The best restaurants on the Sunshine Coast
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Time Out
13 hours ago
- Time Out
The best restaurants on the Sunshine Coast
It doesn't get more intimate than Humble on Duke. There's room for only 14 guests to dine at once in this tiny Sunshine Beach dining room. Chef Stacey Conner embraces the Middle Eastern approach to eating, drawing inspiration from her most memorable travels through the region. Humble on Duke's ever-changing sharing menu could see you snacking on beef doughnuts with house-made mustard and crispy zucchini flowers drizzled with honey. Dunk Lebanese fried lamb dumplings into herb yoghurt, dip fresh Turkish bread into baba ganoush, and drizzle gravy over an epic peppercorn-crusted Wagyu T-bone steak. Wine pairings are available, with a strong focus on South Australian vineyards.
Daily Mirror
a day ago
- Daily Mirror
Perrie Edwards reveals 'horrendous' second miscarriage losing baby at 24-weeks
Little Mix star Perrie Edwards has shared that she suffered a devastating miscarriage at 24 weeks pregnant, admitting it felt like an "out of body experience" as she was left sobbing. Perrie Edwards says it felt like an 'out of body experience' when she found out she had suffered a miscarriage for the second time in her life in 2022. The Little Mix singer, 32, shares son Axel, who turns four this week, with former Arsenal midfielder Alex Oxlade-Chamberlain, also 32, but has now opened up about the devastating miscarriage they suffered less than a year after Axel's birth. 'We went for what was a 20-week scan, but we were actually 22 weeks, and that was just the worst day of my life. Like horrendous. And I just knew something was wrong in the scan, and [the doctor] just kept going over the same thing, over the same thing... I've never experienced an out-of-body experience where everything goes in slow motion,' said Perrie as she shared the ordeal with Celebs Go Dating expert Paul C. Brunson on his podcast, We Need To Talk. Perrie continued: "So then I remember sobbing. [Alex] was injured at the time and he couldn't really drive. He was struggling to drive, but I couldn't see straight. I was just distraught. And yeah, we basically lost the baby at like 24 weeks.' This wasn't Perrie's first experience with losing a child, with the singer describing Axel as a 'rainbow baby' after she lost a baby during her first pregnancy, 'I had a miscarriage very early on with my first ever pregnancy, and it was so early. I remember finding out I was pregnant. Obviously, I started bleeding not long after, and I went to the hospital and I had the scan and they were like, 'There's no baby.'" But it was the second experience which Perrie said really hit home, after she and Alex had already begun preparing for the newborn's arrival. 'When you're fully, like carrying in your 24 weeks and you've planned out like that room and all these things, it's really hard. And nobody knows other than, like, immediate friends and family. And I remember, like, shortly after, like, friends would message and be like, 'how's the bump?' And I'll be like, there is no bump." Despite the heartache, Perrie describes being pregnant as one of the 'best times' in her life, and couldn't be happier to be a mum to Axel. 'When I was pregnant with [Axel], like, I loved being pregnant, it was one of the happiest times of my life. Like, I just love carrying babies. And it was lovely. But I was a bit on edge thinking, oh, gosh, like, I want to get past the 12 weeks. I want to get past this. And when I get past every scan and that pregnancy was complete bliss, it was perfect." The South Shields-born singer has been in a relationship with footballer Alex, who now plays for Turkish team Beşiktaş, since 2016, after meeting on celebrity dating app Raya. The couple got engaged in 2022, with Alex organising a romantic beachside proposal, but are yet to reveal any details of a wedding. Prior to her relationship with Alex, which Perrie describes as 'safe, calm and positive', the star was engaged to One Direction alum Zayn Malik. The couple both rose to fame during their respective time on The X Factor and were together for four years, beginning when Perrie was just 19 years old before they split in 2015. Looking back at the 'toxic' first relationship, Perrie admitted to Paul, 'I think definitely at the time I thought everything we experienced in our relationship was normal. Because it was my first relationship, first love. I was like, 'Oh, this is how it's supposed to feel. It's supposed to feel a little bit toxic. In some ways, this is probably normal, right?' And then when I became single, I was almost thinking, like, I never, ever want to go through that again. I didn't even want to meet anybody. I was like, that's me done. I don't think I could bear that pain." Perrie continued that the experience has made her more appreciative of Alex's calming nature, "But now, reflecting back, I'm thinking, oh, that probably wasn't good. And I've noticed it a lot. Like in the start of the relationship, I would handle things differently with Alex, and he'd come at it with such a level head that it would throw me." If you have been affected by this story, advice and support can be found at the Miscarriage Association. You can call them on 01924 200799 or email
Scotsman
a day ago
- Scotsman
Edinburgh International Film Festival reviews: Hysteria Concessions On the Sea
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Hysteria ★★★★☆ Concessions ★★☆☆☆ On the Sea ★★☆☆☆ In Transit ★★★☆☆ Receiving its UK premiere at this year's EIFF, the provocative new German film Hysteria kicks off like a horror movie, specifically a found footage movie, even more specifically a Paranormal Activity film. There are static night vision cameras, sleeping inhabitants and malevolent intruders, only the intruders aren't spirits and the footage isn't trying to elicit jump scares. Instead it's security footage of a racist attack on a family of Turkish immigrants unaware of the fire burning white through the frame as they sleep. Except it's not that either. Advertisement Hide Ad Advertisement Hide Ad As we cut to an exterior shot of a burning set we realise it's a recreation of the aforementioned atrocity for a movie based on a real arson attack that took place in Germany in 1993. Hysteria | Edinburgh International Film Festival It's an intriguingly slippery way to start — and indicative of Hysteria's modus operandi as German writer/director Mehmet Akif Büyükatalay uses the behind-the-scenes conceit to make a film about the racial problems in his home country that also explores the complexities and ethics of making films that allow arthouse audiences to feel better about themselves for engaging with these themes from a safe distance. The catalyst for all this is the revelation that an actual copy of the Quran has been burned up during the filming of the aforementioned arson attack, an act of desecration that offends the Muslim extras that the film-within-the-film's Turkish-German director Yigit (Serkan Kaya) has hired to boost his project's authenticity. Whether this was a prop gaff or a deliberately incendiary move on Yigit's part to elicit the performances he's after is never disclosed, but the fall-out takes on a strange thriller dimension of its own when the footage of the scene subsequently goes missing after the production's lowly intern Elif (Devrim Lingnau) is tasked with looking after it. Advertisement Hide Ad Advertisement Hide Ad Büyükatalay keeps the focus on Elif initially, drawing us into her sense of panic and ratcheting up the tension as she loses the keys to Yigit's apartment en route to storing the footage, and then tries to cover up her mistake only to find herself stalked by a stranger who may or may not have some connection to the movie. The film uses this creeping sense of dread to tease out its larger thematic ideas, particularly as we start to learn more about Elif's own background as the white-passing daughter of a Turkish immigrant. But just as you're starting to get a handle on it, Büyükatalay switches gears again, letting the film veer into whodunnit territory with an extended, grimly ironic confrontation scene that may make slightly heavy satirical work of tying everything together, but also cleverly acknowledges the value and limitations of filmmaking when it comes to addressing hot-button issues. Sadly, the limitations of films about films are unintentionally exposed in another festival title, Concessions, which had its world premiere over the weekend and is one of ten films competing for the Sean Connery Prize for Filmmaking Excellence. It's notable mainly, if at all, as the last film of the late Michael Madsen, the Quentin Tarantino regular who broke through in Reservoir Dogs. Here Madsen plays a very Tarantino-lite character, that of a fading Hollywood stunt double called Rex Fuel, who shows up to see a movie he's worked on at a scheduled-for-closure independent cinema on its final day of business. Advertisement Hide Ad Advertisement Hide Ad Madsen enters the film in a scene lifted directly from Tarantino's Once Upon a Time in Hollywood, which ends up being less an act of homage than indicative of the depressing reality that this once-mighty actor should have to bow out with a groaning cameo in a fan-boyish movie devoid of a single original idea. The film isn't really a Tarantino knock off, though, and, despite its setting, nor is it really a riff on Peter Bogdanovich's New Hollywood Classic The Last Picture Show. Instead it's a Kevin Smith tribute, with the plot, structure, character types, story arcs, pop-culture diatribes about Star Wars, even the rhythms and intonations in the actors' line readings mimicking Smith's breakthrough movie Clerks so slavishly you start to wonder why Concessions' 23-year-old writer/director Mas Bouzidi didn't just use AI and be done with it. It's certainly odd that he'd want to subsume his own voice so completely so early in his career — and the film's pandering celebration of the power of the big screen experience in the age of streaming would have been more convincing if it had offered up something new. Fellow competition nominee On the Sea is also disappointing, a kind of glum, queer-themed unrequited love story that puts a May-December spin on Brokeback Mountain in its regressive plot about a closeted, middle-aged Welsh mussel picker (Barry Ward) who falls for a young, itinerant deckhand (Lorne MacFadyen) in a small village in Anglesey. Advertisement Hide Ad Advertisement Hide Ad Novelist-turned-filmmaker Helen Walsh's sophomore feature isn't quite clear about when it's set; nobody seems to have a smart phone, or even a mobile, but there's nothing that specifically dates it to a late 20th century setting beyond the uproar homosexuality seems to inspire among the locals and Walsh's own groaningly obvious juxtaposition of her repressed protagonist hitting a local cruising spot in one scene and then listening to a church sermon about sin (with his wife and son in tow) in the next. She also piles on the misery, giving Ward's already tormented Jack a terminal illness diagnosis to add to the tragedy of being gay in a dated movie that doesn't seem to realise God's Own Country, Weekend, Passages and All of Us Strangers have shifted the needle in terms of the range and types of stories gay characters can front. A better version of this story is to be found in yet another competition entry, In Transit, an American indie about an unsure-of-herself 20-something who forms a curious bond with a older, successful female painter who's visiting her sleepy rural Maine hometown on an artist's retreat. Though it's pretty clear the direction their charged relationship is going to take from the moment Jennifer Ehle's Ilse asks Alex Sarrigeorgiou's soon-to-be-unemployed barmaid Lucy to pose for her, the film — which is directed by Jaclyn Bethany from script by Sarrigeorgiou — uses the artist/muse dynamic to subtly explore the rut both women have fallen in a realistic way without resorting to life-or-death melodrama. Advertisement Hide Ad Advertisement Hide Ad Edinburgh International Film Festival runs until 20 August. For more information and tickets visit:
