A Future on Stage, adapting Back to the Future to the stage

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A Future on Stage, adapting Back to the Future to the stage

7 August 2026

We missed the sadly short-lived stage adaptation of the 1985 time-travel escapade movie Back to the Future (BTTF), during its brief Australian run, in late 2025. I did however catch A Future on Stage, trailer, a documentary about bringing the original film to the stage as a musical.

The words “we didn’t think we could do this”, and “we had no idea what we were doing”, and similar such, may have been uttered a few times too many throughout — since we know the show eventually succeeded — but otherwise the feature was fun to watch.

Producing films and stage shows are probably equally difficult in their own ways.

It was reassuring to hear Bob Gale, co-creator of the BTTF film trilogy categorically rule out prequels, sequels, and spinoffs, at least so long as he and Robert Zemeckis retain control the story rights.

Despite relatively long runs in the United Kingdom and United States, Back to the Future The Musical didn’t fly in Australia, and played for just four months in Sydney. The disappointing run was attributed to cost-of-living pressures, and the high cost of staging the show locally.

Music, Fashion, Film, the new Charli XCX album

7 August 2026

British musician Charli XCX released her eighth studio album, Music, Fashion, Film, in July 2026. Not so much of the glitchcore this time around, though there’s one or two (digital) scratches in the mix.

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Charli XCX, entertainment, music

David vs Goliath Australian film classic The Castle being adapted for stage

30 July 2026

Feel good Australian comedy classic movie, The Castle, made in 1997, is set the join the likes of Back to the Future, The Color Purple, and Titanic, in being adapted for the stage. The story follows a working class family trying to stop cashed-up property developers seizing their home.

The producers of the film, including Tom Gleisner, Santo Cilauro, Jane Kennedy, and Rob Sitch, will be involved in the writing and production of the stage show. Fingers crossed then the adaptation will retain the quirkiness and candour of the original film.

Talking of Kennedy and Sitch, I stumbled upon a satirical show they starred in about thirty years ago, Frontline, a send-up of Australian current affairs shows, in the iView archives. It’s a great show, but a lot has changed since the mid 1990’s. I’m not sure something like that could be made today.

Nirvanna the Band the Show the Movie, by Matt Johnson, Jay McCarrol

25 July 2026

Nirvana the Band the Show the Movie, trailer, is a bat-shit crazy (to say the least) time-travel caper I found while perusing the movie listings on Kanopy last week. It’s a story about two musicians, Matt Johnson, and Jay McCarrol, portraying themselves, who live in Toronto, Canada.

Both are in a music act named Nirvanna the Band, where they usually improvise their songs.

Although they’ve been at it for nearly two decades, as of 2025, success has eluded the duo, and many of the city’s live music venues refuse to book them.

Matt is convinced a daring stunt might sufficiently impress the Rivoli, a Toronto bar they’ve long wanted to perform at. He thinks parachuting from the top of the city’s CN Tower, into a nearby sports stadium, during the middle of game, will do the trick.

When that doesn’t quite succeed — so close, yet so far — Matt quickly formulates a plan to trick Rivoli management into believing they are time travellers from the year 2008.

He fits out their RV with a mock flux capacitor, as seen in Back to the Future (BTTF), which somehow ends up sending the pair back to 2008.

It’s at this point the making of the story becomes as an impressive as the story itself. Much of the feature is made using guerrilla filmmaking techniques.

Johnson and McCarrol filmed many of the people, members of the public, they encountered with hidden cameras, usually without their knowledge. Nor did they seek approval from city authorities, or CN Tower operators, to film, meaning many (but not all) of the scenes on the tower were not staged, they were clandestinely recorded.

Some years ago I went on a Sydney Harbour Bridge climb. I was lucky to be able to take my sunglasses up with me, let alone anything else (parachutes, secateurs, etc). Bridge climbers had to strip to their underwear, and dress in boiler-suits before setting out.

Smartphones were stowed in lockers at street level, with just about everything else we arrived with. We could wear sunglasses and bridge climb issue caps, but these were latched to our outfits. This was of course so objects didn’t fall on people and vehicles using the bridge.

I’d have thought the same requirements applied to people on the outside platform of the CN Tower. Indeed everyone was dressed in boiler-suits, similar to those of the bridge climb, but Johnson and McCarrol managed to conceal extraneous, and potentially dangerous, items under them.

You need to see Nirvana the Band the Show the Movie to appreciate just how astonishing parts of it are. Johnson and McCarrol did not obtain clearance to use excerpts, or theme music from BTTF either, something I was certain — while watching — they must have.

Johnson and McCarrol claim use of BTTF footage constitutes fair use, saying their film is parody.

The film is not a one-off affair either. It was based on a web series Johnson and McCarrol made between 2007 and 2009, called Nirvana the Band the Show. That went on to spawn a TV series Nirvanna the Band the Show (note the changed spelling), which screened in 2017 and 2018.

In 2023 Johnson directed BlackBerry, which traced the rise and fall of the once popular smartphone.

Netflix reportedly considering buying Letterboxd

23 July 2026

Coleman Spilde, writing for Salon:

Since its expansion from movie rentals and streaming into original content, Netflix has made it clear that its sole priority is Netflix, not its customers, and certainly not the art of visual media.

Members of Letterboxd, a social network for lovers of film, founded in 2011 by Matthew Buchanan and Karl von Randow, are up in arms.

I can understand creators of popular products/platforms eventually wanting to realise some reward for their efforts. It can only be hoped, should rumours of a sale have foundation, that any new owner has a bona fide interest in film.

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entertainment, film, social media

Move over Wordle, here is a new word game: 18 Words

13 July 2026

If you’ve had enough of Wordle, here’s something new to try.

You’re given a jumbled-up selection of letters, and have thirty-seconds to figure out the word. The game starts out with a couple of four-letter words, but the they get longer as you progress.

There’s no need to tell anyone how you fared….

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entertainment, games, language

The vinyl revival spreads to CDs, DVD, other physical media

8 June 2026

Some people are tired of streaming, says Iskhandar Razak, writing for the Australian Broadcasting Corporation (ABC).

I’m not sure if it’s the actual process of watching, say, a movie online, or having to deal with streaming content providers, that’s fatiguing viewers, it sounds like a bit of both

I’m hardly the biggest consumer of small (not so small) screen media, it’s usually after nine in the evening before we lounge back on the sofa to watch something. The good news there, with such low consumption, is we only need to deal with one (subscription) streaming provider.

We’re fortunate to also have access to the likes of Kanopy, and iView, and their extensive repositories of movies and other shows. But I don’t even regard streaming as streaming, it’s simply a means by which to view a show or movie.

Others see things differently though. Some think streaming is too transient. They have come to miss owning physical copies of the films and shows they enjoy, and keeping them in a home library, sitting a on a shelf.

Surprisingly perhaps, the sentiment is not limited only to people with fond memories of watching movies on DVD‘s twenty-years plus ago. Many buyers of DVD’s and — incredibly — VHS cassettes, in 2026, are in their twenties.

It’s one thing to own all this physical media though, but a way to view it all is still needed. I assume VHS players, in working condition, are available. We still have a modest DVD collection, but need to hook up a small DVD player to a laptop, then to the TV screen, if need be, to watch them.

The DVD player, which isn’t much bigger than a DVD really, is fine. I’m not sure I’d be in favour of a larger player, and having to haul it around, let alone a VHS player. Plus a whole load of DVD’s and VHS cassettes. I’m having flashbacks to VHS cassette tape getting jammed in the player, and rental DVD’s glitching because of damage to the disc.

Streaming has made those particular playback hassles a distant memory. But that’s just the situation here. For others though, it seems owning a large collection of physical media, in addition to the required playback paraphernalia, adds to the viewing experience.

It has also offered a lifeline to some retailers of physical media, whose businesses were brought to the verge of collapse by streaming.

The Devil Wears Prada 2 trailer, am I having a hallucination?

3 February 2026

I’m wondering why The Devil Wears Prada sequel is somewhat unimaginatively titled The Devil Wears Prada 2. Why didn’t the producers go for something a little more… groundbreaking, such as The Devil Wears Prada: Beyond the Runway?

Whatever, the release of the trailer for the second instalment caused some excitement in our household yesterday.

When I first read about the proposed follow-up eighteen months ago, Anne Hathaway was said to be undecided about about participating. But she’s indeed back, reprising her role as Andy Sachs, one time fashion intern, along with Emily Blunt and Meryl Streep.

David Frankel, director of the first film, returns to helm the sequel, along with Stanley Tucci in his old role as Nigel. Sydney Sweeney and Justin Theroux are among newcomers to the story. The Devil Wears Prada 2 opens in Australian cinemas on Thursday 30 April 2026.

Hollywood creative group seeks responsible use of AI in filmmaking

24 December 2025

Actors, filmmakers, writers, and show runners, are among Hollywood creative professionals who have formed an industry group called the Creators Coalition on AI (CCAI), says Chris Gardner, writing for The Hollywood Reporter:

CCAI’s rallying cry states that the group is not against AI use in Hollywood — “this is not a full rejection of AI” — but rather a hope that all involved can commit to “responsible, human-centered innovation.” Per CCAI: “We believe humanity is creative enough to design a system that allows for the tech and creative industries to coordinate, collaborate and flourish but that will not happen by default. We must unite and push back against the current path and demand all parties come together to build a better system.”

The CCAI is not opposed to AI as such, but, long story short, wants to ensure the technologies are deployed in a “responsible” manner.

Spotify listeners shun Australian music says Wrapped 2025

5 December 2025

The suggestion, made by The Daily Aus (TDA), is that few Australians listened to local music in 2025. On Spotify at least.

Zero local acts featured in Australia’s most listened-to artists, tracks, and albums on Spotify in 2025.

You’ll have to go to Instagram (IG) to read the slide card since TDA mainly publish their news reporting on IG, because their target audience, mainly Generation Z and some Millennials, consume news and current affairs reporting on the socials.

As I wrote a couple of weeks ago, the world needs more niche blogs, and TDA, with their fine writing would slot nicely into news and current affairs niche. They do republish articles to their website, but sadly there is no RSS feed to subscribe to.

But back to the headline. I checked my 2025 Spotify Wrapped, and found Moon Motion, by Brisbane based Australian act First Beige (er, Instagram page), was my second most listened to track this year.

Tame Impala, Peking Duk, RÜFÜS DU SOL, and Vera Blue, are among Australian acts on my liked songs playlist. I can’t be the only person in Australia with local acts on their playlist.

It seems surprising to me that not one floated to the top, or at least near it, on the overall most-listened to lists. But maybe it’s some sort of Spotify quirk, and maybe next year we won’t be talking so much about them.

I also learned I have a music listening age of twenty-two (thank-you Spotify), why then all this talk about niche-blogs and RSS feeds? At my “age” I’m meant to be all in the socials.

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