13-year performance. One performance he spoke about was Time Clock Piece, where he punched a time clock every hour for the entire year. He said he got a bit lazy half way through the performance, slept through the occasional alarm and was late to punch, but when he only had three months left he focused more again — although you could hardly call his efforts lazy. When you are being so extreme, after time you start to relax a little and become kinder to yourself, as you say. For example, recently when my pyjamas were in the wash and I was freezing in just a t-shirt, I finally got up and put my husband James' clothes on. I also started letting myself accept and buy books and plants. I would never have done that in the first few months of the performance. However, now that I'm reaching the nine-month mark and the end is in sight, I think I'll be harder on myself again, perhaps so the ending feels more satisfying. I didn't foresee having to replace so many items — my dress, shoes (two pairs have broken though have only replaced one pair), belt, pants, sunglasses, cup, my car (the engine of my old one died). I used to feel guilty when I had to replace something as if I had failed the performance, but as time has gone on I have been more forgiving and accepted it as a part of the performance. So yes, I have become kinder to myself as the performance progresses in that respect. You sold off many of your possessions in a garage sale, but buyers were only allowed to purchase if they could justify why the needed/wanted the item. Why was this significant to you? I hoped that it would make people think beyond the satisfaction of their purchase and the satisfaction of the desire driving them to buy. It really stirred something uncomfortable in people beyond what I had hoped for, and I liked that. What has been the most satisfying aspect of Compartmentalise? Finding out how little I need to live and no longer being scared to let go of things in case I need them in the future. And the most difficult? The discomfort. As the performance has progressed I have become greatly uncomfortable. I often have to wear dirty clothes and wet underwear. I also don't have a cosy outfit to put on other than my pyjamas. Even right now my feet are cold as I have no thick socks. What will you retain from Compartmentalise? I hope to always question what I need before buying more, now knowing that everything I bring home will not only fill my home but also my mind. I hope still to live with limited possessions, though a few more than now. I hate the idea of having a full wardrobe, cupboards and cluttered surfaces again — I have a phobia of it now. I want to carry on buying fewer things that I really love and are better quality even if they cost much more money. I will also treat my belongings with much more respect. Come August 7, what do you think will happen when you finish Compartmentalise? Do you feel like it will be difficult to transition back to having (a few) more possessions? I think I will wake up and put different clothes on. I imagine that I will get pleasure out of the feeling of different clothes hugging my skin in different ways and wearing some colour, however the novelty will probably wear off quickly. I don't think it will be difficult. In fact, it would be very easy to fall back into the habit of buying and collecting — but I don't want this. I want to take it very slowly, it will be a slow transition to a more balanced place. You started this project to help you find clarity. So far, do you feel like you've found some? I'm not sure if I have found clarity so much as I have found a sense of weightlessness. When I look at my empty home I feel the clarity, but through the performance I have found that technology (as wonderful as it is) and work are what stop me from continuing this clarity through my days. Perhaps I need to remove technology, and time. Images courtesy of Lottie Consalvo. Follow the remainder of Lottie's performance via her Compartmentalise blog.
Sometimes, enjoying the music festival experience involves gumboots, picking the best outfit with the most pockets and dancing in huge crowds. At other times, it spans making shapes at home while pretending you're at the real thing. Yes, the latter became familiar during the pandemic, but it's also been a way to live the Coachella life without heading to Indio, California for more than a decade now. And, for the 2023 fest, that means hitting up the YouTube livestream once again. This year, for the first time ever, the entire event is being beamed to the world — all six stages on all six days across two hefty weekends. Sure, you can still wish that you were at the Empire Polo Club across April 14–16 and April 21–23. Yes, there's nothing quite like being there in person. But if you're all about seeing the fest's impressive lineup — seeing as much of it as possible, too — without the plane ticket, make a date with your couch. 2023's bill is worth getting excited about, with Bad Bunny headlining the Friday nights, BLACKPINK doing the Saturday nights and Frank Ocean on Sunday nights. Down Under, you'll be tuning in on Saturday, Sunday and Monday to catch each, so mark your diaries now — actually, go one better with exact times too, now that Coachella has also announced its schedule for the first weekend. Also among the highlights on the Friday bill (so, Saturday in Australia and NZ) alongside Bad Bunny: The Chemical Brothers, Gorillaz, Blondie, Kaytranada, Pusha T, Idris Elba and last-minute addition blink-182, with the newly reunited group's classic lineup breaking out their live set before heading our way in 2024 on their latest live tour. On the Saturday lineup (so, Sunday Down Under) with BLACKPINK: Calvin Harris, The Kid LAROI, ROSALÍA, Charlie XCX, boygenius, The Breeders and Underworld — and more, obviously. And, come Sunday (yes, Monday Down Under), Frank Ocean will be joined by Björk, Fisher, Porter Robinson, Gordo and Weyes Blood, with the list going on there as well. View this post on Instagram A post shared by Coachella (@coachella) Coachella has been teaming up with YouTube for 11 years now. Earlier in 2023, the fest announced that it has locked in that arrangement till 2026. In-between this year's sets, YouTube will fill its feeds with more on-the-ground coverage, so you'll be able to scope out the art and installations around the fest, head behind the scenes, see how the acts get partying before the hit the stage and more. Bookmark Coachella's YouTube channel ASAP — or hit it up below: Coachella runs from April 14–16 and April 21–23 at the Empire Polo Club in Indio, California. To watch the livestream, head to YouTube from 9am AEST on Saturday, April 15 Down Under.
"For me, photography is the foundation of human freedom," says Rina Vukobratovic, the Serbian photographer and visual artist behind the series A Girl Who Sees the Lyrics. It may sound grandiose at first, but take a look at her work and you will see what she is getting at — it's a free fall through association, imagination and thought; photography of permission. There is a gentle poetic sensibility steering this series, as though adult and child artist are whispering stories to each other, or perhaps, comparing recollections. The artist has constructed each image with explicit reference to verses from her own haiku poetry written as a girl. In 1991, the idea for this series took root after she read an article published about her childhood poems, and to prove it she used the article's name. Although she has switched the pen for the camera, Vukobratovic has sustained a through line of imagery from her initial artistic impulse to her current one, resulting in a gentle poetic dialogue between a child's imagination and an adult's understanding. Or maybe it is the other way round. "I try to give answers [about] who I am, and why I am," she explains. This lyricism endows her images with a dynamic energy that is simply captivating — music manuscripts burst into spontaneous bloom about a mini-grand. Battle-scarred sailing ships charge towards the windswept freedom of the household window, all on the high seas of the living room. It is easy to see why someone creating these images would say that they "will never get tired of photography, because it contains a secret." These are images of awe, nonsense and wonder captured by a filter of love — first the child's love of the world and then the adult's love of the child. A Girl Who Sees the Lyrics is on show at the MiCK Gallery until June 23 as part of this year's Head On Photo Festival. See more of Rina's photography at her website.
The Malaysia Airlines MH17 crash in Ukraine has reportedly claimed the lives of some of the world's top medical researchers, on their way to Melbourne for the high-profile 20th International AIDS Conference. Conference organisers have this morning released the following statement on their website: "The International AIDS Society (IAS) today expresses its sincere sadness at receiving news that a number of colleagues and friends en route to attend the 20th International AIDS Conference taking place in Melbourne, Australia, were on board the Malaysian Airlines MH17 flight that has crashed over Ukraine earlier today. "At this incredibly sad and sensitive time the IAS stands with our international family and sends condolences to the loved ones of those who have been lost to this tragedy." One of those believed to have been on board is former president of the International AIDS Society Joep Lange. American academic and AIDS activist Gregg Gonsalves tweeted, "Joep Lange was a leading AIDS researcher and clinician and an activist at heart. Lost today too soon on Malaysian flight 019. RIP." Two hundred and ninety eight people have died in the tragedy, including 27 confirmed Australians. The plane crashed in Ukraine, in a separatist-controlled area near the Russian border, likely after being hit with a surface-to-air missile. It is unclear at this stage how the crash will affect AIDS 2014, which commences on Sunday and has now taken on an even more tragic tone. Former US president Bill Clinton, UNAIDS executive director Michel Sidibé and musician and activist Sir Bob Geldof are also scheduled to speak at the conference, whose official airline partner is Emirates. Update 1.17pm: It now appears that as many as 100 of those killed were headed to the AIDS 2014 conference. Via Sky News and SMH.
It's hard to imagine Sydney without small bars. Today, they're entrenched in the city's nightlife, but barely over a decade ago, a night out revolved around mega clubs and mega pubs. That all changed when NSW's liquor laws were reformed in 2007. Slowly, small bars accommodating no more than 60 people began to pop up, organically concentrating in pockets around Darlinghurst and in the under-utilised industrial spaces dotting the streets behind Town Hall. [caption id="attachment_805685" align="alignnone" width="1920"] SILY[/caption] Many of the pioneers of the Sydney small bar scene started in these backstreets and continue to operate the very venues that kickstarted this era of transformation. As Sydney's nightlife changed, so too did the area where the city's small bar vanguard set up shop. More small bars, independent eateries and hotels were established in the nooks and crannies tucked between York, Clarence and Kent Streets, culminating in the formal establishment of a new nightlife and entertainment district known as YCK Laneways. In partnership with YCK Laneways, we sat down with three trailblazers who've been at the coalface of Sydney's small bar renaissance and still run venues in the area all these years later: Karl Schlothauer, owner of Stitch Bar and Kasippu, VP of YCK Laneways and CEO of House of Pocket; Nick White, owner of Since I Left You (SILY) and President of YCK Laneways; and Mikey Enright, owner of The Duke of Clarence and The Barber Shop and CEO of Barrelhouse Group. Between them, the owners have a combined thirty or so years of experience in the Sydney bar scene. [caption id="attachment_976968" align="alignnone" width="1920"] SILY owner, Nick White[/caption] "There were only pubs, nightclubs and RSLs at the time. They were the three places you could go to have a drink," says White. "You know what you're getting in for when you go to a pub, or any of those places. So, small bars provided an alternative, which was much needed in Sydney." Almost as soon as they emerged, Sydney's small bars have been quiet overachievers, creating options in the liminal space between a night in and a huge night out. Not that the bars have necessarily been quiet by choice. On Fridays and Saturdays especially, the YCK Laneways district is reliably soundtracked by the buzz of people chatting and having a good time, with music escaping from doorways that welcome in and release customers from basements and obscured spaces. But making noise once proved to be one of the precinct's more pressing challenges to overcome. "When [SILY] first opened, we didn't have use of our courtyard," says White. That might come as a surprise to anyone with even a passing familiarity of SILY. The small bar's heritage-listed courtyard is, as White acknowledges, "one of [its] big drawcards." Nowadays, SILY is known in part for its live music program, as well as one-off events that welcome local artists like Milan Ring and Becca Hatch, an offering SILY has cultivated since its inception. "Live music has always been something we've done. We've always been a supporter of the local arts scene and that's taken various forms over the years. We've got a regular Thursday music night, which has always been in place. We've now got a Tuesday jazz night [and] DJs on Friday nights." [caption id="attachment_987818" align="alignnone" width="1920"] The Barber Shop and The Duke of Clarence owner, Mikey Enright[/caption] Enright and Schlothauer's venues also all have regular live music nights and both call out music as essential to cultivating memorable spaces. At The Barber Shop, hip hop tunes accompany the bar's spirits, while the Duke of Clarence stays on theme by playing predominantly English tunes by the likes of The Beatles as it serves up one of Sydney's best Sunday roasts. Meanwhile, Stitch is also home to live music one night each week. Each venue's custom music offering reflects the secret sauce that makes small bars such a draw for customers: unique experiences that feel innately human. "I think Sydney's small bars have just made nightlife more approachable and more appealing to a wider range of people," says Schlothauer. [caption id="attachment_991187" align="alignnone" width="1920"] Kasippu and Stitch owner, Karl Schlothauer, Image: Tim Pascoe[/caption] The smaller scale of these venues translates to an entirely different experience for customers. It's a feature of small bars that all three owners call out. Independence lets the owners follow their own natural curiosities and interests, as well as experiment with menus and concepts more freely. This autonomy is what creates memorable experiences for patrons too, allowing customers to give direct feedback to owner-operators. "There's a lot more personal interaction between the staff and customers," says White. "A lot of small bars out there are trying to create different experiences for guests to appreciate," agrees Schlothauer. "Behind every small bar is an individual, an independent operator in the small business space." In particular in YCK Laneways, where there are so many bars in a relatively compact area, venues are increasingly focused on doing one or a few things well. "Instead of trying to be everything to everyone, the small bars — because of their size and the passion behind them — [are] becoming a lot more niche in terms of their product offering," says Schlothauer. [caption id="attachment_958206" align="alignnone" width="1920"] The Barber Shop[/caption] "They have their own character [and] personality. A lot of them are run by former bartenders, so there's a lot of passion in it as well. I think that's what makes the small bar category more diverse and different," says Enright, a former bartender himself. Enright shares that his venue The Barber Shop, a gin bar with over 700 gins and has been operating in YCK since 2013, was born out of his personal interest in gin at a time when the spirit was still relatively niche and not the mainstay it is today. Not only has the bar stood the test of time, Enright has established his own distillery. The gins it produces are, of course, stocked in The Barber Shop. "I really love the subject of gin, as well as what it tastes like. We wanted to go all in on the gin side of it. Not many places — I think there weren't any — were doing it back then." The concentration of distinctive venues in close proximity to one another has another advantage that adds to the precinct's allure. "You can bounce between [YCK's venues]. You can have a drink here, a bite to eat there, a nightcap there, you can make it a night out. You can make it quite different, so I think that's one of the appealing things for people who visit here," says Enright. [caption id="attachment_981453" align="alignnone" width="1920"] Kasippu[/caption] Kasippu, Schlothauer's latest venture, is a day-to-night venue that's part-cocktail bar and part-authentic Sri Lankan eatery, and perfectly embodies what Enright describes. Anyone heading out in YCK could stop by Kasippu at any point in their travels. The venue focuses on plating up authentic curries during the day, before transforming into a cocktail bar come nightfall. And once the night is well underway? There's self-service karaoke, curry kebabs and free Hydralyte slushies. And as much as the food, drink and feel of YCK Laneways' small bars invite people in, White makes the broader point that small bars are safer too. "In thirteen and a half years, we've never had a violent incident. And most small bars would say the same thing. [There have been] none or very, very low incidences of alcohol related violence or anything like that." It's little wonder that, in the face of Sydney's ever-evolving nightlife, small bars are here to stay. Explore the stories, sights and sounds of Sydney's bustling laneway nightlife. Between the lanes of York, Clarence and King Streets you'll find YCK Laneways, offering a plethora of hidden laneway and basement bars and restaurants waiting to be discovered. Check them out here.
Getting paid to do what you love is the ultimate employment dream. Finding a job doing something that everyone loves? That's a next-level kind of gig. When Gelatissimo turned taste-testing new gelato flavours into an actual position, it fell into that category. When Domino's wanted someone to eat garlic bread for cold hard cash, it did too. And over at hospitality group Australian Venue Co, there's a similar kind of job on offer. Fancy adding 'secret sipper' to your resume? That's the gig that AVC is currently advertising again, with 100 positions available around the country. You'll get assigned to cover some of the company's bars and pubs in your city, and you'll get paid for dining, drinking and then submitting a review once a month. If you've ever worked in retail and heard about mystery shoppers, then you know the drill. That's how these roles work, but in hospitality. So, you'll be posing as a customer and interacting with the venue's staff to scope out their service — and you'll be so discreet that they'll be unaware that you're on AVC's payroll, like they are. Members of the company's Secret Sipper Club, as the lucky wining-and-dining folks are called, will receive a $30 meal allowance for their monthly visit, plus $200 for each review. For that cash — which will make this a side hustle rather than your only gig — you do need to do more than offer a few words, completing a detailed written report after each meal. You don't need to have any experience in the field. Obviously, we're all veterans at eating and drinking, but you don't need to have done this type of job before. There are some pre-requisites, though, such as being over 18; having your own transport and access to a mobile device; being passionate about the industry; attentiveness and impartiality; and having time to do 12 visits each year. And if you're wondering which venues you might be visiting, it could be any in AVC's stable. In Sydney, that includes everywhere from The Winery, Cargo and Kingsleys through to BrewDog South Eveleigh, The Rook and Little Pearl. For Melburnians, you might be hitting up The Espy, The Duke and Sarah Sands Hotel, or BrewDog Pentridge, State of Grace and Trinket. Brisbane's venues include The Wickham, The Regatta, Crown Hotel and Riverland, plus the likes of Burleigh Town Hotel, The Local Tavern and Wallaby Hotel on the Gold Coast. In Adelaide, The Hope Inn, The Unley and The West End Tavern are on the list, while Perth residents could find themselves at Raffles Hotel, Sweetwater Rooftop Bar, The Globe and Wolf Lane. Find out more about AVC's Secret Sipper Club — and apply — by heading to the company's website.
Montaigne has graced stages worldwide. They've represented Australia at Eurovision. They've won ARIAs, too. Now, they're the subject of an Archibald Prize-winning painting, with the singer-songwriter depicted in a piece called Head in the sky, feet on the ground — an artwork that just nabbed Sydney-based artist Julia Gutman Australia's most prestigious portrait prize in 2023. Gutman's win at the age of 29, scoring the $100,000 award, makes her one of the prize's youngest-ever winners in its 102-year history. And, she's also the 11th woman to win the acclaimed accolade — doing so for her first-ever Archibald Prize entry. [caption id="attachment_899546" align="alignnone" width="1920"] Winner Archibald Prize 2023, Julia Gutman 'Head in the sky, feet on the ground', oil, found textiles and embroidery on canvas, 198 x 213.6 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Montaigne.[/caption] "I'm so elated and overwhelmed to have won. Shocked, dumbfounded, but very happy. It's honestly completely surreal. I'm so grateful to be working at a time when young female voices are heard', said Gutman about her win, which was announced at the Art Gallery of New South Wales on Friday, May 5. "So much of my practice is devoted to revisiting, critiquing and contending with the histories housed in institutions. It's so affirming for that conversation to be recognised in such a public way." "Montaigne and I have been friends for a few years and there is a lot of alignment in our practices; we are both interested in creating our own forms and approaches rather than strictly adhering to any one tradition. Montaigne's work defies genres, while their mercurial soprano has become an indelible part of the fabric of Australian music," Gutman continued. [caption id="attachment_899549" align="alignnone" width="1920"] Visitors in the 'Archibald, Wynne and Sulman Prizes 2023' exhibition at the Art Gallery of New South Wales, featuring Archibald Prize 2023 finalists (left to right) Marie Mansfield, Yvette Coppersmith, Kim Leutwyler, Matt Adnate and Angela Brennan, photo © Art Gallery of New South Wales, Jenni Carter.[/caption] Her subject was just as stoked, unsurprisingly. "It's such an insane honour to be the Archibald Prize-winning sitter. I sure didn't see it coming, not because I don't believe in Julia's incredible talent and warm heart, but because you just never think this stuff is going to happen to you," said Montaigne. Head in the sky, feet on the ground emerged victorious from a pool of 949 entries and 57 finalists, and in a year that broke a pivotal record: for the first time, more women than men made the final list of contenders for the award. Other portraits up for the gong included plenty similarly showing famous faces, such as Claudia Karvan, Sam Neill, Archie Roach, Noni Hazlehurst and Daniel Johns. [caption id="attachment_899552" align="alignnone" width="1920"] Winner Wynne Prize 2023, Zaachariaha Fielding 'Inma', acrylic on linen, 306.2 x 198.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.[/caption] AGNSW pairs the Archibald Prize with two other awards: the similarly coveted Wynne and Sulman prizes. The Wynne received 726 entries, with 41 named as finalists, while the Sulman received 673 entries, naming 45 as final contenders. 2023's $50,000 Wynne Prize, which recognises the best landscape painting of Australian scenery, or figure sculpture, has been awarded to interdisciplinary artist and first-time finalist Zaachariaha Fielding. His winning work Inma depicts the sounds of Mimili, his community, which is part of the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands in South Australia. The $40,000 Sir John Sulman Prize is presented to the best mural, subject or genre painting, with Doris Bush Nungarrayi doing the honours in 2023. The Luritja artist was a first-time finalist in both 2023's Sulman and Wynne Prizes, and is now the second Aboriginal artist to win the Sulman. In Mamunya ngalyananyi (Monster coming), she focuses on several Mamus — aka the ominous and malevolent spirits that terrify the Aṉangu people. [caption id="attachment_899553" align="alignnone" width="1920"] Winner Sulman Prize 2023, Doris Bush Nungarrayi 'Mamunya ngalyananyi (Monster coming)', acrylic on linen, 198 x 273.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.[/caption] If you'd like to see all of the above, plus the rest of 2023's finalists, they'll all be on display at the Art Gallery of NSW in Sydney from Saturday, May 6–Sunday, September 3. After that, they'll tour to select venues in NSW and Victoria. Gutman's Archibald Prize win follows Blak Douglas' portrait of artist Karla Dickens in the Lismore floods in 2022, Peter Wegner's portrait of fellow artist Guy Warren in 2021 and Vincent Namatjira's portrait of Adam Goodes in 2020, as well as Tony Costa's 2019 victory with his painting of fellow artist Lindy Lee and five-time Archibald finalist Yvette Coppersmith's first win in 2018. And, Head in the sky, feet on the ground is still in the running for another award, as are all of this year's Archibald Prize finalists. If you don't agree with the judges, you can cast your own vote for People's Choice, which will be announced on Wednesday, August 9. [caption id="attachment_899550" align="alignnone" width="1920"] Installation view of the 'Archibald, Wynne and Sulman Prizes 2023' exhibition at the Art Gallery of New South Wales, featuring Archibald Prize 2023 finalists (left to right) Charles Mouyat, Oliver Shepherd, Paul Newton and David Fenoglio, photo © Art Gallery of New South Wales, Jenni Carter.[/caption] ARCHIBALD PRIZE 2023 DATES: Art Gallery of NSW, Sydney, NSW — May 6–September 3, 2023 Mornington Peninsula Regional Gallery, Victoria — September 15–November 5, 2023 South East Centre for Contemporary Art, Bega, NSW — November 18, 2023—January 7, 2024 Goulburn Regional Art Gallery, NSW — January 19–March 10, 2024 Hawkesbury Regional Gallery, NSW — March 15–April 28, 2024 Tamworth Regional Gallery, NSW — May 11–June 23, 2024 Glasshouse Port Macquarie, NSW — July 5–August 18, 2024 If you can't make it to any of the above dates, you can check out the award winners and finalists of the Archibald, Wynne and Sulman prizes on the Art Gallery of NSW website. Top image: Excerpt of winner Archibald Prize 2023, Julia Gutman 'Head in the sky, feet on the ground', oil, found textiles and embroidery on canvas, 198 x 213.6 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Montaigne.
When Julia Ducournau's first film hit cinemas back in 2016, it garnered plenty of headlines. When reports start circulating about people passing out during your movie, that tends to happen. Following a vegetarian veterinary student who starts hungering for something much meatier when she heads to college, Raw definitely isn't for the easily queasy. It's also one of the best movies of the past decade, with the French filmmaker debuting with a film that's intense in multiple ways, and also surprisingly relatable. With her second feature, Ducournau is going to earn even more attention. Titane premiered at the 2021 Cannes Film Festival and, as announced on Sunday, July 18, it has just nabbed the prestigious event's coveted Palme d'Or. That's an exceptional feat for any director, but it's historic in this case. The movie's win marks only the second time ever that a female filmmaker has won the fest's top prize, and the first time a woman has ever earned the gong solo. Jane Campion is the only other female filmmaker to receive the Palme d'Or, back in 1993 for The Piano — and when she won, she shared it in a tie with Farewell My Concubine's Chen Kaige. The highly valued prize was first introduced back in 1955, which means that a long list of men have taken it home over the past 66 years. Ducournau's film was named 2021's best flick of the fest by a jury chaired by filmmaker Spike Lee (BlacKkKlansman), and also featuring fellow directors Mati Diop (Atlantics), Jessica Hausner (Little Joe) and Kleber Mendonça Filho (Bacurau); actor and filmmaker Mélanie Laurent (Oxygen); actors Maggie Gyllenhaal (The Deuce), Tahar Rahim (The Serpent) and Song Kang-ho (Parasite); and singer-songwriter Mylène Farmer. Lee was so excited to announce the winner, he let it slip at the beginning of the ceremony — before the night's other gongs were announced. Like Raw, Titane doesn't hold back with its concept. The official festival synopsis describes it as a film that sees a father reunited with the son who has been missing for ten years following a series of unexplained crimes— but that's really the most simplistic description possible. Starring Vincent Lindon and Agathe Rousselle, it also sees the latter play a character with quite the car fetish, and morphs into Cronenbergian body horror territory from there. Ducournau's Cannes win marks the second time a female director has made history this year, after Chloé Zhao became the first woman of colour and second woman ever to win the Best Director Oscar for Nomadland back in April. At Cannes, a heap of other movies picked up shiny trophies, too — with the Grand Prix shared by Asghar Farhadi's A Hero and Juho Kuosmanen's Compartment Nº6, the Jury Prize split between Apichatpong Weerasethakul's English-language debut Memoria and Nadav Lapid's Ahed's Knee, and Best Director going to Leos Carax for his Adam Driver-starring musical Annette. The Best Actress prize was awarded to Renate Reinsve for The Worst Person in the World, while Caleb Landry Jones won Best Actor for his titular role in Australian drama Nitram. Check out the trailer for Titane below: Titane doesn't currently have a release date Down Under. We'll update you when one is announced. Top image: Carole Bethuel.
Netflix might be making a docu-soap about Byron Bay influencers, but it isn't the only streaming service set to beam the area's scenic backdrops into Australian homes. Stan will soon unveil Eden, a new eight-part series shot in the coastal town and New South Wales' Northern Rivers region. It's unlikely that this fictional mystery-drama will receive the same backlash that Netflix's reality TV show has been garnering since its announcement, though. Eden does sound somewhat familiar, however. Like plenty of TV shows — Twin Peaks and The Killing, just to name two — it begins with a missing person. From there, it also charts the secrets and revelations festering beneath the surface of its small-town setting. In this case, a young woman has disappeared, with the series chronicling the aftermath over the course of a summer. The just-released first teaser sets the mood — and if you're wondering when the whole show will drop, Stan is yet to reveal an exact date. But, sometime this year (and likely to be sooner rather than later), you'll be able to watch a cast that includes BeBe Bettencourt (The Dry), Sophie Wilde (Bird), Keiynan Lonsdale (The Flash), Cody Fern (American Horror Story), Samuel Johnson (Molly), Christopher James Baker (True Detective), Rachael Blake (Cleverman), Leeanna Walsman (Penguin Bloom), Simon Lyndon (Mystery Road) and Maggie Kirkpatrick (The Letdown) step through Eden's twisty tale. Behind the camera, the show stems from head writer Vanessa Gazy (Highway) and writing team Jess Brittain (Clique), Anya Beyersdorf (Shakespeare Now), Clare Sladden (Freudian Slip) and Penelope Chai (Other People's Problems) — and directors John Curran (Chappaquiddick), Mirrah Foulkes (Judy & Punch) and Peter Andrikidis (Alex & Eve). And, the creator of Skins, Bryan Elsley, helped created Eden, too, with Fiona Eagger and Deb Cox (Miss Fisher's Murder Mysteries). Check out the first teaser trailer for Eden below: https://www.youtube.com/watch?v=GaPeDr3DoMA Eden will hit Stan sometime this year — we'll update you with an exact date when it is announced. Top image: Every Cloud Productions.
If you're going to celebrate Christmas in July, as Sydney's returning festival of the same name is, then you can't forget one of the most-beloved ways to get into the festive spirit: seasonal movies. Is watching Home Alone one of your merriest traditions? Are you certain that Die Hard is a Christmas flick (because it is)?. Do Elf, The Nightmare Before Christmas or Last Christmas spark a jolly old time for you? Enjoying them under the wintry stars around a fire awaits in the Harbour City in 2025. Meet Sydney Firepit Cinema, where flames are crackling and projectors whirring across Friday, July 11–Sunday, July 20 at The Rocks, with Cadmans Cottage as a backdrop. Will Ferrell (You're Cordially Invited) venturing from the North Pole to New York kicks off the program, with the rest of the movies mentioned above screening. On the bill as well: The Nutcracker and the Four Realms, Elliot: The Littlest Reindeer, Saving Santa, Home Alone 2, The Santa Clause, The Holiday, The Grinch and Love Actually. A ticket to Sydney Firepit Cinema doesn't just include the movie, but also a reserved firepit for between two and six people, plus blankets to get cosy under. The basic watch-and-roast pass will also get you toasting marshmallows over the flames. From there, you can also add mulled wine and/or hot chocolate. The Christmas in July Festival, which runs from Friday, July 11–Sunday, July 20 itself, isn't the only event that's bringing a slice of Europe to Sydney this winter. Doing the same is the Bastille Festival at Circular Quay and The Rocks from Thursday, July 17–Saturday, July 20. Accordingly, while festive flicks are on Sydney Firepit Cinema's program for the first six of its ten-day run, it's then switching its lineup to movies from, set in or that nod to France. In past years, Bastille Festival has featured Le Mulled Wine Cinema; however, Sydney Firepit Cinema is doing the honours in 2025 instead — and doing its part to remind everyone that seeing a movie outdoors can be a winter activity, complete with snuggling up next to your nearest and dearest, soaking in the brisk night air and drinking hot booze. The Bastille Festival-related portion of but Sydney Firepit Cinema's bill gets underway with Mrs Harris Goes to Paris, then features perennial favourite Amelie, Pixar's Ratatouille, Baz Luhrmann's Moulin Rouge!, the behind-the-landmark tale of Eiffel and Carême's Benjamin Voisin getting poetic in the 1800s in Lost Illusions.
Australian author Christos Tsiolkas is back with a new novel, Barracuda, sure to get the nation talking. The follow-up to 2008's agenda-setting, TV-destined hit, The Slap, it's an exploration of failure and how to come back from it. Ahead of his sold-out talk at the Festival of Dangerous Ideas, Christos spoke with Marcus Costello about the nature of failure. You're a winner. And you don't have kids. Who are you to talk about teaching kids to fail? Fair call. To be honest I'm very wary of telling anyone how they should lead their lives. The thing is, I believe you can only ever truly talk from your own lived experience. Everyone's failures and, for that matter, everyone's experience of parenthood is unique, so to speak on behalf of anyone else under the pretence that you're all part of a select group [parents] isn't really fair either. That said, you know, maybe because I'm not a parent I can think what's in the best interest of a generation of children, not just my child, my flesh and blood. I can ask the question: Have you come here to learn how to raise your kid to be the best or how to think about what's best for your kid's generation as a whole? I mean, if we care to think about it, the wholesale derailment of the education system by the private sector has failed so many underprivileged children. And yet, my guess is, were they able to afford it, most parents would want to send their kid to a private school, and in so doing, feed the beast. But my talk isn't only about teaching children the virtues of failure. My talk is going to focus on how failure marks a certain adult relationship with Self and the world by way of moments in my life where I feel I've failed and the lacerating but ultimately rewarding experience of atoning for that failure. But if one can atone then it's not true failure; it's just part of an eventual success story, no? I see what you mean. Like, if you flick through any of those in-flight magazines there's always a profile of some celebrity that reads like an elaboration of a Nike advertisement or some dot-com entrepreneur in Forbes talking about how "failure made me stronger". My talk isn't going to be like that. The kind of professional failure I'm interested in exploring isn't so much a book that didn't sell well, but a book I've put out that betrayed my integrity or where I made lazy choices. I feel this way about my second novel, Jesus Man. On a personal level I've failed as a friend, as a son, as a lover ... On a national level, and this is a central theme of my talk, the culture of ruthless materialism and political self-regard that has emerged over the past two generations strikes me as a moral failing. That makes me think of a quote by Po Bronson I found while researching, "Failure is hard, but success is far more dangerous. If you're successful at the wrong thing, the mix of praise and money and opportunity can lock you in forever." Yes! That's so accurate. The seduction of success is something we all need to keep in check because when we step into smaller and smaller social circles it's so easy to fall out of touch with the broader community. How will you feel if your new novel Barracuda flops? Come what may, I feel I've reached a certain point in my life where I know that, for the rest of my time here, writing is what I will do. In that way you're fail-proof. I mean, if you think of yourself as destined to write, compelled by a force greater than commercial success, then you've beat the system. I guess you're right. As an artist it's folly to single out any one work as the mark of failure or success — if you're true to what you do then you see everything you produce as building towards something greater. That said, if Barracuda flops I will be upset, but for other reasons. There are so many people around me who are invested in this book and in my success — I don't want to let them down. Like The Slap your FODI talk is for an elite audience. The sad truth is that if anyone thinks anything of a child being slapped at a BBQ, that marks them as elite. To that end, how dangerous is any idea if you're only talking to those people who actually care to think about ideas? Ah, yes, this is true, and such a hard thing to deal with. I guess I can only hope that what I say will spark conversations beyond the Opera House; that someone will listen to what I have to say and take that message to someone else and the word will filter out that way. I wish I had a better answer to that but I don't. Barracuda is out now through Allen & Unwin. The Festival of Dangerous Ideas is on at the Sydney Opera House from November 2-4. Top image by John Tsiavis.
The eco-friendly craze has spread like wildfire in the past several years, and now the movement is even targeting the minds of young kids. Designer Leo Corrales and Precidio Design Inc. have developed Juice in a Box, a reusable juice box for children as an alternative to drinking the typical one-time-use juice boxes. The Juice in a Box containers are made of reusable plastic and come equipped with both a lid and straw, and are the perfect size to fit in packed lunches to bring to school. The outside of the containers cater to young children, featuring cartoon characters and colourful designs. Recently proposed at the International Home and Housewares Show, the design is aimed at making kids conscious of their impact on the environment from a young age so they continue eco-friendly practices throughout their entire lives. Getting the 'go green' initiative instilled in young minds may be what it takes to make a significant impact in long-term sustainable living.
Why is a hard-up theatre director standing in Ballina airport thinking about Bertolt Brecht? The reasons form the basis of Michael Gow’s new play of ideas, Once in Royal David’s City, currently playing on Belvoir’s main stage. Will’s mother is dying, he doesn’t have much money and a friend has just asked him to teach a class on Brecht at a private high school even though ‘the class war is over’. It's a provocation that only fortifies his socialist beliefs. Director Eamon Flack (Angels in America) has taken his cue from Brecht with a pared-back production, and Nick Schlieper’s simple design of a circular hospital curtain is functional and elegant. Brendan Cowell playing Will leads a team of capable actors who provide both the chorus and joyous Christmas choir. Lech Mackiewicz as the doctor is the strongest of the bunch, socking it to Will with the news that his mother is dying, offering the meagre consolation, “sorry news is grim.” But he’s not sorry and it’s great. Will may be questioning capitalism and his place in the system, but Cowell doesn't have to end each of his sentences as a question. His response to the news of his mother’s illness is a plaintiff ‘No?’ and this vocal pattern persists until his riveting final address to the school students. Here, he powers forward with Gow’s answer to Dylan Thomas’s Do not go gentle into that good night. This fantastic ending will have you eschewing your consumer lifestyle for at least a day or two after the production. My problem with the play is the whiff of condescension towards the ‘common’ middle classes. The high school drama teacher (Tara Morice) giggles to Will that the final scene of The Caucasian Chalk Circle is quite moving, even though Brecht "doesn’t want us to feel". That Brecht’s theatre of alienation espouses critical engagement rather than detachment is no revelation and yet Gow presents it as an intellectual triumph at the expense of the drama teacher (a profession Will thinks is beneath him). This characterisation of teachers as dowdy child minders would no doubt get the ire up of drama teacher and theatre critic Jane Simmonds over at SOYP. Sure, the life of an artist is gloriously sacrificial in comparison to that of the bourgeoisie, but the aggrandisement of the solo male intellect here is a bit on the nose. That said, it’s heartening to see a play about ideas cut through our cultural cringe and present stimulating ideas in a charmingly daggy, Australian way. Image by Ellis Parrinder.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning both big chains and smaller independent sites in Sydney and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=Xn3sK4WiviA ON THE ROCKS Not once, not twice, but three times now, Sofia Coppola has given the Bill Murray-loving world exactly what it wants. One of the great comedic talents of the past half-century, the Ghostbusters and Groundhog Day star is also a greatly charismatic talent — and, understandably, viewers want to spend more time in his inimitable company. So, Lost in Translation and 2015 Netflix special A Very Murray Christmas made that happen. Now On the Rocks does as well. These are films and specials predicated upon the very idea of palling around with Murray or the character he's playing, and this one hits that mark as perfectly as its predecessors. Murray steps into the shoes of a debonair playboy art dealer who is determined to help his New York-dwelling adult daughter discover if her husband is being unfaithful, his pairing with Rashida Jones is both joyous and lived-in, and Coppola once again strips bare her own life experiences, fictionalises them, and creates something both thoughtful and moving. On the Rocks' premise really isn't far removed from Lost in Translation. The film's female protagonist is a decade older this time, her romantic troubles are complicated by both marriage and children, and another bustling city provides the backdrop, but the basic idea remains mostly the same. With Murray as the lively Felix and Jones as his overstressed offspring Laura, the movie takes them hopping around NYC as they endeavour to ascertain if the latter's workaholic other half, Dean (Marlon Wayans), is cosying up to his attractive young colleague (Jessica Henwick) while Laura is raising their two young daughters. In the process, Felix and Laura chat about anything and everything, covering topics both important and trivial. They eat and drink, and do so in luxe spaces while Felix naturally captivates everyone in his orbit and turns everything into an adventure. Over the course of their investigative escapade, Felix helps Laura work through her struggles, too — although here, their own complicated relationship is actually one of them. Read our full review. https://www.youtube.com/watch?v=FVb6EdKDBfU THE TRIAL OF THE CHICAGO 7 Combine A Few Good Men's setting with The West Wing's faith in democratic ideals, and that's where The Trial of the Chicago 7 lands. Yes, they're all products of writer, TV series creator and director Aaron Sorkin — and while Sorkin's work can veer from exceptional (see: The Social Network) to frustrating (see: The Newsroom), his second stint as a filmmaker after 2017's Molly's Game makes the very most of his usual traits. Given the true tale he's telling — a story of vocal dissent against unpopular government actions and latter's retaliation, spanning protests and violence on the streets involving both activists and police — that's hardly surprising. That Sorkin has amassed a typically top-notch cast to sling his words helps considerably, including Bridge of Spies Oscar-winner Mark Rylance, The Theory of Everything Oscar-winner Eddie Redmayne and Watchmen Emmy-winner Yahya Abdul-Mateen II, plus everyone from Joseph Gordon-Levitt and Michael Keaton to Sacha Baron Cohen and Succession's Jeremy Strong. In the summer of 1968, as the Democratic Party assembled in Chicago for its national convention to confirm the party's nominee for the presidential election, several activist groups decided to make their displeasure known. There was much to rally against: the Vietnam War was raging and American soldiers were dying, both Martin Luther King Jr and Robert F Kennedy had been assassinated in separate incidents months earlier, and civil unrest was mounting across the country. The Trial of the Chicago 7 first introduces six figures making plans for the day, then cuts to the commencement of legal proceedings for eight defendants, all charged by the US federal government the next year. The complicated case that results is catnip for Sorkin, who unleashes his trademark flourishes on not only passionate speeches, but also infuriating courtroom incidents and the festering disagreement between codefendants, as well as in recreating the fateful protests. There's nothing unexpected about the way the filmmaker handles this story visually, narratively or thematically, but the end result proves an example of applying the right approach to the right tale. Read our full review. https://www.youtube.com/watch?v=3nf--afqelY ANTEBELLUM Watching the sprawling, roving and weaving single-take shot that opens Antebellum, it helps to know what the movie's title actually means. The term refers to a time before a war, and is typically used in relation to the American Civil War — but in the film's eye-catching introduction, it certainly seems as if that historical conflict is raging away. On a southern plantation, Confederate soldiers under the leadership of Captain Jasper (Jack Huston) terrorise the property's enslaved Black workers with brutality and cruelty. Attempted runaway Eden (Janelle Monáe) is one of them, and subject not just to beatings, brandings and forced labour, but also raped regularly by the general (Eric Lange) who has claimed her as his own. She's planning another escape; however, thoroughly unexpectedly given the surroundings, a mobile phone suddenly rings. Now Monáe's character is called Veronica Henley, she's a well-known activist and author, and everything about her life (including the conference in New Orleans she attends) is firmly set in the 21st century. Obviously, how Monáe's dual roles intertwine is best discovered by watching — as is the involvement of Jena Malone's (Too Old to Die Young) Elizabeth, the plantation's resident belle as well as a modern-day caller for Veronica — but Antebellum proves far less powerful and clever than it thinks it is. While first-time writer-directors Gerard Bush and Christopher Renz blatantly try to follow in Jordan Peele's footsteps, using horror to explore race relations in America both in the present day and in the country's history, their efforts rely so heavily on one big twist that the movie resembles M Night Shyamalan's lesser works more than Get Out, Us or TV series Lovecraft Country. In endeavouring to unpack systemic racism, there's a smart idea at the heart the feature. Visually, Antebellum's always-lurid, often-violent imagery isn't easily forgotten, and the film also boasts a masterly performance by Moonlight and Hidden Figures star Monáe. And yet, connecting all those pieces together feels more like an exercise in making a provocative genre film than actually saying something meaningful about engrained prejudice in the US — a topic that, sadly, continues to remain timely, but is treated here as stock-standard horror fodder. Read our full review. https://www.youtube.com/watch?v=C0FnJDhY9-0 THE LAST BLACK MAN IN SAN FRANCISCO Watching Jimmie Fails in The Last Black Man in San Francisco, it never feels like you're viewing the work of a feature debutant. Played with the weight of the world not just carried on his shoulders, but oozing through in every quiet glance and gaze, his is a deeply nuanced and naturalistic performance — although given that the film is based on his own story, and he's starring as a fictionalised version of himself, perhaps that's to be expected. The on-screen Jimmie has been sleeping on his best friend Montgomery's (Lovecraft Country's Jonathan Majors) floor in the titular city's Bayview-Hunters Point neighbourhood. That's his latest stop, after years spent squatting with his dad (Rob Morgan), sleeping in cars and living in group homes. All Jimmie wants is his own house, and a specific one at that: a multi-storey abode in the Fillmore District that he grew up in, at least for a few years; that he contends his grandfather built in the 1940s; and that is now inhabited by an older white couple who aren't taking care of the property to Jimmie's standards. On paper, The Last Black Man in San Francisco's narrative sounds straightforward; however, as helmed by Fails' friend and Sundance-winning director Joe Talbot, this is an entrancing, almost fable-like film. It doesn't ever merely rally against gentrification in a simplistic manner, but paints a complex portrait of San Francisco as it now stands, of the city's scattered Black community and how they've been affected by its transformation, and of the shift away from artists and eccentrics in favour of bulldozers, technology and so-called progress. This is a movie about mourning for a past lost as well as reckoning with the future that's sprung in its place, and the evident love of details on display — in the house that Jimmie is so attached to, but also in his and Montgomery's daily bus trips, walks and skateboard rides throughout the hilly locale they call home — couldn't be more crucial in that regard. Sometimes, the film leans more on mood than story, but that approach fits when you're not only surveying and lamenting a place and a modern world that's losing its character, but turning that process into a piece of cinematic poetry. Indeed, there's a tender, heartfelt feel to The Last Black Man in San Francisco that, combined with its stellar cinematography, never feels less than authentic and moving in every frame. https://www.youtube.com/watch?v=Qh-oOnZ2Di0 SPUTNIK When Ridley Scott's Alien let a chest-bursting extra-terrestrial loose among a spaceship's crew, and John Carpenter's The Thing remake set a violent critter loose amongst an Antarctic research station, they didn't just create two of the best science fiction films ever made — they also inspired a wealth of imitators. And, at first, it seems that Russian sci-fi thriller Sputnik is one of them. Here, two Cold War-era cosmonauts see something strange during an orbital mission. Then, upon returning to earth, it appears that sole survivor Konstantin Veshnyakov (Pyotr Fyodorov, The Blackout) isn't the only creature inhabiting his body. It's 1983 and, as anyone who was watched the also 80s-set Chernobyl knows, the USSR isn't keen on big scandals. Accordingly, Colonel Semiradov (Fedor Bondarchuk, also one of the film's producers) is determined to keep Veshnyakov locked up in a secret south Kazakhstan facility until he can work out how to control the alien, enlisting boundary-pushing psychiatrist Tatyana Klimova (Oksana Akinshina, The Bourne Supremacy) to help. While watching Sputnik and thinking of similar flicks from years gone by go hand-in-hand, first-time feature director Egor Abramenko does more than simply nod to his influences. There's a grimness and a weightiness to this film that's all its own, even as it toys with familiar components — a specificity to the characters, and specifically to Veshnyakov and Klimova's efforts to navigate Soviet Russia's heavy-handed to control, too. And, when it comes to sustaining a mood of tension and suspense, evoking a forbidding sense of its time and place, and coming face to face with the slithering alien, Sputnik excels. Sparse in its look, firm in its tone and led by an impressive Akinshina, it never plays like a carbon-copy B-movie, either. There's an art to ensuring that even the most recognisable genre elements can feel fresh, entertaining and engaging — and suitably unnerving, which this narrative clearly calls for — and that ends up being the case here. Sputnik is screening in select cinemas in Sydney. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; and September 3, September 10, September 17 and September 24. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle and The High Note. Top image: The Trial of the Chicago 7 via Niko Tavernise/Netflix © 2020
First, the bad news for Marvel Cinematic Universe fans: the reports about the big- and small-screen franchise starting to space out its output are coming to fruition with its next big streaming series Echo. Now, the good news: the five-part miniseries just released its first trailer, and promises rage, darkness, focusing on a superhero who is deaf, bringing back Kingpin and also dropping its entire season at once come January. Echo was previously locked in for a November release, as one of two MCU shows due to stream this spring. While the first series on that list, the second season of Loki, did indeed arrive as planned, Echo has now been pushed to 2024. Hopefully good things will come to those who wait, with this Hawkeye spinoff slated for Wednesday, January 10. While Maya Lopez (Alaqua Cox) is at Echo's centre — as first seen in Hawkeye, she's the gang leader who is deaf that had Clint Barton in her sights for a stint of revenge — the show's debut trailer gives narrating duties to Kingpin (Vincent D'Onofrio, Dumb Money) to set a brooding tone. "You have so much pain in you, so much rage, that you can't contain it," says the character also seen in Hawkeye, and before that in Daredevil as well. "You and I are the same," Kingpin continues amid sound design that lives up to the show's moniker. When all five instalments of Echo hit at once, the series will enjoy a first for the MCU on streaming. As viewers who've been watching along since WandaVision's small-screen arrival know, Disney+ usually drops a few episodes at once for each MCU entry, then unfurls the rest weekly afterwards ‚ but this one will arrive all at once on the same day. Story-wise, Echo follows Maya as Kingpin's criminal empire chases her down — and as the initial sneak peek illustrates, that ties in with her past. So, yes, this is an origin story. Also featuring alongside Cox and D'Onofrio: Chaske Spencer (The English), Tantoo Cardinal (Killers of the Flower Moon), Devery Jacobs (Reservation Dogs), Cody Lightning (Run Woman Run), Graham Greene (The Last of Us) and Zahn McClarnon (Dark Winds). Check out the trailer for Echo below: Echo will stream via Disney+ from Wednesday, January 10, 2024. Images: Chuck Zlotnick. ©Marvel Studios 2023. All Rights Reserved.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. NO TIME TO DIE James Bond might famously prefer his martinis shaken, not stirred, but No Time to Die doesn't quite take that advice. While the enterprising spy hasn't changed his drink order, the latest film he's in — the 25th official feature in the franchise across six decades, and the fifth and last that'll star Daniel Craig — gives its regular ingredients both a mix and a jiggle. The action is dazzlingly choreographed, a menacing criminal has an evil scheme and the world is in peril, naturally. Still, there's more weight in Craig's performance, more emotion all round, and a greater willingness to contemplate the stakes and repercussions that come with Bond's globe-trotting, bed-hopping, villain-dispensing existence. There's also an eagerness to shake up parts of the character and Bond template that rarely get a nudge. Together, even following a 19-month pandemic delay, it all makes for a satisfying blockbuster cocktail. For Craig, the actor who first gave Bond a 21st-century flavour back in 2006's Casino Royale (something Pierce Brosnan couldn't manage in 2002's Die Another Day), No Time to Die also provides a fulfilling swansong. That wasn't assured; as much as he's made the tuxedo, gadgets and espionage intrigue his own, the Knives Out and Logan Lucky actor's tenure has charted a seesawing trajectory. His first stint in the role was stellar and franchise-redefining, but 2008's Quantum of Solace made it look like a one-off. Then Skyfall triumphed spectacularly in 2012, before Spectre proved all too standard in 2015. Ups and downs have long been part of this franchise, depending on who's in the suit, who's behind the lens, the era and how far the tone skews towards comedy — but at its best, Craig's run has felt like it's building new levels rather than traipsing through the same old framework. In No Time to Die, Bond does need to look backwards, though — to loves lost, choices made and lingering enemies. Before Billie Eilish's theme song echoes over eye-catching opening credits, the film fills its first scenes with the past, starting with returning psychiatrist Madeleine Swan's (Léa Seydoux, Kursk) links to new mask-wearing villain Lyutsifer Safin (Rami Malek, The Little Things). There's patience and visual poetry to these early minutes amid Norway's snowy climes, even while littered with violence. No Time to Die is a lengthy yet never slow feature, and Bond first-timer Cary Joji Fukunaga doesn't begin with the pace he means to continue; however, the director behind True Detective's stunning first season establishes a sense of meticulousness, an eye for detail and an inclination to let moments last — and a striking look — that serves him exceptionally moving forward. Back in post-Spectre times, Bond and Swan enjoy an Italian holiday that's cut short by bomb blasts, bridge shootouts and other attempts on 007's life — and Fukunaga is quickly two for two in the action camp. No Time to Die segues commandingly from slow-building and foreboding to fast, frenetic and breathtaking in its two big opening sequences, setting itself a high bar. At this point, the narrative hasn't even properly kicked into gear yet. That happens five years later, when Bond is alone and retired in Jamaica (in a nice nod to where author Ian Fleming wrote his Bond stories). His old CIA pal Felix Leiter (Jeffrey Wright, Westworld) comes knocking, new politically appointed offsider Logan Ash (Billy Magnussen, The Many Saints of Newark) in tow, asking for the now ex-MI6 agent's help to foil the latest nefarious plan — involving a DNA-targeting virus fuelled by nanobots, of course — that's been hatched by terrorist organisation Spectre. Read our full review. THE POWER OF THE DOG Don't call it a comeback: Jane Campion's films have been absent from cinemas for 12 years but, due to miniseries Top of the Lake, she hasn't been biding her time in that gap. And don't call it simply returning to familiar territory, even if the New Zealand director's new movie features an ivory-tinkling woman caught between cruel and sensitive men, as her Cannes Palme d'Or-winner The Piano did three decades ago. Campion isn't rallying after a dip, just as she isn't repeating herself. She's never helmed anything less than stellar, and she's immensely capable of unearthing rich new pastures in well-ploughed terrain. With The Power of the Dog, Campion is at the height of her skills trotting into her latest mesmerising musing on strength, desire and isolation — this time via a venomous western that's as perilously bewitching as its mountainous backdrop. That setting is Montana, circa 1925. Campion's homeland stands in for America nearly a century ago, making a magnificent sight — with cinematographer Ari Wegner (Zola, True History of the Kelly Gang) perceptively spying danger in its craggy peaks and dusty plains even before the film introduces Rose and Peter Gordon (On Becoming a God in Central Florida's Kirsten Dunst and 2067's Kodi Smit-McPhee). When the widowed innkeeper and her teenage son serve rancher brothers Phil and George Burbank (The Courier's Benedict Cumberbatch and Antlers' Jesse Plemons) during a cattle-run stop, the encounter seesaws from callousness to kindness, a dynamic that continues after Rose marries George and decamps to the Burbank mansion against that stunning backdrop. Brutal to the lanky, lisping Peter from the outset, Phil responds to the nuptials with malice. He isn't fond of change, and won't accommodate anything that fails his bristling definition of masculinity and power, either. In a career-best, awards-worthy, downright phenomenal turn by Cumberbatch, Phil is all hawkish menace and bravado; he viciously calls his brother 'Fatso', his initial taunting of Peter over paper flowers and effete mannerisms is all the more ferocious for its dinner-table audience, and he's effusive in his admiration for Bronco Henry, the man's man who taught him everything he knows. Indeed, Phil's hyper-masculine air, complete with threatening and mocking banjo-plucking, soon drives Rose to drink. He'd rather still be bunking in with George, as they have for the quarter-century they've run their inherited ranch. He'd rather scare everyone away by failing to bathe, unless he's stealing off to a secret water hole — and by mixing his Yale classics degree into his sneering, too. The key to Cumberbatch's commanding performance isn't softening Phil or playing up his charisma, but conveying the battle of repression and self-resentment raging within; the cattleman has long tanned his own public persona, but he's as complex as rawhide. Adapting Thomas Savage's 1967 novel of the same name, Campion gives Phil's chomping misery ample company: in the sauced Rose, in the intimidating attitude that rolls around the ranch like a stubborn tumbleweed, and in Peter when he returns from his medical studies for the summer. The Power of the Dog lets this unhappy stew fester, adding grit to its brew with each passing scene and deepening its rich character studies in the process. The film's only misstep is pushing George aside, although the fact that his passivity — his main trait alongside tenderness — earns him less attention is an incisive touch. Rose becomes a supporting player as Phil and Peter's initially antagonistic relationship finds deeper dimensions but, in Dunst's hands, this is still an intense portrait of a woman heartbreakingly accustomed to being at others' whims. As a raw-boned young man who proves exacting and steely inside, Smit-McPhee isn't just similarly exceptional — he's revelatory. Read our full review. TICK, TICK... BOOM! "Try writing what you know." That's age-old advice, dispensed to many a scribe who hasn't earned the success or even the reaction they'd hoped, and it's given to aspiring theatre composer Jonathan Larson (Andrew Garfield, Under the Silver Lake) in Tick, Tick… Boom!. The real-life figure would go on to write Rent but here, in New York City in January 1990, he's working on his debut musical Superbia. It's a futuristic satire inspired by George Orwell's Nineteen Eighty-Four, and it's making him anxious about three things. Firstly, he hasn't yet come up with a pivotal second-act song that he keeps being told he needs. Next, he's staging a workshop for his debut production to gauge interest before the week is out — and this just has to be his big break. Finally, he's also turning 30 in days, and his idol Stephen Sondheim made his Broadway debut in his 20s. Tick, Tick… Boom! charts the path to those well-worn words of wisdom about drawing from the familiar, including Larson's path to the autobiographical one-man-show of the same name before Rent. And, it manages to achieve that feat while showing why such a sentiment isn't merely a cliche in this situation. That said, the key statement about mining your own experience also echoes throughout this affectionate movie musical in another unmissable way. Lin-Manuel Miranda didn't write Tick, Tick… Boom!'s screenplay; however, he does turn it into his filmmaking directorial debut — and what could be more fitting for that task from the acclaimed In the Heights and Hamilton talent than a loving ode (albeit an inescapably overexcited one) to the hard work put in by a game-changing theatre wunderkind? If this was a case of telling viewers that this is Miranda's movie without telling them, the concept would obviously do the trick. So would a few notable cameos in a standout song-and-dance number that's best discovered by watching. There's plenty in Tick, Tick… Boom! that was already layered with musical theatre history before it became a film, too; in the source material, Larson even wrote in a homage to Sondheim's own musical Sunday in the Park with George. That's the level of insider knowledge that's a foundation here, and the film frequently reverberates in an insular, theatre-obsessive, spot-the-references register. As great as it is if you stan the same productions and people, it also makes Tick, Tick… Boom! less accessible and resonant. It's as if Miranda can't choose between indulging his own adoration or truly sharing that love with his audience. (Tick, Tick… Boom! also became a three-person stage musical in 2001, and Miranda played its lead in a 2014 revival opposite Hamilton's Leslie Odom Jr and In the Heights' Karen Olivo.) Garfield's sing-to-the-rafters version of Larson is first seen in faux home-video footage, performing the rock monologue iteration of Tick, Tick… Boom!, his bouncy hair waving about as he croons and plays piano. Miranda and screenwriter Steven Levenson (Dear Evan Hansen) then segue between the lively presentation and the tale it also tells about Superbia, the looming workshop and the impending birthday. In the latter scenes, Larson can't come up with the missing song, earn enough as a composer to keep the power on, or juggle his pursuit of his dream with the complexities of his personal life. The alternative: opting for a safe career, which his ex-actor ex-roommate Michael (Robin de Jesus, The Boys in the Band) has done in advertising, and his dancer girlfriend Susan (Alexandra Shipp, X-Men: Dark Phoenix) is contemplating with teaching. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; and November 4. For Sydney specifically, you can take a look at out our rundown of new films that released in Sydney cinemas when they reopened on October 11, and what opened on October 14, October 21 and October 28 as well. And for Melbourne, you can check out our top picks from when outdoor cinemas reopened on October 22 — and from when indoor cinemas did the same on October 29. You can also read our full reviews of a heap of recent movies, such as Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark and Julia.
When the COVID-19 pandemic began, life as we once knew it changed suddenly, and everything started to feel like something out of a horror or sci-fi movie set in a post-apocalyptic future, films about contagions, outbreaks and infections all became go-to comfort viewing. We flocked to visions of situations similar to our own, even if only slightly, to help us cope with the existence-shattering shift we were all going through. Accordingly, Contagion proved eerily prescient, while I Am Legend and 28 Days Later mirrored the empty streets — and, yes, everyone was watching them. Next came the spate of flicks that were shot during the pandemic and responded to it. Think: opportunistic fare such as Locked Down and Songbird, neither of which proved memorable. Movies and TV shows will be ruminating upon life in the time of COVID-19 for years and decades to come, obviously; however, the highlights so far have rare. Add Station Eleven to the certain-to-keep-growing pile, but thankfully as one of the very best examples. Indeed, it's unfair to clump this haunting end-of-the-world miniseries in the same group as almost anything else that's emerged since the pandemic began, other than Bo Burnham's exceptional comedy special Inside. As also proved the case with Y: The Last Man when it reached streaming queues in 2021, Station Eleven's narrative actually predates our current predicament. Its nine-episode run now sits on Stan in Australia and Neon in New Zealand, available to watch in full, after its story first garnered a devoted following on the page. And, it taps into something far deeper than obvious observations about being stuck at home with your significant other for longer than either of you had ever considered, and having to scramble to buy toilet paper when the supermarket shelves are bare. The focus of this excellent show, and of Emily St. John Mandel's 2014 book before it: how art and community all play immeasurable parts in helping humanity process and navigate existence-shattering traumas, and to find a path out the other side. That's a sentiment that might sound mawkish and self-evident when described in a mere sentence, but nothing about Station Eleven ever earns such terms. [caption id="attachment_841063" align="alignnone" width="1920"] Parrish Lewis/HBO Max[/caption] Here, it all starts with a flu that swiftly proves more than just the usual sniffles, coughs, aches and pains. This one spreads lightning fast, too, and strikes down its unlucky victims heartbreakingly quickly. For eight-year-old Shakespearean actor Kirsten (Matilda Lawler, Evil), the chaos descends during a tumultuous opening-night performance of King Lear led by Arthur Leander (Gael García Bernal, Old). In the aftermath, she's stuck traipsing around snowy Chicago with Jeevan (Himesh Patel, Don't Look Up), who she has just met — and then sheltering in his brother Frank's (Nabhaan Rizwa, Mogul Mowgli) high-rise apartment. That's really just the beginning of this multi-layered narrative, which also jumps forward 20 years to survey Kirsten's (Mackenzie Davis, Happiest Season) adult life. There, she's a key part of a travelling theatre troupe who performs Shakespeare to the outposts of survivors it passes on its annual route — and she's spent almost her entire existence adjusting, like the rest of the planet, to this new normality. Still, while two decades might've passed and little may now resemble all that passed for routine before the flu, the earth remains an anxious and fraught place. So when a mysterious man, known as The Prophet (Daniel Zovatto, Penny Dreadful: City of Angels) to his army of child followers, shows up at one of the Travelling Symphony's stops, Kirsten is immediately and understandably suspicious. [caption id="attachment_841060" align="alignnone" width="1920"] Ian Watson/HBO Max[/caption] Station Eleven's narrative isn't just about one woman, the men who help her as a child and the other that threatens her status quo as an adult. As well as continually fluttering backwards and forwards between Kirsten's younger and older exploits, it dives into the experiences of others connected to her story in various ways. Before the flu, Miranda Carroll (Danielle Deadwyler, The Harder They Fall) devoted her spare time to writing and illustrating a graphic novel about feeling lost and adrift in space, for instance — and that text, which shares the show's name, is part of the series' broader contemplation of art, tragedy, trauma and dealing with our feelings in general. Premiering late in 2021, just as Omicron started sweeping the world, Station Eleven might've seemed blighted by unfortunate timing. Nonetheless, it's the ideal show for right now. Shot with a soft grey-blue sheen like it's unearthing watery memories, it cuts close to home but always plays like a beacon of hope — and an ode to endeavouring to make it through, come together and make a difference however one can. It's impeccably acted, with the broader cast also spanning Orange Is the New Black's Lori Petty, Veronica Mars' Enrico Colantoni, Arrested Development's David Cross, Veep's Timothy Simons, Succession's Caitlin FitzGerald and Little Joe's David Wilmot. It's meticulous and expressive with every shot, and perfects the feeling of simultaneously trying to get by and daring to dream about something other than weathering a pandemic. Rich and layered and cathartic, this is a dystopian disaster tale not just about merely surviving, but about truly enduring. In a sea of pandemic tales — those made before COVID-19 and since — Station Eleven is a lyrical, heartfelt and character-driven apocalyptic musing with an immediate difference. Check out the trailer below: Station Eleven is available to stream via Stan in Australia and Neon in New Zealand. Top images: Ian Watson/HBO Max.
