Had a big night out in Fortitude Valley? You might not be thinking about heading back the next morning, but The New Black is a great place to come back to life. It's flagship cafe for Brisbane roaster The Black Lab Coffee Co, so you're guaranteed a soul-reviving brew alongside a selection of top-notch brunch dishes. You can keep it simple with a classic homemade granola with seasonal berries or opt for something a little more special. Our recco? The avocado on toast that's miles above those you find on most Brisbane cafe menus. This one comes with a basil pesto, watermelon radishes, kale chips, whipped ricotta and seed crackers. It's giving Melbourne and Sydney brunches a run for their money. And for those who want to really indulge for breakfast, there's The New Black's decadent espresso waffles or the fried chicken benny. This is real bougie hangover food, for those of you who prefer to eat through the pain rather than try to sleep though it.
If you're looking for a weekend of relaxation, heading to the coast and zoning out by the beach is up there with the best options around. Throw in Queensland's sunny tropical weather and you have a recipe for a perfect warm-weather vacay. Whether you're looking for a lavish waterfront mansion, a quaint beachside cabin or an eco-friendly floating houseboat, there's a spot for everyone around southern coastlines of Queensland. Check out these twenty charming spots — then check your calendar and book in your next getaway. Recommended reads: The Best Dog-Friendly-Stays in Queensland The Best Places to Go Glamping in Queensland The Best Hotels in Brisbane The Best Island Stays in Queensland The River House, Noosa Heads It doesn't get much more summery than this waterfront house. Step out your front door to palm trees, white sand and a private jetty, or enjoy a drink and the dusk breeze from the expansive al fresco area. $1057 a night, sleeps six. Quirky Black Shack, Burnett Heads If you're looking to be consumed by the sounds and sights of the ocean, this unique three-bedroom beach house will set you up nicely with panoramic views of the beach from the laid-back front porch. $490 a night, sleeps six. The Lake Shack, Weyba Downs As the name suggests, this lush natural haven is closer to a lake house than a beach house, sitting on the banks of Lake Weyba. It's still only a short drive from multiple white-sand beaches, and the renovated fisherman's cottage comes decked out with a pool, outdoor bathtub and fire pit. $390 a night, sleeps two. Sophisticated Coastal Sanctum, Noosa Heads You'll find views of the Noosa river system, Mount Cooroy and Mount Tinbeerwah from this expansive three-storey house. You'll never run out of new reading spots here, with multiple expansive living areas both inside and out. $950 a night, sleeps eight. Floating Oasis, Noosa Heads This dreamy part-house boat, part-eco-friendly tiny house promises morning views and tranquil relaxation like no other. $589 a night, sleeps two. Bicentennial Oasis, Agnes Water You can find this quiet stay resting among the trees, just one kilometre from a dog-friendly beach and less than three kilometres from Agnes Water's main beach. Sit around the fire pit and enjoy watching the local kangaroos that wander the property. $100 a night, sleeps eight. Arkaba Views, Noosa Heads With a seven-metre pool, air hockey table and smart TV, this Noosa Heads house is a perfect group getaway. The sleek architectural style, abundance of light and picturesque views will have you slipping into complete holiday mode on arrival. From $1494 a night, sleeps eight. Mango Lodge, River Heads If you're looking for a relaxing home base before jetting off on day trips, try this bushland property. The wheelchair-accessible house is located just three minutes from the Fraser Island ferry and a short drive from Hervey Bay. $225 a night, sleeps four. Waterfront Resort, Banksia Beach This five-bedroom waterfront house sits on the banks of a pontoon, and comes fitted with a home theatre, pool, kayaks and outdoor barbecue. $550 a night, sleeps 14. Decked Out Holiday Home, Woorim Park yourself in this sleepy beachside town and enjoy a relaxation-filled stay at this leafy coastal house with shaded front and back decks. From $297 a night, sleeps six. Eclectic Oasis, Doonan An abundance of trees overrun this sunny coastal stay. The two-bedroom space comes with everything you need for a wholesome, nature-filled holiday including hammocks, board games and stars aplenty once night rolls around. $400 a night, sleeps four. Glass on Glasshouse, Glass House Mountains While this glass-walled house is less beachy than other stays on this list, what it lacks in direct access to the surf it makes up for with its picturesque location on Glass House Mountains. Plus, it's still less than 30 minutes to multiple bodies of water, including Golden Beach and the Bribie Island waterways. $494 a night, sleeps three. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. All photos supplied by Airbnb.
It arrived in 2019 with a name out of a Dr Seuss book, an aim to level-up the fish-and-chip experience while still appreciating the old-school joys (including paper-wrapped takeaways), plus a love of themed pop-up menus. Six years later, Kangaroo Point's One Fish Two Fish is set to say farewell. Brisbanites have until the end of April 2025 for a last order — or several — at the bistro, which is closing when owners Daniel and Amelia Miletic's Main Street lease finishes. "After six incredible years, it's time for us to share some bittersweet news — One Fish Two Fish will be closing its doors at the end of April as our lease has come to an end," advised the Miletics in a statement on the eatery's social media. "What a privilege it's been to host people from all over the world in our little white Queensland cottage, where we've been lucky enough to share so many special moments. We've hosted baby showers, birthdays, engagements, anniversaries, hen's parties, weddings, product launches, a few locals escaping disastrous DIY projects, and countless, long, laughter-filled lunches." "We would like to sincerely thank you for the incredible support you showed One Fish Two Fish over the years — especially through the wild rollercoaster that was COVID." One Fish Two Fish will spend its last few months serving up its existing dine-in and takeaway menus, and also continuing to host its regular events. Oyster Frenzy, the venue's annual six-course feast, is the first to return. Love Bug, where Moreton Bay bugs are in the spotlight around Valentine's Day, will also be back. Then, come March it'll be time for the last Crab and Cray Cray specials. Midtown, the martini bar that the Miletics launched in South Brisbane's Fish Lane in 2023, will become the pair's new main focus — and yes, seafood is also on the menu there. "We hope to see you soon at our newest baby, Midtown, where we'll continue doing what we love most — hosting epic events, pouring delicious drinks and serving brilliant bites," the duo shared. Find One Fish Two Fish at 708 Main Street, Kangaroo Point — open 5–9pm Wednesday–Thursday, 12–9pm Friday–Saturday and 12–8.30pm Sunday — until the end of April 2025.
We know it's nothing revelatory, but we've spent far more time staring at our own four walls these past 18 months. Our homes have become our havens (and our hells), meaning it's high time to spruce up our pads. And one surefire way to give your living room a lift or brighten up your bedroom — even if you rent — is with some brand-new homewares. But this is your sanctuary, so any old couch won't do. Instead, pick up some wares that'll spark serious joy, and save yourself from the less-than-joyful activity of assembling flat-pack furniture while you're at it. In partnership with Great Southern Bank, we're helping you skip the flat-pack struggle — and still stick to your savings goals. In fact, with Great Southern Bank, you can actually top up your savings account with The Boost, which lets you add small amounts (between $0.01 and $5) to your savings as you spend on stunning new wares. So, if you're after colourful handmade ceramics, plush sofas, linen sheets and quirky chairs, check out these eight stores with homewares that won't break the bank. CASTLERY If you'd describe your taste in homewares as 'modern minimalist' then check out Castlery. There's something decidedly homey and comfortable about its affordable furniture range, though it still has a sleek edge. This 100-percent online store also makes it dead easy to browse from the comfort of your couch. Want a new dining room set? Take your pick of retro-style sideboards, mango wood tables and sleek dining benches. Or, maybe it's time to finally get rid of your nan's hand-me-down sofa and replace it with a luxe sectional. Whatever you're looking for, Castlery probably has it — and at a competitive price — so jump online stat. Be sure to sign up to its mailing list for a cheeky $50 off your first order, too. BED THREADS The clue is in the name here, so if you're looking to level up your bedding, look no further. Bed Threads is your go-to for linens and will set you up with the snoozing ensemble of your dreams. You can mix and match its 100-percent flax linen sheets, with more than 20 colours to pick from. Plus, you can currently score 20 percent off its 'build your own bundle' sets. The great news, though, is that Bed Threads services other rooms, offering a great selection of bath and table accessories to bring some pep into every space, including waffle towels, vibrantly hued table linens and quirky serveware. It's got a concise-but-killer collection of cookbooks, too. [caption id="attachment_798511" align="alignnone" width="1920"] Cassandra Hannagan[/caption] OPUS DESIGN Fun and functional, Opus Design's homewares range from subtle and understated to ostentatious and fun. Whether you're after a new set of knives or big-ticket items like coffee tables and chairs, everything here looks and feels high-end — but without the hefty price tag. A great shout if you're looking to pick up a few pieces to breathe new life into your living room, it also offers free delivery across Australia on orders over $100. Result. THIRD DRAWER DOWN Melbourne-based shop Third Drawer Down is a top homewares contender (which thankfully has a comprehensive online store, too). Stocking bold (and sometimes tongue-in-cheek) designs from an impressive list of local and international artists, Third Drawer Down celebrates individualism and playfulness with its carefully curated selection of wares. Everything here is as much a work of art as it is a functional piece of furniture, so expect a heap of bright colours, out-there drawings, crude knick-knacks and pop-culture influences. This is a great store if you're after a fun statement piece (or a few) without wanting to fork out a fortune. GOODSPACE Goodspace is a humble Instagram page dedicated to redeveloping and repurposing preloved furniture. Not only will you score something unique for your pad, but you'll also be doing the earth a solid with these sustainable pieces. The social media store sells all manner of small and large storage units, tables, chairs, sofas and lamps, to name but a few. The price on these beauties varies greatly, so be sure to check its swag regularly. It also recently launched its own line of bright-hued checkerboard rugs that'll add a splash of colour and help spiff up any room. MUD Founded in 1994, Mud has been going strong for 27 years with its minimalist ceramic designs. Perhaps best known for its handmade porcelain range brought to life by designer Shelley Simpson, Mud is all about clean, colourful pieces that are as much about the artistic process as they are functionality. So, if you're in the market for a statement salad bowl, a new mug or some unique hanging lights, check out its online store. SUNDAY SOCIETY This Brisbane-based store delivers across Australia, which is the first bit of great news you need to hear. The second? Sunday Society embraces individualism and creativity while remaining approachable in aesthetic and, perhaps more importantly, price. It has a diverse range of lounge and bedroom furniture as well as a timeless selection of outdoor wares. Style and sophistication go hand in hand every step of the way here, so no matter what you're looking for, you're bound to find something that suits your taste. LOUNGE LOVERS Whether it's the comfortable, stylish sofas or rustic, asymmetrical tables stocked at Lounge Lovers, you may find yourself being surprised at the price tag on these slick pieces. Lounge Lovers keeps things simple by offering concise variations on a number of easily workable themes. Classic and contemporary designs are brought to life via chic colour palettes that range from neutral to jewel tones, allowing you to add your personal flair to any of these accessible pieces. Great Southern Bank is empowering Aussies to get clever with their banking. Whether you want to stick to your savings goals with The Boost or hide your house deposit fund from yourself with The Vault, Great Southern Bank helps you get there. For more information on savings tools and home loan options, head to the Great Southern Bank website. Top image: Opus, Cassandra Hannagan
When it's festival time in Brisbane, the city lights up. That said, expect this town of ours to shine a little brighter when Curiocity Brisbane rolls around. A first-time event that's all about imagination, innovation, creativity, science, technology and art, this fest will see immersive installations pop up all over the place between Friday, March 15 and Wednesday, April 3. Leading the charge is Ross Manning's Wave Opus IV, a large-scale self-playing instrument that resembles a waveform. A new iteration of a work first commissioned by the Institute of Modern Art back in 2017, it's headed to Brisbane Powerhouse — and it's just one of the pieces on the bill. From making stickers out of your own shadow to wandering between luminous statues, there's plenty to pique your interest, all thanks to a lineup of local and international artists, technicians and makers. The free interactive installation trail will span from South Bank and New Farm, running day and night across the 20-day period. And if you're looking for talks, performances, movies and more, Curiocity also includes this year's World Science Festival Brisbane from Wednesday, March 20 to Sunday, March 24.
When it comes to a romantic weekend for two, a solo trip or a break with the besties, you can't beat the cosy feels of a tiny house. Perfect for escaping the daily grind, a mini abode makes up for the space it lacks with plenty of good times and fresh air. With so many tiny houses in NSW, it's easier than ever to find the right one for you. Whatever your vibe, whether it's a quaint rural stay complete with rolling green hills or a luxe cabin by the water, NSW has a pint-sized holiday home to suit. We've done the hard work for you and rounded up some of the best small-but-mighty tiny houses you can book in NSW. Pick a favourite, pack a bag and get set for a taste of that minimalist life. Recommended reads: The Best Places to Go Glamping in NSW The Best Places to Stay in the Blue Mountains The Best Hotels in Sydney The Best Dog-Friendly Hotels in Australia [caption id="attachment_1009756" align="alignnone" width="1920"] Image: Robert Walsh.[/caption] Billy's Hideaway by Huch, Wollombi Surrounded by bushland and overlooking a Billabong, this architecturally designed cabin is completely off-grid, offering a luxurious yet sensitive addition to the landscape. Enjoy panoramic views from the open-plan living, or settle in the hot tub with a glass of wine. From $448 a night, sleeps 2 adults, 2 children. Kumbogie Cabin, Daruka A cosy off-grid cabin for two, set among rolling green hills and bushland. Unwind on the porch overlooking the trees, or settle in by the outdoor fire. From $170 a night, sleeps two. The Bower at Nanny Goat Hill, Kangaroo Valley This charming tiny house in NSW is a farm retreat that makes for the ultimate small group getaway, boasting all the creature comforts, and a tranquil setting complete with resident goats and chooks. From $230 a night, sleeps four. Vineyard Cabin by Outpost, Exeter Nestled amongst the vines of Exeter Vineyard & Cellar Door in the Southern Highlands, this cabin combines rustic country charm with understated luxury. Cosy and authentic, unwind and immerse in the simple beauty of the Australian countryside. From $290 a night, sleeps two. Byron Hinterland Tiny House, Possum Creek A chic escape for two in a peaceful pocket of the Byron hinterland. This off-grid stay is effortlessly stylish, complete with sunny deck, hammock and reading nook. From $230 a night, sleeps two 6Sixteen The Banks, Agnes Banks With its idyllic rural setting and Blue Mountains outlook, this tiny home is one dreamy getaway. Enjoy the fire pit, sun-drenched deck and comfy loft bedroom. From $229 a night, sleeps three. Ligo, Wolgan Valley An architecturally designed tiny home surrounded by the picturesque cliffs of the Newnes Plateau within the Gardens of Stone National Park, escape the daily grind and immerse in the ruggedness of the Australian bush, with a side of luxury. From $449 a night, sleeps two. Horseshoe Hideaway, Mullion If you fancy stargazing from a hot-tub off the beaten track and waking up to sweeping mountain views, make this tiny house in NSW your next getaway. There's a fire pit and a floor-to-ceiling window in the shower, so you'll never miss the view. From $350 a night, sleeps two. Tiny Escape Tiny House, Wollombi A pint-sized paradise for two sitting among rugged bushland that promises a rejuvenating time away. There are luxury linens, a fire pit and acres of nature waiting to be explored. From $200 a night, sleeps two. The Hill Station, Mount Tomah Nestled in the heart of the Blue Mountains, this renovated cabin is the ideal couples retreat. Conveniently close to the Mt. Tomah Botanical Gardens, enjoy plenty of tranquil garden walks followed by afternoons curled up by the fireplace. Fron $380 a night, sleeps two. Boatshed Bliss, Dangar Island Soak up the sun on the shores of the Hawkesbury River in this pet-friendly retreat. You will have to get a boat to this secluded tiny home. With a private beach at your doorstep, you'll enjoy plenty of time by the water, whether you're taking a dip or watching the sun set over the lapping waves. From $275 a night, sleeps three. The Salty Dog, Newport One of the best tiny houses in NSW that's close to Sydney, this tiny boathouse takes 'on the water' property to the next level. The floating home for two comes complete with a cosy loft, downstairs dining space and kitchen and yes, a boat to get back to shore. From $655 a night. Sleeps two. [caption id="attachment_786394" align="alignnone" width="1920"] By Wilken Photography[/caption] Arabella, Beaumont An award-winning designer stay, complete with fairytale-like forest setting. While the tiny home itself is impressive, but it's the incredible one-way glass bathroom hidden among nearby trees that steals the show. From $290 a night, sleeps three. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Top image: Arabella by Love Space Photography. All other images supplied.
Airports are a necessary part of the international travel experience. They're hardly most people's favourite place or anyone's ultimate destination, but you can't fly overseas without visiting them. Next time you're jetting abroad, however, you might want to add a visit to Singapore's Changi Airport to your trip. Nothing breaks up a long-haul journey like a 40-metre tall indoor waterfall, after all. After hosting a short-term immersive Harry Potter-themed world over the Christmas period, the Asian transit point has now launched a new permanent addition — the 137,000-square-metre Jewel Changi complex, under a glass-and-steel dome, that's jam-packed with shops, dining options, greenery, activities and one massive water feature. Designed by Safdie Architects, it takes over ten storeys, including five above the ground and five below, as part of the airport's terminal one expansion project. If it's the cascading attraction that you're most interested in, it's called the Rain Vortex. As the name suggests, it uses water collected from above. Running from 8am–12.30am, it's also the world's tallest indoor waterfall, and also provides the backdrop for a light show. Surrounding the Rain Vortex is the Shiseido Forest Valley, which is home to over 2000 trees and palms, as well as more than 100,000 shrubs, all across five storeys. To allow visitors to really soak in the natural splendour, the manicured garden features a number of walking trails that take around half an hour each to complete — and they're open 24/7. Although the waterfall and garden have been welcoming travellers since Wednesday, April 17 — as has Jewel Changi in general, its new onsite IMAX theatre and YOTELAIR Hotel, plus Nike, Marks & Spencer, Muji, Zara and Uniqlo stores as part of 280 retailers and eateries overall — there's also more to come. From June 10, the site will mark the opening of its fifth-level Canopy Park, which'll bring with it a heap more adventurous activities. Specifically, visitors will be able to walk along a bridge suspended 23 metres above the ground, and even see through the glass floor to the garden below. You'll also be able to bounce along a 250-metre span of sky nets, wander through both a hedge maze and a mirror maze, and slip down the slide-filled sculptural playground. Forget just killing time on a layover, searching for a phone charger or suffering in uncomfortable chairs while you're waiting for your flight home. Here, you might have to remind yourself that you're actually at an airport. For further details, visit the Jewel Changi Airport website.
Over the past month, Arnott's has been unveiling a new recipe for one of its famed bikkies every week. As part of the snack expert's Big Recipe Release, it has unveiled its Monte Carlo, four-ingredient Scotch Finger and Iced VoVo recipes, as well as a twist on its Tim Tam: a salted almond Tim Tam brownie. This week, it's thrown us another curveball. The recipe isn't for one of its sweet snacks; instead, like the Tim Tam brownie, it uses one of its sweet snacks. The key ingredient this time is Nice biscuits, which you'll use as a sugar-dusted base for a silky but classic cheesecake. Obviously, the new recipe still ticks another very important box: giving everyone currently working from home — or just spending more time indoors than usual — something different to bake. Australia's oldest baker will continue to release a new recipe for one of its famous biscuits every week until social distancing regulations are lifted. Next up, will it be the Mint Slice? Pizza Shapes? We'll have to wait and see. In the meantime, though, here's the classic Nice cheesecake recipe: https://www.instagram.com/p/CAeYW1GgwSs/ CLASSIC NICE CHEESECAKE 1 250 gram packet of Arnott's Nice biscuits 125 grams melted butter 1 teaspoon ground cinnamon 2 250 gram packets of cream cheese, at room temperature 3 eggs 1 teaspoon vanilla extract 1/2 cup caster sugar Method BASE: Preheat the oven to 150°C. Grease a 20 centimetre (base measurement) springform tin. Place Arnott's Nice biscuits and cinnamon in the bowl of a food processor, then process until biscuits are finely crushed. Add melted butter, then process until combined. Transfer mixture to the prepared tin — and, using the back of a spoon, press over the base and up the sides of the tin until it is spread evenly. Refrigerate for 30 minutes, or until needed, to ensure a firm crust. FILLING: Combine cream cheese, sugar and vanilla extract in a medium bowl, then beat until well mixed. Add eggs one by one, beating well after each addition. Pour mixture over the biscuit base. Bake for 50 minutes, or until set. Turn the oven off, but leave the cheesecake in the oven with door ajar until it has completely cooled — as this will help prevent the cheesecake from cracking. TIPS: Add a teaspoon of lemon or orange zest to your cream cheese mixture for extra flavour. Replace the cinnamon with mixed spice for a twist. Serve with your favourite berries and double cream. If you don't have a food processor, you can crush the biscuits it the old-fashioned way — by placing them in a zip lock bag and crushing with a rolling pin. Top image: Arnott's
Since he first hit the big screen in two wildly different 1995 movies, Clueless and Halloween: The Curse of Michael Myers, the seemingly ageless Paul Rudd has spent time in plenty of imaginations. Who hasn't filled seconds, minutes or hours thinking about how Baz Luhrmann chose him as the unwanted romantic alternative in Romeo + Juliet, or how nothing Wet Hot American Summer-related would be the same without him? Who hasn't pondered how Rudd was ideally cast as Ant-Man, and also in both Parks and Recreation and Only Murders in the Building, too? Given how far the actor's resume stretches on around all of those projects, there's always a reason to have Rudd on the brain. Writer/director Alex Scharfman initially met him after penning a screenplay called The Cats of Baxley, then had a Rudd-centric idea pop into his head: the extremely likeable actor killing a unicorn. Getting one of the most-beloved actors currently working to slay one of the most-cherished mythical creatures there is: now that's quite the concept for anyone's mind to conjure up, and also quite the unique way to start a film. That movie is Death of a Unicorn, the A24-backed genre mashup that kicks off with a widowed father and his college-aged daughter — Elliot and Ridley Kintner, played by Rudd (Ghostbusters: Frozen Empire) and Jenna Ortega (Beetlejuice Beetlejuice) — stunned that they've accidentally hit one of the titular creatures. They're also in shock that such a critter is real. The pair are meant to be on a business trip to the Canadian Rockies, to the estate owned by Elliot's boss, who is in pharmaceuticals and loaded as a result. Elliot sees the getaway as way to boost his career; Ridley would rather be anywhere else. A unicorn encounter isn't something that can just be shaken, though — especially if a billionaire can monetise it, and if nature isn't fond of being messed with. Scharfman's debut feature is a monster movie about unicorns, so a film firmly in the horror-comedy mould. It's an eat-the-rich satire, too. Death of a Unicorn plays with viewer expectations of a picture with Rudd at its core, getting someone so adored for so long portraying a man who constantly makes terrible decisions. Equally, it tasks Ortega with being the film's emotional and empathetic centre as the person instantly attuned to the unicorns, and to the fact that every choice being made around her is wrong (and driven by chasing cash and power). With a killer cast that also spans Richard E Grant (The Franchise) as pharma company head Odell Leopold, Téa Leoni (Madam Secretary) as his wife Belinda and Will Poulter (Black Mirror) as their son Shepard — as well as Anthony Carrigan (Barry) and Jessica Hynes (Am I Being Unreasonable?) among the clan's hired help, plus Sunita Mani (Fantasmas) and Steve Park (Mickey 17) as scientists — it's also a playful creature feature that digs into unicorn lore alongside class structures and hierarchies, commodifying nature, plus capitalism, colonialism and imperialism. That all sprang from the flick's first scene materialising in Scharfman's imagination, then from the filmmaker's deep dive into the mythology surrounding the fabled one-horned animals — and realising what those stories say about society, not merely centuries back but also now. The picture works The Unicorn Tapestries from the Middle Ages into the plot prominently, courtesy of Ridley studying art history; however, as the Leopolds, especially the dying Odell, focus on potential miracle cures and the big bucks that their wealthy peers would pay for them, that's just one of the director's touchpoints. As always evident to Death of a Unicorn's audience, Scharfman has followed the path that his unicorn research has taken him down— through tales typically "about a lord, it's about a king, a nobleman, sending out their court, all their servants, the people who have no choice in the matter, the people who have to do it, and sending them out into nature to capture the uncapturable, so that this this object of purity, this resource, can be owned and possessed and commodified", he tells Concrete Playground — and found modern-day parallels in the pharmaceutical realm. He's interrogating commodification not just of nature and animals, but resources, knowledge, medicine, health and life-saving treatment, and tearing into the imbalance in access that comes with it. That said, never forgetting the type of movie that he's crafting, Scharfman has equally gleaned inspiration from a wealth of films and TV shows, resulting in a mix of Jaws, Jurassic Park, Succession, ET the Extra-Terrestrial, The Creature From the Black Lagoon, Evil Dead, The Rules of the Game, John Carpenter flicks, Korean cinema and more as clear influences. Before dreaming of Rudd dispensing with unicorns, and before turning that idea into a cinematic reality in a SXSW-premiering picture, Scharfman started solidifying his filmmaking voice by writing and directing his own shorts — and also producing features. Keep the Lights On, Selah and the Spades, Resurrection, House of Spoils: they're just some of the projects that he's been involved in. How did that background assist with Death of a Unicorn? Did Scharfman ever imagine a version of his directorial debut without Rudd? How crucial is Ortega in grounding the feature's chaos, and how pivotal is the scene-stealing Poulter in helping set the comedic tone? We chatted to Death of a Unicorn's guiding force about all of that, coming up with the initial concept, his research, that huge lineup of inspirations and more. On Conjuring Up the Concept for the Film — and for Starting It with Paul Rudd Killing a Unicorn "The first thing I thought of in the movie is the opening sequence. A family kills a unicorn, and a father and daughter specifically, then need to put it out of its misery — for lack of a better turn of phrase. So that was always the initial intention, and that was where the movie started for me. Then it grew out of that seed and that premise and that idea, not knowing where it was going to go, and it took the shape that it did hopefully organically. And I also wrote that role for Paul. So they were both always the plan. Paul is incredibly likeable. And Paul is, frustratingly — he's likeable as a performer, and he's frustratingly likeable as a person, too, because you want to find something wrong with him and he doesn't have it. He's just an incredibly at-peace, generous, kind person. And there was something that I thought was interesting on a narrative level of making him unlikeable, because I think he has this inherent likeability, and that we could tolerate a lot of bad behaviour from him and wait until he comes around, or hope that he comes around, to become the Paul Rudd who we love. So I think there was something that was interesting to me about veiling that Paul Rudd we know and love, and shrouding him in anxiety and stress at the beginning of the movie — and telling you 'he's going to become the Paul Rudd we love by the end of the movie, but he's not going to be that guy at the beginning of the movie', and to give him an arc to become that. And I think that came through, I hope, in this sense of this character who's had some misfortunes — the universe has thrown him some curveballs, and he's gotten some bad luck along the way — and what that might do to someone to start ratcheting up their anxiety with financial, personal, otherwise, in a way where they're always trying to look ahead at what might go wrong. The real Paul Rudd has had an incredibly blessed life and is a really sweet person, and is totally present and in the moment and wonderful. And the thought was 'well, how we get the opposite of that to that place?'. And so, yeah, I thought it was an interesting challenge to weaponise Paul Rudd's likeability." On Always Imagining Rudd in the Lead — and the Journey That That Key Piece of Casting Takes Audiences On "The hope was to understand why he's making bad decisions, and to understand his moral compromise and the perspective of moral relativism that he's had to adopt as a means of coping with the world, navigating his way through the world, and also providing for his daughter — who I think he's taken a very literal approach to 'how do I be a good parent?'. It's 'I provide for her and that's what I'm supposed to do, and as long as I have amassed enough financial security, then anything that comes our way, we'll be able to tackle and address as best we can'. Because they've had, as I said before, he's been kicked in the teeth from the universe before. Things have happened to him that were no one's fault that just sort of happened, and that happens to people. And I think that that gave him a certain kind of limp, that's an invisible limp that he walks with for the rest of his life until the events of this movie — and he hopefully shakes that limp. But in terms of 'was it ever anyone else?', no. I always liked the idea of it being this morally compromised lawyer, because I think something interesting about lawyers is that's a skillset that could be applied in any direction. And there's something interesting about the nature of the legal system and that everyone's entitled to representation, even guilty people. There's a certain moral vacuum. That's literally what they refer to it as, lawyers: the moral vacuum, a place where you don't make a moral judgment. And I thought that was always an interesting perspective to have for a protagonist. And usually I feel like the lawyer in Jurassic Park was killed quite unceremoniously, and I thought it would be interesting to say 'what if that guy was the hero?'. Or I thought a lot about the actress who's married to Kenneth Lonergan [Manchester by the Sea], who played Gerri in Succession, who's so great: J Smith-Cameron [Hacks]. I was like 'oh, what if she was the lead of a movie, that character?'. And so was it ever not that? I always hoped it would be Paul. I certainly entertained 'well, what if Paul says no'. And I thought about other people in the role if I had to, but thankfully he said yes and I never had to." On the Wide Range of Influences, From Succession and Jurassic Park to ET and Korean Cinema, That Helped Inspire Death of a Unicorn "I wish I could say that the tone was something I thought about and meditated on for a long time. It always felt like that was just the expression of the movie to me. I think unicorns are, in our consciousness, magical, in a way that they're not just monsters. You can't treat a unicorn like a xenopmorh, because I don't think then you're treating a unicorn — you can make a horror movie that features unicorns that isn't a unicorn horror movie, if that makes sense. You want to be true to the emotional associations that we all have with unicorns, to make sure that you're doing justice to that for all the unicorn lovers out there and for everyone who has a passive understanding of a unicorn that has a certain magical association. And so that sort of conjured, in my mind, a certain Amblin kind of magic — you know, that ET kind of way. And The Abyss also has that in spades, certainly. But then I also thought about subverting that, and that led me down a road of the Alien and Aliens and Evil Deads of the world. And An American Werewolf in London, certainly, too. So there was a lot of that hybridisation. But then at the end of the day, I was also thinking 'well, I don't think you could do a unicorn movie with a total straight face, as a unicorn horror movie. You have to be funny'. I think there has to be some awareness of the absurdity in that. I think if you just did that with a straight face, it would get real boring real fast. And so it kind of presented itself in this way, that it was like 'well, it's a monster movie' so it has to have these things like Jaws and Alien and Aliens, and those sort of movies — and Creature From the Black Lagoon and so forth. But then we have all this warmth associated with them. And so that brings in the ETs of the world. And there's a great Val Guest movie, The Abominable Snowman, which is wonderful and has these benevolent yeti monsters that are really interesting. And The Abyss, also again, to go back to that one, has these benevolent monsters, that it's on us not to fuck with them, you know? Like, they will decimate us if they decide to, but it's our prerogative to make sure they don't want to. So anyhow, these influences all coalesced, and I think it became clarified through a certain Korean sensibility — thinking about The Host or Train to Busan, or Thirst, which is a very different movie. But there's something about those movies, and I think a general Korean sensibility, is that they aren't afraid to combine influences and to swing, and to say 'we're going to be funny here and absurd, and then we're going to be scary over here, and then this emotionality is going to be building underneath all of that'. The Host is such a favourite movie of mine. It opens with Song Kang-ho [Cobweb] doing these brilliant pratfalls and physical comedy, and then it ends with this tragic loss at the end of the movie that's really heartbreaking. And then through the middle, it's almost like The Royal Tenenbaums on a monster hunt. It's this dysfunctional family of adult estranged siblings. And you're going 'wait, what? This movie does all of these things?'. And it has this anti-American, -colonial, -capitalist satire threaded through all that. And yet somehow I watch that movie and I'm like 'what a perfect movie'. My hope was when you watch those kind of movies — and Train to Busan is another one that contained zombies, action and high-concept, but also is a commentary about selfishness and self-interest, and then also this father-daughter story that makes me cry every time I watch it. There's something about that that's like, I don't know, somehow that has a spine that allows it move through all these zones. And I think if you commit to it, hopefully that's okay. So that's sort of what I was aspiring to do, I suppose." On Connecting Unicorn Lore and Mythology to Class Structures, Commodifying Nature, Colonialism and Capitalism "I outline a lot, so I try to accrue a lot of information and thoughts and research and material. John Houston has this great quote where he said 'don't start writing till you can't stop', and so I try to do that. So what I end up doing is, I end up thinking about things a lot. I very early on got to unicorn mythology, and I zeroed in on the Middle Ages — because I think the tapestries are brilliant, and I love them, beautiful pieces of art, but that's sort of when unicorn narratives became really cohesive and codified, in a way. Before that, there were unicorns, but they weren't in a traditional structure. And then in the Middle Ages, the hunt narratives became quite, not formulaic per se, but that was the archetypical unicorn story, it was about a unicorn hunt. And when I realised that, I was like 'oh, well this provides a basis for a parallel to a creature-feature structure', in the sense of those kind of James Cameron-y or Spielberg-y monster movies where very often they're on a hunt. That's what most of that second act of Alien is about. And same with almost the entirety of Aliens, that is about a monster hunt. And so that made a lot of sense to me. And again, that Val Guest Abominable Snowman, that's a monster-hunt movie. The Creature From the Black Lagoon: monster-hunt movie. There's a very traditional structure. But then when I started thinking about medieval unicorn mythology in a contemporary context, it also invites a lot of thought about class structure, and those are very much stories about social hierarchy. It's about a lord, it's about a king, a nobleman, sending out their court, all their servants, the people who have no choice in the matter, the people who have to do it, and sending them out into nature to capture the uncapturable, so that this this object of purity, this resource, can be owned and possessed and commodified. And so when I was like 'okay, well I'm updating unicorn mythology, unicorn myth', that's what the lore is. It's like, well, how could it not be about those things? And when you realise that unicorns were prized for their curative properties, it naturally invites a conversation with healthcare and pharmaceuticals. And so it's funny. How I like to write is just to find a string and start pulling and see where it leads me, and it seems like the story presented itself as being about class, about the social structures that we live in today and also about pharmaceuticals. And so it naturally provided this context to consider an oligarchic, industrialist family as if it was a former nobleman or noble lord's family with their fiefdom, but their fiefdom is an industry." On Enlisting Jenna Ortega to Be the Film's Emotional Centre, Audience Surrogate and Voice of Wisdom "I wrote the role and figured out the characters based on what the story was asking for and what their dynamics were, and then I got to the end of that process and we were like, with the studio, with A24, they're like 'let's start casting the movie'. And I realised, I was like 'holy shit, what have I done? Who can play this role?'. Ridley is such a challenging role because, yeah, she's the vehicle of exposition. She's the character who the audience identifies with. She's the most — I try not to write anyone as like a straight man, I think comedies are most fun when everyone has their own weird game that they're playing, but she's certainly among the most-grounded, probably. I think her and Anthony's character are the most grounded in terms of their perspective. And so, yeah, it's a really hard role to figure out. And I'm so fortunate, we only offered the role to one person and she said yes, and that person is Jenna Ortega. She's an absolutely just knockout performer. Every take is great. So I don't know, what did I have to do? I had to get lucky. I wrote Jenna a letter and I asked her to please be in my movie and save it. And she did. And so I just showed up every day and we'd talk about things a lot, but the truth is Jenna's just an incredible performer. She's so good. She's just one of those actors that you just point the camera at her, she's going to do it." On the Importance of Will Poulter's Comic Timing, and Ability to Lean Into His Character's Privilege and Obliviousness, to Help Set the Comedic Tone "Shep's voice was one that came off the page pretty early in the writing process, where it was hard not to keep writing for his voice. He's one of those characters that — and Will figured it out so beautifully — it's just a character that you just want to keep giving him stuff to say. You just want him to react. He's in a great position, too, as far as comic structure, in that he gets to react to a lot of things. He doesn't have to drive a lot of things. The scenes, he gets to just be present in them and be arrogant and lack any self-awareness. But Will totally landed it and nailed, I think, the tone. And did this amazing feat — that's a very heightened character that he somehow found an emotional centre for, and he grounded that character in a sense of, I think, inadequacy, and bravado around that inadequacy. And wanting to be told that he's enough as a person, trying to earn his parents' love and respect. And I think he, in doing so, built a character that's both heightened and yet grounded, and so both villainous and yet I kind of sympathise with him. I look at that character and I'm like 'oh, man, you've got into a bad situation where psychologically you've been put in this position that your parents have really done a number on you, and there's nothing you can do about it because it's all it's too late now, it's all locked in'. The dark humour of the movie and the pace of the jokes and dialogue all lives in the performance, and the Leopold family really gets to let that rip. They get to be unmoored. And Will totally got it. And Téa and Richard are also comic geniuses, I think, and totally understood the commitment to the bit. And I'm just so lucky they all chose to be in the movie." On How Scharfman's Experience as a Producer for Over a Decade Helped Him Make the Leap to Directing His First Feature "It was invaluable. I've worked as a producer for a long time. And it built up a comfort level on set. To be honest, when I started working in film, I wanted to be a writer and a producer, and I was a little bit scared of directing. It's a really daunting task, and I had, I hope, a respect for it, a reverence for it, that I don't think I could have — I didn't want to go out and be directing at the outset of my career, and I think I only gained that perspective over time, and the desire to do it as well, as I got more comfortable on set. So I would say producing the features that I have just built up my comfort level with the apparatus, of the machine, of a film set, which is such a specific working environment — and understanding how to problem-solve in that kind of context, how to be creative in that context, how to create the right environment. And that trickles into the writing in invisible ways, just the choices you make. I've seen filmmakers make great choices and I've seen filmmakers make choices they regret later. And not that any of those films that I made were dry runs or anything like that, those are films that I'm all proud of, but you just gain experience by being around an apparatus like that, by making movies and by being part of it. And I think I've gained a lot of experience. I've worked as a professional screenwriter for several years as well, not quite as long as I've been a professional producer, but you learn a tremendous amount by working in development on other scripts and by developing your own scripts simultaneously. So I like to think that it's just a holistic perspective. It's hard to isolate an experience that like 'this experience taught me that' — it's just all cumulative to become who you are and the lens through which you see the world. So I don't know exactly how, but I know it's helped me. I know I felt more comfortable on a set, and I know I've been around enough practical effects and stunts and things like that that I felt it was within my capacity to execute an execution-dependent film like this as my first feature. There's a lot to bite off in the film, but I don't think I would have been capable of doing that if I hadn't been building towards this over the course of over a decade of just learning about the filmmaking process." Death of a Unicorn opened in cinemas Down Under on Thursday, April 10, 2025.
Six months after opening its first Queensland store in Clayfield — and more than 40 years since the family-run brand first opened in Sydney — Harris Farm Markets has launched its second Brisbane site in West End. Whether you live in the inner-city suburb or you're just passing through, you can now stop by the chain's flagship Sunshine State site, which has taken up residence in West End's West Village precinct. If you're a newcomer to Harris Farm Markets, it boasts a particular focus on fresh local produce — which is one of the reasons why the chain has both stood the test of time and amassed a considerable following. When it launched its first Brissie location in December at the former Clayfield Markets site, it was a homecoming of sorts. While Harris Farm Markets is definitely based in New South Wales, it actually used to own the Sandgate Road spot years back. Now, it's also making its home in a 1800-square-metre space on the ground floor of the former Peters Ice Cream building, with the market's doors opening back on Friday, June 4. Harris Farm Markets' West End shop features more than 500 types of fresh produce; three types of milk on tap, including oat milk; a plant-based range of over 150 products; and a hefty cheese section showcasing 500-plus types. In a first for the brand, it's also doing honey on tap — so you can pour your own — and self-serve almond, peanut and cashew butters. Customers will find eight types of loose coffee beans and 20 varieties of loose tea leaves to choose from, too, plus grow-your-own mushroom kits and edible flowers. The idea, like at Harris Farm Markets' other stores, is to highlight Queensland and Australian products — and, based on its array of in-store options, to level up the supermarket experience at the same time. Danny's Bread, from Teneriffe, is running a French bakery onsite, while Sol breads, Roza's Sauces, CJ's Pasta, My Berries and Madders Brothers Patisserie all have items stocked in-store. There's an onsite salumi deli, seafood market and butcher shop, too, as well as a fresh doughnut deli. A big focus on sustainability is also part of the Harris Farm Markets experience, including via its imperfect picks section. That's where shoppers can pick up seasonal fruit and vegetables that mightn't look picture perfect, but still taste as great as ever, all as part of the chain's efforts to help stop farm wastage. Next on the agenda: a store on the Gold Coast, at the Isle of Capri, which'll be the chain's third outside of NSW. Harris Farm Markets currently operates 22 locations down south. Find Harris Farm Markets' West End store at West Village at 97 Boundary Street — open from 7am–10pm daily.
Look for the orange door on Ann Street and step through to Savile Row, one of Fortitude Valley's most beloved cocktail lounges. Inspired loosely by the elegance and craft of London's tailor-streets, this bar is a masterclass in atmosphere and precision. Inside, a dazzling chandelier hangs above an expansive bar that's flanked by a back wall packed with spirits – more than 900 bottles spanning whisky, gin, rum, tequila, amaro, sherry and more – all curated to offer range without being overwhelming. Behind the bar, seasoned bartenders build drinks with an eye for classic technique and seasonal nuance. Signature cocktails such as the House Martini, Savile Old Fashioned and Smoked English Highball showcase balance and simplicity, while bespoke pours speak to the team's depth of craft. The venue's multi-level layout shifts subtly from bar counter to intimate booths and mezzanine nooks, encouraging both deep conversation and relaxed group sessions. Leather seating, warm lighting and dark wood accents make it feel more like a private club than a typical nightspot. Although Savile Row's heart is cocktails and spirits, there's also a small selection of beers and wine for those who prefer something lighter. Service here is poised and assured; bartenders know regulars by name, and recommendations come with thoughtful context rather than hard sell. Whether you're marking an occasion, lingering late into the night, or simply chasing well-made drinks in an elevated setting, Savile Row delivers a memorable experience that rewards attention and curiosity. Images: Millie Tang.
Some museums are filled with art. Others are dedicated to interesting pieces of history. The National Communication Museum in Melbourne, Australia's latest, falls into the second category. It's also a museum with a hyper-specific focus, celebrating the technology that's allowed humanity to interact and, in the process, shaped how we engage with each other. Rotary phones, cyber cafes, MSN Messenger: they all get a nod here. Opening to the public on Saturday, September 21, 2024, and marking the first new major museum in Melbourne for more than two decades — since the Melbourne Museum launched — the National Communication Museum lives and breathes nostalgia, then. Phone boxes, burger phones, the speaking clock that you could call to get the time and only shut down in Australia in 2019: they receive some love as well. But this space isn't solely about looking backwards, with peering forwards also part of its remit. Yes, that means grappling with what artificial intelligence might mean for communication in the future. Emily Siddon, NCM's Co-Chief Executive Officer and Artistic Director, calls the two-level Hawthorn site "a trip down memory lane", but also notes how it looks at the present and what might come. "The technologies featured in NCM were developed in response to the innate human need to communicate and connect — yesterday, today and tomorrow," she explains. "It also answers the pressing questions about communication technology today. Things like: how far away are we from uploading our consciousness? How am I tracked and where does my data go? And how can I tell real from fake or human from machine?". Across an array of rooms featuring both permanent and temporary exhibitions — located in an old 1930s telephone exchange building, which includes a working historical telephone exchange — visitors can dive into First Nations storytelling, celebrate the speaking clock, explore a 90s-era internet cafe and check out an interactive display that takes its cues from regional Australia's phone booths. There's also a section dedicated to research, spanning both successful and unsuccessful ideas, plus launch exhibitions dedicated to surveillance, the human-made satellites sent into space to circle the earth and the infrastructure underpinning digital communication. Find the National Communication Museum at 375 Burwood Road, Hawthorn, from Saturday, September 21, 2024 — open 10am–5pm Wednesday–Sunday. Head to the venue's website for more details. Images: Casey Horsfield.
When festival-goers converge on Woodford at the end of December for the southeast Queensland town's annual folk festival, they'll find a brand new addition at the event's Woodfordia location. Each year, the spot 75-minutes north of Brisbane by car turns into a thriving pop-up community for six days; however from this point onwards, it's also the site of a permanent new lake. Called Lake Gkula — a name that refers to the region's traditional owners, the Jinibara people, and specifically references spokesperson Uncle Noel Blair, whose indigenous name is Gkula — the body of water is now Australia's largest all-natural conservation and recreation lake, too. The man-made spot is also teeming with fish and plant life. More than 400 species of native freshwater fish are swimming in its waters, while over 4000 plants have been planted in and around the lake to date, with more planned. Crucially for both the lake's biodiversity and for human swimmers, the entire body of water is chemical-free, using pumps and injectors to keep both a constant water flow and high levels of oxygen. The water is pushed through two wetlands, which act to purify the lake while also encouraging microorganisms to thrive. If you're eager to go for a splash, it'll only be open to season campers during the 2019–20 fest, although swimming privileges will also given to artists and volunteers. Season campers will need to pay a ticket fee of $4 for adults, which'll help recover the costs of building the lake — and they'll also need to book in advance, with 50-minute slots available between 6am–6.30pm. For those who don't fall into those categories, you'll still be able to peer over the water at the lakeside bar, which'll be running during the festival and open to all Woodford patrons. At this stage, the lake will only welcome swimmers during the festival, but founder of Woodfordia, Bill Hauritz, sees Lake Gkula as a hotspot for the Moreton Bay hinterland area, so perhaps watch this space. "Groups and organisations outside our own are already expressing a keen interest in using this stunning new feature," he advised in a statement. "We know Lake Gkula will be an attraction; it's that beautiful." Costing more than $1.5 million to build, including funding from the Queensland Government, Woodford's new addition has sourced all of its water from onsite dams and a bore, with festival organisers aware that they're opening a watering hole in drought conditions. It's also partly powered by solar energy, and the Woodford team is working towards running the lake wholly on 100-percent renewable sources. The 2019–20 Woodford Folk Festival runs from Friday, December 27, 2019–Wednesday, January 1, 2002. For more information about Lake Gkula, visit the Woodford Folk Festival website.
When HOTA, Home of the Arts opened its new six-storey gallery earlier in May, it did more than just give Gold Coast residents a towering place to peer at art. That's obviously on the agenda — the site is Australia's largest gallery outside of a capital city, after all — but the colourful building is also home to a sky-high drinking spot. If walking through art-adorned halls and staring at masterpieces makes you work up a thirst, you'll want to end your visit to HOTA Gallery with a trip to its fifth floor. That's where you'll find The Exhibitionist, an attention-grabbing bar that pairs bites and beverages with views across the city, as well as out to the hinterland. Here, you can sit either indoors or outdoors, then tuck into tapas, sip cocktails and stare at the Surfers Paradise skyline. The drinks lineup goes heavy on cocktails; the 'Heat and Time' pairs gin, mezcal foam, lemon and ginger, for instance. You can also enjoy a glass of wine, knock back local craft brews or opt for a house-made soda. Food-wise, head chef Dayan Hartill-Law has whipped up a menu filled with share options, including salt and vinegar onion rings, suckling pig sausage rolls with burnt strawberry ketchup, oysters with finger lime vinegar and halloumi with green tomato pickle. Or, there's the duck pie made with sour cream pastry, oven-roasted Gold Coast prawns and a brioche lobster roll with Sriracha mayonnaise — which you can then follow up with cheesecake mousse or cake truffles for dessert. Hartill-Law also oversees the menu at The Exhibitionist's sibling venue, Palette, which is located at the building's other extreme. The ground-floor restaurant serves Fraser Island spanner crab and Brisbane Valley quail among its a la carte lunch options, then switches to degustations that not only hero local ingredients wherever possible, but are inspired by the artworks in the gallery. The dishes will change as evolve as exhibitions come and go, too. [caption id="attachment_812565" align="aligncenter" width="1920"] Palette[/caption] "The first menu relates to HOTA's Solid Gold exhibit, so that guests can see their favourite pieces of art come to life on the plate," explains Hartill-Law. "The Darling Downs vegetables in variations emulates the artist Mimi Dennett to have the same flowers and plants growing as what is featured in her piece Bloom," he notes. Palette's diners can choose between two degustation menus at present — including a vegetarian option — with or without matched wines. Find The Exhibitionist and Palette at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise. The Exhibitionist is open from 10am–10pm Sunday–Thursday and 10am–12am Friday–Saturday, while Palette operates between 11.30am–2pm and 5.30–9pm Wednesday–Thursday, 11.30am–3pm and 5–10pm Friday–Saturday and 11.30am–3pm and 5–9pm Sunday.
Since July 2024, The Zoo has been no more, with the beloved venue on Ann Street in Fortitude Valley closing its doors after more than three decades of hosting live tunes. If you're a heartbroken Brisbanite who still can't imagine the city's music scene without one of its most-famous places, that's understandable — its influence was that big — but soon the pivotal space will no longer be empty, or silent. The team behind Crowbar Brisbane also know what it's like to have to close the doors on one of the city's favourite hangouts — and now they're saving the day at The Zoo. Four years after shutting up shop in the River City due to the impact of the pandemic, Tyla Dombroski and Trad Nathan are bringing Crowbar back, taking over The Zoo's old digs. "The Zoo has been an institution in Brisbane for over three decades. Crowbar intends to honour the amazing path laid before us and continue offering great events for years to come," said Nathan, announcing the news. "As a former punter, band member, booker and promoter, playing The Zoo was a great achievement for aspiring bands — we're excited to be able to keep music within its walls." "We are so grateful to have the opportunity to work with the landlords, the Apostolos family, in maintaining the property as a live music venue. Our focus is to continue providing a great space for artists and music lovers, while working with industry and government to ensure the survival of grassroots venues across Australia," added Dombroski. There's no exact date yet for 711 Ann Street's reopening as Crowbar Brisbane, but the revival will continue the Crowbar brand in its birthplace. It was back in 2012 that the venue initially launched as a live music space, expanding to Sydney in 2018. When it is up and running at its new location, Crowbar Brisbane 2.0 will include American-inspired, smashed burger-slinging eatery Ultimate Pig, where fried chicken, barbecue and more will also be on the menu — and a rebrand by Melbourne artist Callum Preston, who'll be doing the same for Crowbar Sydney. To celebrate its launch week, the new Crowbar Brisbane will host a week of special events featuring well-known Australian names, too, with details still to be revealed. The Zoo's 32-year run saw it host gigs by local favourites such as Resin Dogs and Screamfeeder, Aussie greats like Nick Cave and Silverchair, and international acts including The Pixies and The Black Keys — and plenty more in-between. The team behind the venue shut up shop due to "rising operational costs and decreasing returns". "Sadly, the financial reality of keeping music venues afloat in 2024 is all too stark. The Zoo reached its highest ticket sales in its 32-year history last year, yet this was still not enough to combat rising operational costs and decreasing returns," The Zoo crew advised when they broke the news. "As a music venue, we try our best to keep venue hire costs as low as possible for artists and promoters, which means that the financial risks are on the venue, and we depend on bar sales for profit. The cost of supplying alcohol is rising, and bar sales are going down, likely due to a mix of lifestyle changes and cost of living stress for our patrons." "The hard truth is that we've been running at a loss for over three years. Despite exploring every avenue available to us, we could not secure the level of support needed to surmount the continued financial strain. We have no choice but to call last drinks for both of our beloved music venues." [caption id="attachment_873288" align="alignnone" width="1920"] Luke Henery[/caption] Find Crowbar Brisbane in The Zoo's old digs at 711 Ann Street, Fortitude Valley sometime in the near future. For further information in the interim, head to the venue's Facebook and Instagram pages. The Zoo images: Cat Clarke / Luke Henery.
After the year or so we've all had, a vacation is always on the cards. But sometimes the best option is to have a sneaky weekend getaway without leaving Sydney at all. There's something undeniably romantic about staying in a hotel room in your own city. It should be mandatory for us all, at least once in a while. We all need to take a break from the drudgery of life, and to become the best versions of ourselves — that is, the hotel version. Staycationing in Sydney has never been better, with quite the cornucopia of boutique hotels popping up around the city — from heritage-listed warehouses to Victorian mansions and everything in-between. There are some seriously impressive (and incredibly designed) hotels awaiting your arrival. Pencil one into your calendar as soon as possible. PARAMOUNT HOUSE HOTEL, SURRY HILLS When Paramount House Hotel was first announced back in August 2017, the hotel promised it wouldn't be your standard luxury hotel, but rather an experience that would embed patrons into the culture of Sydney's inner city suburb of Surry Hills. All we can say is that, when it opened in 2018, it delivered on that guarantee. You'll never have a dull moment at Paramount, as the building offers up a rooftop gym, independent cinema and one of Sydney's best cafes — plus, depending on when you book your stay, you're likely to find a dance party, art exhibition or a film retrospective awaiting your attendance. Set in an old 40s warehouse, the 29-room hotel features soaring ceilings with exposed brickwork, and while there's also luxury copper finishes, Jardan sofas, premium kilim rugs from Pakistan and a one-of-a-kind vending machine, the appeal of the place is less tangible in its nature. It's both the vibe and history of the surrounding community that make Paramount House Hotel a special stay. WILLIAM INGLIS HOTEL, WARWICK FARM Named after Australia's renowned thoroughbred company, William Inglis and Sons, Western Sydney's latest hotel is a sure thing if you're after a mini Sydney staycation. The William Inglis Hotel's centrepiece is its rooftop bar, which offers a spot to relax by the pool with a drink — and to soak in the stunning panoramic views of the surrounding Warwick Farm. Once you've built up an appetite, head downstairs to the Newmarket Room, the hotel's luxe dining room overlooking the gardens and riverside horse stables. It serves up everything you want on a carefree staycation, from oysters to prawn linguine and NSW Riverina black angus steak. Whisky fans will be at home here, too — the mezzanine's 1867 Lounge serves high-end cocktails and boutique wines. THE OLD CLARE, CHIPPENDALE Since its highly anticipated re-opening back in 2015, Chippendale's Old Clare Hotel has held a firm place as one of the city's best boutique hotels. Reborn from the (metaphorical) ashes of the historic (and dearly beloved) Clare Hotel, and adjoining Carlton United Brewery Administrative Building, the hotel boasts heritage timber panelling and exposed brick walls, furnished with pendant lighting and vintage furniture. Plus, you can bring your pup along thanks to several dog-friendly suites. Other hotel amenities include a rooftop pool and bar, private gym and free bike hire, as well as in-room massage services. Guests can also take advantage of custom-made bicycles to explore the surrounding neighbourhood. At night, simply relax at The Clare Bar — or at the hotel restaurant, Automata, which gives all guests a cool 20-percent off. OVOLO, WOOLLOOMOOLOO Situated in a gorgeous heritage-listed building in Sydney's harbourside suburb of Woolloomooloo, the Ovolo is a concept boutique hotel that has plenty of character. The amount of free amenities and offerings for guests is unrivalled, including continental breakfast, a free in-room mini bar, happy hour drinks in the evening and ultra fast wifi. Plus, there's an indoor pool and gym, too, as well as pet-friendly rooms. The stunning rooms are all generous in size, the facilities are open 24 hours a day and flexibility lies at the heart of every feature. Now, the hotel is also a go-to for culinary delights, thanks to plant-based restaurant Alibi. It's the first Australian venture by world-famous vegan chef Matthew Kenney, who hails from California. The menu is big on creative combinations of fresh, local and seasonal ingredients, and the new drinks list focused on Australian drops. CRYSTALBROOK ALBION, SURRY HILLS Crystalbrook Albion is a luxurious operation in the heart of Surry Hills. It was launched back in July 2018 by 8Hotels, but has since been acquired by the Crystalbrook Collection hotel group. With 24-hour service and brekkie included, this guest house is pitched as a fusion of hotel and home. Here, you'll get to lounge around in designer interiors decked out with a covetable art collection — and in a rooftop garden complete with an outdoor shower and panoramic city views. There's also an honour-system bar, where guests can help themselves to high-end nibbles and drinks. When it comes to the food and drinks, both at the breakfast table and in the mini bar, working with local businesses such as Brix Distillery, Infinity Bakery and Poho Flowers is of major importance. CITADINES CONNECT, SYDNEY AIRPORT Airport accommodations are normally pretty drab, but the lively 150-room Citadines Connect (formerly the Felix Hotel) is bucking this trend with a truly first-class stay. Inspired by the golden age of air travel in the 60s — that is, before budget airlines made you pay for water — the seamless experience starts from the get-go with guests heading straight to the top-level penthouse to check-in. From here, overlooking the runway, guests can enjoy the rooftop cinema, dining area, heated outdoor terrace and colourful cocktail bar — the latter of which will undoubtedly be a departure from the usual monotonous airport watering holes. QT SYDNEY, CBD Every one of QT Sydney's guest suites have been carefully crafted to reflect and honour the historic Gowings and State Theatre buildings in which it resides. QT's exterior sports a striking blend of gothic, art deco, and Italianate-influenced architecture — and inside, the luxurious rooms carry through that art deco-meets-gothic aesthetic to quite the striking degree. Plus, thanks to its location right in the centre of the CBD — and alongside one of the city's most famous theatres — it's a great pick for out-of-towners, while locals can often be found making the best of its various bars, bistros and restaurants. Just nearby, you'll find Sammy Junior, Glass Brasserie and The Grounds of the City; however, if you don't feel like leaving your hotel, you're in luck. The QT hosts the renowned Gowings Bar & Grill, too. Want to stay a little closer to the beach? Hop over to the QT Bondi for a coastal escape. THE LANGHAM, MILLERS POINT Just a ten-minute walk from Circular Quay and The Rocks, The Langham is the epitome of boutique indulgence. With only 96 exquisite rooms on offer, demand for even just one night at this Sydney institution is high all year round — and with facilities like its fitness centre, sauna, day spa and a spectacular 20-metre indoor pool with a star-dappled sky ceiling, you'll find it hard to tear yourself away from the hotel to explore the amazing areas that surround it. Within the suites, expect plush furniture, high ceilings and large windows over-looking the western side of the harbour. Bed and breakfast specials are also on offer, as is a 'pampered pets program' — making it one of Sydney's only pet-friendly accommodation options at luxury level. OUT OF TOWN: BANNISTERS, PORT STEPHENS Bannisters opened its much-anticipated third NSW hotel in Port Stephens back in 2018. With two already in Mollymook, the boutique chain's latest outpost is perched on absolute beachfront in Soldiers Point. The luxury digs includes dog-friendly rooms, stunning views, super-luxe suites and, for very special occasions, a penthouse. Depending on where you choose to stay, you'll be looking out at either the tranquil waters of Nelson Bay or dense forest — or both. Wherever you sleep, you can look forward to light-filled spaces, Hamptons-inspired white hues, king-sized beds and decadent touches. Among the common facilities is an infinity pool — looking out across the river — and the Terrace Bar. Plus, if you're keen to indulge, Rick Stein at Bannisters is also on the water, with Stein and head chef Mitchell Turner overseeing a menu big on premium seafood. Top image:
After a hefty renovation, Fortitude Valley favourite The Wickham has reopened its doors. Hitting up the heritage-listed Wickham Street now means enjoying a revamped beer garden — one that's now weather-proof, too, taking not only Brisbane's sunshine but the city's storms into account — and spying pops of colour everywhere, spotting Jennifer Coolidge among the artwork and tucking into Disco Fruit Tingle cocktails served in disco balls. It was back in August 2022 that the 138-year-old venue's makeover was announced, with Australian Venue Co advising that it'd be putting $1.5 million into The Wickham's fresh look. Renovating a bar that dates back to 1885 isn't a small task, though. Accordingly, in early March the hospitality company advised that hotel's do-over cost $3.1 million. As seen across the revamped outdoor area and two newly done-up indoor spaces, that sum has gone into a new design by Newline Design — well, as new as the site's heritage listing allows. Walk through The Wickham now and you'll notice a mix of the old and the fresh, aka balancing historic charm with upgrades. A new kitchen has been put in as well. Among the existing areas of the pub that've been given a new lease on life, The Wickham's old corner bar and studio spaces are now welcoming in patrons in their new guise. They've both been renamed, dubbed The Peacock Room and Garland Room, respectively. And yes, they now sport decor to match. The Peacock Room is decked out with vintage furniture, work by local artists — heroing LGBTQIA+ talent — plus nods to the Wickham's peacock Frankie. It's also the venue's favourite option for cruisy drinks. Garland Room is the venue's new club space, which means that DJs, performers and parties will be filling it ASAP. The Wickham's reopening also sees it bring back Thursday night trivia in the beer garden, live tunes from Friday–Sunday and drag shows on Friday and Saturday evenings. The Peacock Room is also set to host bottomless burlesque brunch sessions once a month. Menu-wise, Executive Chef Dylan Kemp is overseeing the new food lineup, which spans stone-baked pizzas, bar snacks and late-night options, including a sizeable range of vegan, vegetarian and gluten-free dishes. On offer: cauliflower hot bites, fried quail with truffle mash — and a menu just for dogs that spans crispy pig skin, meat balls, gravy and peanut butter. Taking cues from the 70s and its fondness for disco, the drinks list has scored a once-over as well. Think: those aforementioned Disco Fruit Tingles; Glitter Bellinis, complete with edible glitter; and frozen G&Ts made with pineapple tonic. If you're keen on a tipple without the booze, the venue has upped its non-alcoholic range of wines, spirits, beers and cocktails as well, which'll feature a No-groni and the Espresso Marti-no. The Wickham is no stranger to nips and tucks during its century-plus existence, of course, including last undergoing a refresh back in 2014 and gaining five completely new spaces in the process.
Music, as with any art form, can serve as a means to escape; therapeutic and magical, infectious and addictive. For Adit Gauchan of Horrorshow, making music is a labour of love — actually, it's his every waking moment. "I love and breathe music so heavily that it's all I can do," he says. Horrorshow is an Australian hip hop duo from Sydney's inner west. The band is made up of producer, Adit Gauchan, and Nick Bryant-Smith (or MC Solo) on vocals. The two met at high school and released their first album in 2008 through Sydney label, Elefant Traks. Adit explains, "we started out making music in our dad's houses. We'd write and record in our bedrooms and I guess that way of working has never really stopped for us". In partnership with Sonos, we've been delving into some of our favourite artist's home studios – here is where the Horrorshow magic happens. THE MAGIC HAPPENS IN A CONVERTED BEDROOM Three years ago, Adit moved in with Sarah Corry, his partner in life, love and music (she's one half of Sydney electronica duo, Left). They soon converted the second bedroom of their Newtown house into a studio space. "One of the best things about having a home studio is the creative people that come through regularly", he says. "Every couple of months we'll have a party, and what happens when you get a bunch of musicians in the same room, dancing and drinking? They want to record some demos in the studio". His second-bedroom home studio serves as a safe, creative space for many of the other musicians the pair work with (Left and the One Day project, to name just two). "This is where we write a lot of the music". 'Sleep', a song by Hau (the solo project of Hau Latukefu, formerly of Koolism) was worked out at one of Adit's parties. "Capturing that kind of energy, it's a real positive for me". Of course, music is played at parties and music gets heard at parties. If you create the right environment, music can be created at parties. He continues, "Luckily we have some very lovely neighbours who support us and don't mind the noise". THEIR HOUSE IS NEVER, EVER SILENT I ask him what's it's like living with another creative - after all, Sarah is a successful vocalist and musician herself. "It brings an interesting dynamic. Creatively, there's an understanding", he says. Music pulsates through their house almost constantly, through his Sonos speakers. Good sound is important to him. Especially, Adit says, when the pair (or anyone that happens to visit their house) are recording. Our conversation continues and he voices a well-humoured frustration with Bluetooth. "Like most people, I don't have the best relationship with Bluetooth. It's just so unreliable, which is why I'm so pumped that Sonos speakers connect with Wi-Fi". FIGURE OUT WHAT WORKS FOR YOU AND RUN WITH IT After almost a decade, Horrorshow's method of writing and recording hasn't really changed. Adit's home studio functions as a writing space where he crafts and layers beats, usually on his own. Once he feels he's onto something good, Solo will come over and the two will jam out the direction the song will take. "We'll work on songs together, but Solo might go and chill in the back yard and work on raps and melodies for beats I've already laid down". Like many musicians, Horrorshow started out with home recording and stresses how important it is to figure out what works for you. "I would love to have a studio at my place of residence, but not necessarily inside the house. If one day, I had a bigger back yard and there was a bit more space, I'd love to house a recording space in a different building", he says. Everyone works differently and there are certainly challenges to working from home - concentration, motivation, loneliness. WORK EVERY DAY, UNTIL YOU LOSE YOUR FLOW. THEN GO TO THE BEACH There are few things more frustrating than a creative block, when the pace slows and your fingers are giving you nothing. For Adit, his creativity suffers when he loses momentum. "When I've been writing a lot, the ideas will flow. Shooting videos, going on tour - these things get in the way. I really find routine is the most important thing when it comes to creativity", he says. "Create a space that you want to spend time in and work on something everyday. That's how you'll make great stuff and get better". What about when the dreaded creative block hits? "Just stop. Go outside, have a meal, go to the beach, enjoy the sunshine". Yes, sir. SWITCH OFF, AND LOVE WHAT YOU DO When it comes to switching off, Adit doesn't struggle too much. "Being in the studio is never work to me. Sure, there is work relating to what I do — meetings, tour rehearsals, that sort of stuff — but when I'm in the studio, that's a whole different thing. It's important to have a space that encourages your creativity, that you're happy to use regularly". Naturally, when you spend every waking minute practicing your art, it can be difficult to switch off. "Even when I'm doing my tax, it's related to music in some way. Switching off can definitely be a problem, but it's not insurmountable. It doesn't make me want to change the way I do things, it's something I'm happy to put up with", Adit continues. "With music, it's fun and all that, but if you want to make a living out of it, you have to live and breathe it. But, if you love what you do, it's worth it right?" Get studio-level sound in your home with Sonos. Walk from one room to another and hear the same song in perfect quality – speakers are powered by wifi and tune automatically. Horrowshow are pumped for their thirteen date national tour. It's their first time on the road in nearly a year, and they're promising new tracks alongside old favourites.
Chef Takashi Nami was so talented as an apprentice, that his journey towards his first role as a sous chef, normally five years in Japan, was shortened to two. He has now been preparing sushi for decades, and is one of the most revered Japanese chefs working in Australia. At his restaurant, Tekashiya, he offers up an omakase experience that is unrivalled in Brisbane. Omakase, for those under a rock, loosely means " I'll leave it to you, chef!". The idea is you walk in the restaurant, sit down (the best seats are always the prep station), and let the chef prepare a multi-course feast for you. You don't get to order. You just get to eat (and pay). And when the chef making decisions is Takashi Nami, rest assured you are in very, very good hands. Here they offer not one, but three omakase experiences. The first being the mini omakase, that is twelve (so much for mini) courses long. YHou'll also get a welcome drink of either still or sparkling sake. The next offering is the standard omakase in the private dining room. Standard is 16 courses, so be sure to have skipped lunch. The final offering at Takashiya is the premium omakase with chef's table. This features a cooking presentation and comes at a whopping 19 courses, so we've got no idea what you want to do about that. Premium omakase features pufferfish along with a caviar bump, A5 wagyu sushi, aburi scampi nigiri and lobster and pipi soup. These menus often change on the day, depending what is fresh and available. There's also a fun cocktail list at Takashiya — with highlights including the O-cha Fashioned with wagyu fat washed sherry cask whiskey, brown sugar and passionfruit — and the Kuyusu Negroni with sake, campari, sweet vermouth and ume-foam. Keep your eyes fixed to the website as they do regular whiskey tastings too, showcasing premium Japanese drops you can't find anywhere else.
In the early 90s, British artist Cornelia Parker decided to blow up a garden shed. She approached the British Army (who were more than happy to oblige), and together they detonated an explosion that saw 2000 household items fly across several fields in the countryside. Fragments of wood, broken bicycle wheels and a shattered violin — along with thousands of other objects — were collected by the officers, and Parker reconfigured the shed, suspending objects from the ceiling around one central lightbulb. That artwork, Cold Dark Matter: An Exploded View (1991), is now considered Parker's most famous work, and it's currently casting haunting shadows across the gallery walls at the MCA this summer. The major exhibition, which spans three decades of the artist's career, has four large-scale artworks that transform the gallery's rooms. War Room (2015) is like walking into the Twin Peaks red room, except the blood-red walls are crafted from discarded strips of paper sourced from a Remembrance Poppy factory in London. Parker has created a tent-like structure with 'absent poppies' that's as much about honouring those who've died in conflict, as it is about the duality of war and peace. Showing both sides of the story is something Parker plays with a lot in her work. Another large-scale piece, Magna Carta (An Embroidery) (2015), is a 12-metre-long hand-stitched version of the Magna Carta Wikipedia page. Parker created the work to commemorate the 800th anniversary of Britain's earliest democratic document, and she invited 200 people from both sides of the law to embroider a panel — including notable whistleblowers Julian Assange and Edward Snowden, Pulp's Jarvis Cocker (why not?) and current prison inmates. When you look closely you'll see coffee stains from those who worked from prison — and underneath you'll see a mirrored reflection of the back of the work. There's also a satisfying violence to Cornelia Parker's practice. She's shot dice through a dictionary, precipitated a handgun and chopped a toy Oliver Twist in half using the guillotine that beheaded Marie Antoinette. She also steamrolled a collection of silver (sourced from car boot sales) to create another full-room installation, Thirty Pieces of Silver (1988–89). The 30 suspended circles of silverware represent a Bible story of betrayal — and there's a palpable sense of dread when the pools of brass and silver glisten and move with passing air. Though the larger works in this exhibition, part of the tenth Sydney International Art Series, are the ones you'll Instagram, there's a lot of joy — and foreboding — to be found in Cornelia Parker's smaller artworks. One of our favourites is News at Five (Terror-ble Joke), News at Seven (Chilling), and News at Ten (Bathtub Terror) (all 2017) — three blackboards covered with chalk writing from a five-year-old, a seven-year-old and a ten-year-old. Each child has captured the essence of televised news reports and you can make out words like 'monster', 'nukes' and 'Trump in a grump'. All terrifying and amusing at the same time. Cornelia Parker is the first major presentation of the her works in Australia, and the exhibition runs until February 16. But don't leave it until 2020 before you visit, as you'll want to return to delve deeper into the playful violence behind one of Britain's most important female artists working today. Images: Installation views of Cold Dark Matter: An Exploded View (1991); War Room (2015); Subconscious of a Monument (2001-05); Cold Dark Matter: An Exploded View (1991); and Thirty Pieces of Silver (1988–89). All images courtesy of the artist, the MCA and Frith Street Gallery, London. Photos by Anna Kucera.
When Howard Smith Wharves opened up its patch of the riverside to Brisbane, it also welcomed its own hotel built into the cliffs beneath the Story Bridge — complete with a bar perched right on top. That place to stay has changed owners in 2021, but rooftop watering hole Fiume remains a highlight. Here, you'll drink cocktails and tuck into share-style Italian snacks with a view of the Brisbane River, and while sat next to Crystalbrook Vincent's sky-high infinity pool as well. On the food menu, bites span natural oysters with red wine vinaigrette, oven baked brioche with black salt, balsamic an olive oil, a Mooloolaba prawn roll with dill and pickled cucumber. Or, there's three different grazing boards that serve up to six on offer — including one vegetarian option — that combine a number of dishes. The drinks lineup covers a significant range of fruity spritzes, both classic and creative cocktails, and liqueurs from Tamborine Mountain Distillery — plus Italian brews such as Peroni and Birra Moretti, and local sips from the neighbouring Felons Brewing Co. And if you're wondering about the setup, daybeds sit by the pool, or you can choose between stools under umbrellas by the balcony's edge, getting comfier in lounge-style seats or sitting at the bar.
Since 2017, Revel Brewing Co has been brewing and pouring yeasty beverages at the river end of Oxford Street in Bulimba, and drawing a crowd away from the suburban hustle and bustle of hotspot's main strip. But these beer fiends clearly have a theory: two eastside breweries are much better than just one. Accordingly, since late 2021, Revel has also been operating at its second venue in Morningside — a sprawling spot in a century-old riverside factory in the fast-growing Rivermakers precinct. The company's new site was once the Commonwealth Acetate of Lime Factory, which dates back to the 1920s and was involved in making wartime ammunition. It even has a history linked to Revel's beverage of choice, with August de Bavay, who was commissioned by the Queensland Government to design and build the factory more than a century ago, a chemist, distiller and brewer. Now, the patch off Colmslie Road is home to a striking brewpub. Brisbane beer lovers will find heritage-listed features aplenty — brick, cement and timber aplenty as well — as part of a precinct-within-a-precinct that Rivermakers has dubbed its Heritage Quarter. The old factory is also set to house Bavay Distillery, giving drinkers options when it comes to tipples. But if it's a few brews that you're after, including under umbrellas and fairy lights, then Revel is the place for it. In addition to a beer range that spans an XPA, IPA, hazy IPA, pale ale and lager among its core range, the brewery's Rivermakers digs serve up a food menu filled with share options, burgers and hearty mains. With its laidback outdoor space — grass beneath your feet included — Revel's second home also hosts regular events, including trivia on Thursday nights. Or, head along on a Sunday afternoon for live acoustic tunes from local musos, games and platter deals.
Desperately need to be snapped from that mid-summer stupor? A few rounds of beverages at Blackbird's outdoor terrace bar should do the trick nicely. Here, you'll sneak a peek at the setting sun while enjoying views across the river to the Story Bridge. There's an impressive selection of oysters and caviar on offer for a truly decadent sundowner session — because nothing screams 'Queensland summer' quite like champagne and seafood on the waterfront. But despite this, most people flock to Blackbird Bar & Grill for the steaks — all served with coleslaw and beef fat vinaigrette. On the menu's cheaper side, enjoy a Beef City premium Angus cross 200-gram tenderloin or a King River wagyu 350-gram rump. The opposite end of the scale offers up a 2GR 200-gram wagyu sirloin or a Grasslands Angus 400g rib eye on the bone. If you don't fancy a steak, try the smoked duck breast and confit leg with baby turnips and puffed wild rice or the coal-roasted market fish with seaweed butter and dill. If you're a vegetarian, it's got you covered too, with a bean sprout, almond and fregola risotto and starters such as baby beetroot, blue pumpkin and steamed broccolini. Their oyster menu is also impressive, while the caviar options include salmon, oscietra and ale blue scampi.
Inspired by New York's steakhouses and decked out with the dark fixtures to match, Walter's Steakhouse and Wine Bar is a place to flock to when you're in the mood for a decadent steak lunch. The house speciality, a prime Australian grain-fed piece of beef that's been dry-aged and cut in-house, is considered one of the city's best for a reason — even though it's only served for at least two people and the price isn't on the menu. While you're soaking in the old-school vibe, overlooking the Brisbane City Botanic Gardens and enjoying the scenic view, you can also pick from a culinary lineup that includes prawn cocktails, maple bacon oysters, crab cakes and a pumpkin Wellington with hazelnuts, ricotta and carrots. To wash it all down, we recommend the classic bloody mary — with the tomato and spice going just as well with either steak or seafood. There's also a very classy wine bar at Walter's, perfect for a pre-dinner drink or an after-work tipple. The focus is on Australian drops but the list features great wines from all around the world, with many of them only available via Coravin. It has a light bar snacks menu, and the team whips up classic cocktails with ease.
It's the film festival that gives German cinema fans a showcase of the European nation's latest and greatest movies without leaving Australia. It's a way to catch up on highlights from the Berlin International Film Festival from Down Under, too. And, it's where German-language flicks from beyond the obvious nation equally get their time to shine. Here's another description that fits: it's also where one of Rainer Werner Fassbinder's masterpieces is almost always on the bill. The event in question is the German Film Festival, which has a huge 2025 in store even just by the numbers. Making its way around Australia between Wednesday, April 30–Wednesday, May 28, this year's fest has 29 days of movies on offer across eight legs in nine places and 23 cinemas. Cinephiles in Canberra, Sydney, Brisbane, Melbourne, Adelaide, Perth, Ballarat, Byron Bay and Ballina, get excited: 20 features, plus 14-part miniseries Berlin Alexanderplatz, are on their way across the festival's tour. Not every title is playing at every location, including the literally biggest of them all for 2025. Fassbinder's addition to this year's program only has dates with Sydney and Melbourne, playing on the silver screen across three weekends — but if you're a movie lover in either city, clearing your diary to see the page-to-screen great that is Berlin Alexanderplatz couldn't be more highly recommended. The German Film Festival's opening-night pick is showing at all legs of the event, however, with romantic comedy Long Story Short kicking off the celebration of cinema — and giving Australia the chance to see one of Germany's recent box-office smashes. Other highlights across the complete program include six flicks that first played at this year's Berlinale, spanning closing night's Mother's Baby, the Nina Hoss (Tár)-starring Cicadas and conspiracy thriller Hysteria, alongside Hildegard Knef-focused documentary I Want It All, comedy of manners What Marielle Knows and the family-friendly Circusboy. That strand of movies also demonstrates the fest's fondness for variety, and for veering from the amusing to the thrilling and the dramatic. Or, attendees can catch Anatomy of a Fall Oscar-nominee Sandra Hüller in heist comedy Two to One, which is based on real-life events in 1990; Lars Eidinger (Babylon Berlin) as an orchestra conductor in Dying; Sam Riley (Widow Clicquot) in biopic John Cranko, about the choreographer; the literary loving The Door-to-Door Bookstore, as fittingly based on the novel; or Winners, which picked up the 2024 German Film Award for Best Children's Film. With Fassbinder, Hoss, Hüller and Eidinger, 2025's GFF is packed with well-known names. Another comes courtesy of doco Riefenstahl. About Leni, the controversial director that shares its moniker, the movie stems from unparalleled access to her private estate as it unpacks the legacy of the helmer of Nazi propaganda film Triumph of the Will, and the fact that her work contradicts her denial of close ties to the party. German Film Festival 2025 Dates Wednesday, April 30–Wednesday, May 21 — Palace Electric, Canberra Thursday, May 1–Wednesday, May 21 — Palace Norton Street, Chauvel Cinema, Palace Central and Palace Moore Park, Sydney Friday, May 2–Wednesday, May 21 — Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, The Kino, The Astor Theatre, Pentridge Cinema and Palace Penny Lane, Melbourne Friday, May 2–Wednesday, May 21 — Palace Regent Ballarat, Ballarat Wednesday, May 7–Wednesday, May 28 — Palace James St and Palace Barracks, Brisbane Wednesday, May 7–Wednesday, May 28 — Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas, Adelaide Thursday, May 8–Wednesday, May 28 — Luna Leederville, Luna on SX and Palace Raine Square, Perth Thursday, May 8–Wednesday, May 28 — Palace Byron Bay and Ballina Fair Cinemas, Byron Bay and Ballina The 2025 German Film Festival tours Australia from the end of April and throughout May. For more information, visit the festival website.
How good at Pictionary would Grimes be? Would Mac Demarco's sketches found in an art gallery? How would Future Islands go in a life drawing class? Sydney's FBi Radio intended to find out, by inviting a list of over 30 musicians to try their hand at a handdrawn masterpiece. Bringing back their wildly successful 'Brush With Fame' art auction, FBi asked a serious banquet of bands, rappers, ARIA-nominees, folksters, singers and beatmakers to create drawings on canvas especially for the station, ready for auction from Thursday 10 March (9pm AEDT) until Sunday 20 March (9pm AEDT). All proceeds raise funds for the independent, not-for-profit, top notch station. Kudos to FBi for one of the best group show lineups around, y'ready? You (YOU) can own a handdrawn work by these guys. FULL ARTIST LIST: Alabama Shakes Albert Hammond Jr (The Strokes) Alison Wonderland Benjamin Booker Best Coast Cosmo’s Midnight Courtney Barnett DIIV Django Django Dune Rats Elliphant & MØ Future Islands Grimes Hot Chip The Internet Little Simz Mac Demarco Matt Huynh Metz Neneh Cherry Parquet Courts Perfect Pussy Perfume Genius Peter Bibby Purity Ring The Rubens Run The Jewels* Rustie Thundercat Total Giovanni TV On The Radio Tycho Vic Mensa * Two individual canvases by Killer Mike and El-P respectively, sold together All works are on display over here. The auction will run on eBay from Thursday 10 March (9pm AEDT) until Sunday 20 March (9pm AEDT). Each piece comes complete with a Certificate of Authenticity from FBi. Here's a couple of our favourites in the bunch, that you'll have to furiously outbid us on.
One of the most perpetually praised coastal towns in Australia, Byron Bay is home to breathtaking beaches, mountains, rivers and rainforests, as well as a diverse, often experimental, grassroots foodie scene. This North Coast town is more than worth the ten-hour road trip up from Sydney, the easy two hours' flight from Melbourne or a two-hour drive from Brisbane and perfect for a summer adventure with your mates. This is, after all, a town that's best enjoyed together. To help you start planning your trip to Byron, we've teamed up with Jim Beam and mapped out some of the top spots to go to. Take note of the spots you want to hit, so you can detour from your regular routine and inject a little adventure into your life. Here's how to spend your days in Byron Shire — what to eat, drink and do in Byron Bay. STAY One of the best things about staying in Byron is its proximity to the beach. So, you'll want to stay as close to it as possible. Of course, beachside accommodation can get pricey, but luckily there are a few affordable options available close by, including Byron Bay YHA. Located in the centre of town and less than a ten-minute walk to Main Beach, this is not your average backpacker hostel. The facilities include private ensuite rooms, a lush pool courtyard and custom murals by Sydney artist Mulga and renowned artist Robert Moore. Spend the day out biking, surfing or boogie-boarding (which can all be hired from the hostel) and once you've enjoyed that sunset on Main Beach, head back for one of the nightly barbecues. Upstairs, you'll find the kitchen and two sprawling decks overlooking the pool where you can meet fellow travellers, and downstairs, there's a games and reading room where you can book swap and catch up on some holiday reading. Embracing the community vibes of the Byron area, the hostel also offers pancake breakfasts during the week and its large deck is an excellent spot for some BYO sundowner sessions. EAT AND DRINK Byron's serious food scene is plentiful and diverse, offering up everything from casual eateries to fine dining with a sincere focus on sustainable eating. Our favourite shop in town is Orgasmic Food, which hands down offers the best falafel we've ever had. This little Middle Eastern eatery provides some serious bang-for-your-buck eating, with the naked balls only 70 cents a pop and the half pita pocket just $7.50. If you'd prefer some meaty protein, the menu has plenty of Middle Eastern favourites like beef kofta and lamb skewers, too. For another budget option, head to the nearby town of Mullumbimby where Milk and Honey slings artisanal wood-fired pizzas like charred onion, gruyere and rosemary or wood-roasted pork sausage with tomato and mozzarella. Aussie wines and craft brews round out the offering here. If you're looking for some superfoods to start your day, Folk is the way to go — the adorable hut-like cafe focuses on organic, ethical and plant-based dishes that will get your engine going. And of course, there's The Farm, a must-visit spot sitting just outside of town. From the Three Blue Ducks crew, this agricultural playground is dedicated to ethical, collaborative and authentic practices, functioning as an eatery, bakery, shop and, of course, a farm. Take a seat on the terrace and order off the seasonal menu featuring dishes crafted from ingredients fresh from your surrounds. Dig in while breads by The Bread Social are kneaded and baked just next to you and some of the farm animals like chooks and pooches make cameo appearances. After your meal, digest with a walk around the farm and through the on-site macadamia farm. [caption id="attachment_606776" align="alignnone" width="1280"] Cape Byron Distillery.[/caption] A must visit at dinnertime is The Roadhouse. The menu changes daily and the dishes use fresh, locally sourced and sustainably grown produce. Think a pulled pork open sandwich on wood-fired flatbread or organic sweet potato tacos with drinks like house-made kombucha and signature negronis. They also boast the biggest whisky collection on the North Coast, if that's your libation of choice. If beer is more your thing, a trip to Byron isn't complete without a visit to Stone and Wood brewery, one of our ten New South Wales breweries worthy of a road trip. The born-and-bred Byron Bay owners love the region and are a friendly, welcoming bunch. The demand for Stone & Wood led to the 2014 opening of their nearby Murwillumbah brewery, making the Byron shed a place for limited release and experimental batches. For those more into spirits, get a designated driver and head out to Cape Byron Distillery where you can savour Brookie's gin, infused with the flavours of neighbouring rainforest. Order a cocktail and take a seat outside overlooking the tropical rainforest preserved by owners Pam and Martin Brook. DO If you're staying in Byron, a morning trek around the Cape Byron Walking Track is a must-do. The 3.7-kilometre loop takes you through rainforest gullies and cliffs, complete with beach vistas and views of the Byron Bay Lighthouse — which Byron Bay YHA offers guided tours of. It's an ideal walk for spotting whales and dolphins. And on your way back down from the lighthouse, you'll pass by the launch point for Byron Airwaves Hang Gliding. Book in for a tandem flight that'll take you soaring above the Cape Byron Headland cliffs and down to Tallow Beach below. If staying firmly on solid ground is more your thing, watching the take offs is (almost) just as exhilarating. Another outdoorsy experience worth exploring is Tyagarah Nature Reserve. The seven kilometres of protected coastline offer swimming, sunbathing, fishing and birdwatching with not a car in site. Visitors can relax in the picnic area or hike along the bush trails studded with banksias, midgen berries, wallabies and bush turkeys. For those who prefer to skinny dip, the nearby Tyagarah Beach is clothing-optional. Another way to enjoy Byron from the water is on a sea kayaking tour with Cape Byron Kayaks. The three-hour trips will get you up-close-and-personal with bottlenose dolphins, humpback whales and various species of sea turtles. Your guide will also delve into a bit of Byron Bay's history, most notably its Indigenous heritage. The group will pause to refuel mid-tour, too, with snacks and refreshments on the beach. If you prefer to do your own thing, the golden shores and crystal-clear waters of Clarkes Beach and Main Beach are just a stone's throw away from town centre. Plus, Main Beach is an ideal spot to watch the sunset soundtracked by free local music from the talented buskers who frequent the beach. Like Jim Beam, surfing and other outdoor adventures are all about bringing people together, so get out there this summer and find your tribe in the great outdoors.
First, the bad news. The Hi-Fi, as patrons in Sydney, Melbourne and Brisbane currently know and love, is no more. The saga that started with the company behind all three locations going into administration back in February will see the familiar name disappear. But the good news? You don't need to mourn the loss of another music venue. Boasting new owners as well as new management, the Hi-Fi is changing its name. Fans of live bands and casually excellent nights out can now head to Max Watt's. The new moniker comes from Max Watt's Operating Pty Ltd, the knight in shining armour that swooped in to stop the three music-scene mainstays from permanently closing their doors. In a new business model, bookings for future gigs and all online marketing activities will be handled by The Venue Collective. The experienced team already manages the music lineups for Melbourne's the Corner, 170 Russell, Northcote Social Club, and Shebeen, Sydney's Newtown Social Club and Brisbane's Woolly Mammoth. It might take some time to get used to calling the Hi-Fi something different, but it's a better outcome than looked likely just over a month ago. Rebranding will take place on site over the next few weeks, and in terms of shows, it's business as usual. Now, music lovers can breathe a sigh of relief. Via The Music.
Getting Brisbane slurping for over a decade, Taro's Ramen is the type of chain that could keep its brothy bowl-slinging format intact for years and years and always be one of the River City's go-to eateries. Owner and chef Taro Akimoto isn't throwing away his recipe either in the kitchen or out of it, much to the delight of the brand's long-term devotees — but he has given Taro's Queen Street location a new twist by night, turning it into an izakaya. For lunch seven days a week, hitting up 480 Queen Street still means noodle soups aplenty. Each evening, ramen also remains on the menu. But the new after-dark approach has seen the CBD site get a new name — Izakaya and Ramen Taro's — and turn into a food-focused izakaya once the sun goes down. Here after 5.30pm, you can pair sake and umeshu with special dishes that change daily, such as kingfish sashimi, grouper karaage, tuna katsu skewers and duck ramen. The switch means that no one is missing out on their midday bowls, but heading back after work gives patrons a different experience. Akimoto was inspired to make the shift due to the lack of affordable izakaya options in Brisbane. Indeed, when it comes to ramen, he was sparked to start Taro's back in 2010 for similar reasons. The Queen Street site rebranded in February 2024, with its drinks menu also pouring Asahi and Yoyogi brews, jelly liqueurs and a range of vino. Food-wise, past specials have included sashimi prawns, snapper karaage, grouper usuzukuri, homemade chicken jerky with shichimi mayonnaise, eggplant ratatouille, Hokkaido scallops carpaccio, and potato and egg salad with curry salt. A range of dishes, such as vegan karaage, wagyu garlic steak and, of course, ramen, are fixed on the menu, so you can tuck into them whichever night you drop by. Also, sashimi sets come with a choice of three or four dishes — and chocolate fondue with mochi ice cream is often on offer for dessert. Images: Anwyn Howarth
Ever had an urge to try something different or learn a new skill, but haven't known where to start? That's where Work-Shop comes in. Since 2013, the community class collective has been waging a creative crusade, and now they're bringing it to Brisbane. Come August 7, fun, affordable and diverse short courses in life skills, alternative art and unleashing your inner awesome will take over The Autumn Co. at 29 Merivale Street, South Brisbane. Whether you want to learn about making Polish paper chandeliers, the basics of hand lettering or the Japanese art of flower arranging, this is the place to do it. Work-Shop is the brainchild of Sydney's Matt Branagan and Chester Garcia, who wanted to create a space where broadening your horizons was something people actually did, not just something they said — or something they typed into a screen. If it sounds like the kind of idea someone would come up with over a drink, well, that’s because it is. When the duo first conjured up the concept, "It was just two guys getting together in a pub, talking about some ideas around a bar, and about things that we love," says Branagan. They soon discovered that quite a large number of folks were on the same wavelength — 23,705 to date, in fact, because that's how many students have come through their doors so far. After initially setting up their headquarters in Redfern, Branagan and Garcia then expanded to Melbourne and added another Sydney site. Now, Brisbane beckons. "I feel like Brisbane is the next big town for art, music, all those things," observes Branagan when asked about Work-Shop's new location. "There’s a lot of great talent coming out of there, and I think it is time to unite the community and show that you don’t need to be in Sydney or Melbourne to do these things." That's good news not just for anyone who wants to discover new skills, but also for Brisbane's existing creative forces. Capitalising upon artistic heart of the city is the organisation's mode of operation, after all. “We like to tailor our classes to the local community, so we try to work with all the artists that we are surrounded by, and to collaborate with as many of them as possible," Branagan says. So what can Brisbanites expect when they head to Work-Shop — other than becoming experts in everything from succulents to DIY resin jewellery, that is? "They can expect to be surrounded by a supportive environment of like-minded individuals and a teacher that is passionate and inspiring — and hopefully this can lead to a new hobby, a new career or a new way of life," advises Branagan. If that's not reason enough to rush out to a Work-Shop class on zine making, herbs, or — our personal favourite — watercolour, whimsy and wine, we don't know what is. Find Work-Shop at 29 Merivale Street, South Brisbane from August 7, or head to their website for more details.
We're always on the hunt for new things to do, scouring the city for not-boring Brisbane activities — and that includes different ways to spend time with your special someone. Need an idea that's guaranteed to take your next date way beyond done-before beers at the pub? We have suggestions. Whether you're taking someone on a second date or doing your 100th with your significant other, we've got some killer (and, yes, cute) options for dates to go on this week and long weekend, no matter how much money you've got to spend. Just think of us as your cultural wingman. You're welcome. Under $20 Revamp Your Wardrobe Just in Time for Winter Pre-loved fashion sales tick two pivotal boxes: helping add new items to your closet in a sustainable way, and also letting you pass on the threads that you're no longer wearing to someone else to make the most of. You and your special someone don't have to participate in both sides of the equation, of course. So when a secondhand fashion pop-up takes over Rocklea's weekly Saturday Fresh Market on Saturday, May 31, you can just buy or just sell (if you book a stall in advance). The event: Closet Cleanout, which is running from 6am–12pm to see out May and also end autumn. The market's usual range of fresh produce, food and other goods will still be on offer, but it'll add a fashion focus for the day. Reducing fashion waste, plus celebrating and supporting eco-conscious shopping, are among Closet Cleanout's aims. Not just buying and selling but swapping is also on the agenda. Clothes, shoes, accessories: they're all covered, as are designer pieces, vintage items and everything in-between. For those heading along to browse, entry to the Saturday Fresh Market costs $2 per person, or $6 with parking. Under $50 Enjoy a Taste of Italy by the Brisbane River When an event's first and second runs have proven a hit, so much so that it's coming back for another year, you can't quite say that the third time will be the charm. Still, Festa Italiana has big things in store for 2025. Howard Smith Wharves' annual taste of la dolce vita is returning for two four-day weekends with a feast of Italian dishes, pop-up bars, a special dessert from Gelato Messina and plenty more. Naples-born and -raised, Sydney-based chef Orazio D'Elia of Bondi Beach's Da Orazio is again making the trip to Brisbane, too, leading the festivities. When Festa Italiana launched in 2023, the aim was to give its waterfront CBD home its first-ever Italian food market, and to celebrate cuisine and beverages from the country in focus. That's on the agenda again in 2025. This year's dates for you and your other half: Thursday, May 29–Sunday, June 1 and Thursday, June 5–Sunday, June 8. Joining in alongside D'Elia: fellow chefs Carmine Guarino (another Naples-born culinary figure) and Dean Anning (Ciao Papi's Executive Chef). And yes, it's timed to wrap up autumn and say hello to winter over its two weekends. Entry is free, with everything that you're keen to eat and drink purchased as you go. Again, D'Elia will be serving up a range of dishes that he's known for. His vodka rigatoni (made with tomato, chilli, cream and vodka) is back on Festa Italiana's menu. This year, attendees can tuck into his strozzapreti ai gamberi, aka twisted pasta with prawns, zucchini and cherry tomatoes as well. Thanks to a grill station on HSW's main lawn, there'll also be porchetta-stuffed focaccia and chicken rolls, all to enjoy by the river. Guarino's contribution: traditional Italian street food, specifically Roman-style pizzas served by the slice. You'll be able to pair them with natural Italian wines, all while Italo disco tunes play. For more sips, the festival is hosting a spritz bar (think: Lambrusco spritzes and frozen white peach Aperol slushies, for something beyond your usual drinks) and Felons Brewing Co is whipping up a Festa Italiania-exclusive Italian lager. At Ciao Papi, Anning's menu includes stracciatella with grilled leeks, hazelnut and truffle — plus rigatoni alla amatriciana with sugo, garlic, chilli and pancetta. Here, beverages will also be a highlight, with eatery's garden becoming an Aperol garden with orange hues to match and a dedicated Aperol spritz bar. Feast Your Way Around a Twilight Market When Christmas hits each year, the Nundah Markets stay up late, swapping one of its usual daytime events for a twilight shindig. That kind of fun isn't just for getting festive, though. For the past few years, it's also been for celebrating winter. Meet Nundah by Night, which is taking place from 4–10pm on Saturday, May 31 in 2025. On the agenda: shopping, eating, drinking and being merry midyear, just before the coldest season arrives. There'll be quite the lineup of places to grab handmade items from — 120-plus stalls, in fact — with clothes, jewellery, art, homewares, soap, candles and all things edible available. You'll find gourmet foods on offer as well (including bites to eat while you and your significant other are there). For your $3 entry fee, you can enjoy a stint of browsing and buying under the site's fairy lights at Nundah Markets' usual spot on Station Street. And, you can stop in at the pop-up bar for a local craft brew, too — or warm up with some mulled wine. Live music is also on the lineup, as is a travelling and roving performers. And if you're wondering what you'll be snacking on, brisket, pulled pork, taco rice bowls and churros are just some of the dishes on the menu. Under $100 [caption id="attachment_997960" align="alignnone" width="1920"] Christoph Thoresen Ofa[/caption] Get Your Pulse Racing From Your Cinema Seat In need of some new procrastination material? Well, you're in luck. Google image search 'Banff' and spend a few minutes (or half an hour) taking in the gorgeous pictures of snow-capped mountains, aqua water and towering pines. It's impossible to not daydream about holidaying somewhere far-flung and exciting while ogling these picture-perfect views, as we're sure you'll agree. Thankfully, you and your favourite person have the opportunity to slip into this magical world without ever leaving Brisbane. The River City's Brisbane Powerhouse is hosting Banff Mountain Film Festival's 2025 tour — the event's latest stopover, after beginning back in 1976. Its stunning cinematography attracts film buffs and adventurers alike, making the festival mighty popular across the world today. Each year, hundreds of films enter the competition with the cream of the crop chosen to entertain and amaze festivalgoers. Some of the featured flicks battled it out in categories including Best Film on Mountain Sport, Best Film on Mountain Environment, Best Film on Mountain Culture, Best Film on Exploration and Adventure, and more. Check out seven of them from Wednesday, May 28–Saturday, May 31 at Brisbane Powerhouse, in a package featuring films about snowboarding on Antarctic icebergs, wingsuit flying in the Swiss Alps, ultra-marathon running, mountain biking in the Dolomites and more. One Big Blowout [caption id="attachment_954337" align="alignnone" width="1920"] Markus Ravik[/caption] Hang Out in a Waterside Igloo It never gets all that cold in Brisbane. It doesn't snow, for instance. Still, it's fun to pretend that it's frostier than it is. One way for you and your date to do exactly that: the Winter Chalet pop-up at Customs House, which sets up igloos and wintry decor by the river each year. It's the Queen Street venue's regular seasonal makeover when the mercury drops, and it comes complete with see-through domes for you and your mates to hang out in — while getting cosy under faux-fur blankets, peering at the river and knocking back a range of Veuve Clicquot tipples. Or, if you'd prefer cocktails for your chalet-style waterside hangs, the Clicquot sidecar, espresso martinis, negronis and Tommy's margaritas are on offer. Open Tuesdays–Sundays weekly until the end of winter for 2025, the pop-up is also serving up a selection to line your stomach. Dining is available from Tuesday–Thursday, as is a winter high tea. The first costs $160 per person and the second $105 per person, both for two–six people. Opt for dinner and you'll be tucking into wagyu beef tartare, pork belly, potato gnocchi and wood-smoked buffalo mozzarella, among other options. For high tea, bites include smoked salmon and caviar waffle sandwiches, curried lobster brioche, vanilla cream cheese scones and Baileys mousse petit fours. Both packages come with a glass of Veuve Clicquot NV. The site is operating as a chalet bar Friday–Sunday, too — for dome bookings from $75 per person, and also just hanging about. That's where the always-popular half Moreton Bay bug croissants come in, as well as duck liver parfait, burrata arancini, and baked whole brie. Top image: Markus Ravik.
While we were pushing through our first autumn Monday — fittingly caffeinated to the nines — the best actors, directors, cinematographers and costume-makers were walking the red carpet leading to Hollywood's Dolby Theatre. And they were collecting a slew of well-deserved gold statues on stage, too. At the 90th Academy Awards, host Jimmy Kimmel didn't shy away from discussing #MeToo, Weinstein and last year's Best Picture fiasco, Jodie Foster took the stage on crutches (and blamed Meryl Streep) and Frances McDormand made a rousing speech, encouraging the telling (and funding) of more women's stories in Hollywood. On the awards front, some hot favourites battled it out for the 2018 titles. There were big winners — The Shape of Water, going in with a massive 13 nominations, took home four — and others you may believe were cheated (Timothée Chalamet is a winner in our hearts), but, regardless, this year's Oscar winners make for a stellar must-watch list. Here's who took home the gongs, and who you should be watching on the big (or little) screen. Some are still in cinemas, so hop to it tout de suite. https://www.youtube.com/watch?v=XFYWazblaUA THE SHAPE OF WATER Won: Best Picture, Directing (Guillermo del Toro), Original Score (Alexandre Desplat), Production Design (Paul Denham Austerberry, Shane Vieau and Jeff Melvin) What our critic said: "Equally vivid and violent as it jumps between matters of the heart and moments of espionage, the film entrances with its sweet, soulful, delicate approach while never shying away from weighty themes of persecution or oppression." — Sarah Ward Where to watch it: In cinemas. Read the full review. https://www.youtube.com/watch?v=3aZ3r-84EQc THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Won: Actress in a Leading Role (Frances McDormand), Actor in a Supporting Role (Sam Rockwell) What our critic said: "Packed with dark, hilarious, nigh-unprintable dialogue, McDonagh's script mightn't be subtle, but it is teeming with complexity... Taking his cues from gunslinging revenge tales gone by, the filmmaker crafts a complicated rumination on humanity's contradictions." — Sarah Ward Where to watch it: In cinemas. Read the full review. https://www.youtube.com/watch?v=CpKvpSr7p1g DARKEST HOUR Won: Actor in a Leading Role (Gary Oldman), Makeup and Hairstyling (Kazuhiro Tsuji, David Mlinowski and Lucy Sibbick) What our critic said: "While both Churchill and Dunkirk are clearly no strangers to cinemas of late, Darkest Hour has one particular weapon all of its own: recent Golden Globe winner Oldman. The veteran actor gives a captivating performance, even coming hot on the heels of Brian Cox's excellent work in Churchill just months ago."— Sarah Ward Where to watch it: In cinemas. Read our full review. https://www.youtube.com/watch?v=yJ9J1FgA0A8 DUNKIRK Won: Film Editing (Lee Smith), Sound Editing (Richard King and Alex Gibson), Sound Mixing (Mark Weingarten, Gregg Landarker, and Gary A. Rizzo) What our critic said: "Unrelenting from start to finish, there's never a moment that's easy to watch, but there's never one devoid of hope either. This is an astonishing feat of storytelling, aesthetics and emotion, one from which you will not be able to look away."— Sarah Ward Where to watch it: Rent or buy on iTunes. Read our full review. https://www.youtube.com/watch?v=7DIm1PyBSwc COCO Won: Animated Feature Film, Original Song ('Remember Me') What our critic said: "Coco enchants with warmth and authenticity from start to finish. In fact, as bright as its images shine, as high as its heartfelt emotions soar, and as perfectly as its voice cast fill their roles — including Gael García Bernal stealing scenes as a dead prankster — it's the film's embrace of its setting and culture that truly makes it sing." — Sarah Ward Where to watch it: In cinemas. Read our full review. https://www.youtube.com/watch?v=wCYB28iknIM PHANTOM THREAD Won: Costume Design (Mark Bridges) What our critic said: "Every textile metaphor you can think of applies to Phantom Thread. It's a film that's carefully woven from the fabric of human urges, teeming with hidden layers and positively bursting at the seams with emotional detail. It's also one made by the finest possible craftspeople, with Anderson and his three stars fashioning the cinematic equivalent of haute couture." — Sarah Ward Where to watch it: In cinemas (but the run is almost over). Read our full review. https://www.youtube.com/watch?v=PJHex4ZitgA A FANTASTIC WOMAN Won: Foreign Language Film What our critic said: "It can't be overstated how wonderful it is to see transgender representation on the big screen (no offence Eddie Redmayne, but this is how it should be). Vega's performance as Marina feels authentic, in no small part because it is authentic. Every movement, every delivery is subtle, considered and real." — Imogen Baker Where to watch it: In selected cinemas. Read our full review. https://www.youtube.com/watch?v=GGa3M0hfTCo BLADE RUNNER 2049 Won: Visual Effects, Cinematography (Roger A. Deakins) What our critic said: "For a film that overwhelms with its extraordinary sights and echoing sounds, Blade Runner 2049 revels in the little things, and in the potent cumulative toll that they can have...Villeneuve achieves the cinematic equivalent, making each moment resound with meaning while honouring the legacy of the original." — Sarah Ward Where to watch it: Rent or buy on iTunes. Read our full review. https://www.youtube.com/watch?time_continue=2&v=AHEl7Pji0f8 GET OUT Won: Original Screenplay (Jordan Peele) What our critic said: "One of the most assured, astute, entertaining and intelligent horror movies to creep out cinemas in years." — Sarah Ward Where to watch it: Rent or buy on iTunes. Read our full review. https://www.youtube.com/watch?v=R0UgXrhCPHo CALL ME BY YOUR NAME Won: Adapted Screenplay (James Ivory) What our critic said: "Weaved from quiet, tender, everyday encounters that pepper every love story, it swells and surges, taking both its characters and its viewers on an emotional rollercoaster ride. Think of it as perhaps the greatest example of cinematic show and tell there is: to watch it is to experience the same heady, heated feelings as its central couple." — Sarah Ward Where to watch it: In selected cinemas (but the run is almost over). Read our full review. https://www.youtube.com/watch?v=OXZQ5DfSAAc I, TONYA Won: Actress in a Supporting Role (Allison Janney) What our critic said: "I, Tonya seems intent on reversing the popular consensus around its title character. The real Harding appeared at premieres of the film in the US, standing alongside Margot Robbie on the red carpet. But while she might finally have gotten the chance to prove she's not just the butt of a joke, you can't help but feel that the filmmakers – intentionally or not – treat her abuse as exactly that." — Kat Hayes Where to watch it: In cinemas. Read our full review.
Drawing from France's iconic cafe-wine bars, The Old Seven offers the same intimate feeling and expertly selected vino as the establishments you'd find in Europe. The small space operates from breakfast, where the menu features French-inspired eats like house-made terrines, wagyu tonnato and mixed olives. Not keen to share? Opt for one of the six cheesy jaffles. Our pick is The d'Affy, with confit duck, fromager d'affinois, Spanish onion and cherry sauce. Dessert offerings include banoffee tart and three styles of affogato — each served with La Macelleria gelato. As for the wine, there are over 100 options, along with a small selection of beers and an impressive cocktail list. The Old Seven Wine Bar was formerly home to an art gallery, and much of the charm remains. However, it's been overhauled with restored antique furniture, a green-tiled bar and statement chandeliers to create a charming European vibe. Images: Kiel Wode
Summer is close, and so is the summer festival season. Now is the time to sit down and have a long hard think about where you're going to allocate the festival money you've been saving up this year. We reccomend the ten below. Whether you're in Victoria over New Years Eve for Beyond the Valley, or taking a trip to Tasmania later in the summer to Party in the Paddock, these festivals tick all the boxes when it comes to camping facilities, scenery, amenities, crowds and of course, music. Just so you know, we're running a competition with Teva where you can win yourself a pair of their Arrowood boots, a tent, water bottle and a whole bunch of camping things that will make your life easier. Pack your tent and your 24-hour deodorant — it's summer festival season. LOST PARADISE December 29-31 Glenworth Valley, New South Wales Lost Paradise, held in the picturesque Glenworth Valley an hour from Sydney, has upheld an image as one of the more wholesome Australian music festivals. This is its third year, and it's set to be a banger. Lost Paradise is renowned for its food line-up, but it's well catered for in the camping department too, with the whole spectrum of outdoor living arrangements available — from super luxe glamping to renting a basic tent, with many stylish options in between. The holistic vibe appears in attractions like yoga, massages, sound baths, and kayaking. We're mostly loving the 2016 lineup though — Flight Facilities, Fat Freddy's Drop and Hot Chip are on it. Kapow. SOUTHBOUND January 8-10 Busselton, Western Australia Western Australia's Southbound is popular with people who like tents. You can bring your own esky and food (not booze unfortunately), you can camp with your car and there are have loads of amenities available to use over the three day event. The festival takes place a few hours drive outside of Perth, make a trip out of it and go wine tasting, surfing and sky-diving. This year's line up has Hermitude, Drapht and Boo Seeka, among many others. PARTY IN THE PADDOCK February 10-12 Burns Creek, Tasmania Party in the Paddock is yet another reason to love Tasmania. The festival takes place in White Hills, which is 25 minutes outside Launceston. The range of artists is huge — there's Sticky Fingers, Sampa the Great and The Bad Dad Orchestra, and then there's a huge number of spots reserved for new and upcoming acts. You'll likely find your new favourite band at PITP. It's known as one of the friendliest festivals going around, and there's free camping with a first in best dressed approach. See also: beer gardens, general stores, bathrooms, food and juice bars a plenty. MEREDITH MUSIC FESTIVAL December 9-11 Meredith, Victoria Starting in 1991, Meredith Music Festival takes place in the country town of Meredith, Victoria. It's one of the longest standing festivals there is, and it is blissfully free of commercial intervention. It's finest feature is the fact that it's BYO. Yes, you may bring your own alcohol. Camping is free and self-allocating. Meredith is a nature-focused festival that marches to its own beat. Its extremely strict "no dickhead policy" should be instated at all festival across Australia. Right on. There are massages, Tai Chi and an 'Arch of Love' at Meredith, as well as an outdoor cinema. Also, Peaches is playing. We're in. BEYOND THE VALLEY December 28 - January 1 Lardner, Victoria Having an energy supply tent area is sure to make your festival popular with campers. Beyond the Valley has one, it's called Electric City, and it certainly makes it a popular place to spend New Years Eve. It's free to camp, and the area has a pretty lovely view of Lardner Park in Victoria. There's the basic camping option, the luxury option, and the bell tent option. This year's lineup is killer — it's got Ladyhawke, Jarryd James, The Delta Riggs and Emma Louise. [caption id="attachment_589321" align="alignnone" width="1280"] Zakarij Kaczmarek.[/caption] SECRET GARDEN February 24-25 Brownlow Hill Farm, New South Wales With a a big emphasis on fancy dress and high detail costumes, Secret Garden is a 48-hour forest disco, and it's one of the most popular festivals going around. For those who like a condensed party full of shiny, colourful characters covered in glitter that look like disco tree fairies — the Garden might be your festival camping pick. Camping is free, tent hire is available and an always joyous list of acts is only announced after the festival sells out. It sells every year. That's confidence. PARADISE MUSIC FESTIVAL November 25-27 Marysville, Victoria Rather than going for the big names, Paradise music festival focuses on getting the smaller acts, so it's one for the music connoisseurs. The three day event is held in Victoria, and has views over the Great Dividing Range. It's a pretty self-sufficient affair for campers — BYO pretty much everything, which is great news for those who like to do camping their own way. There's an emphasis on local and unsigned acts and a strong level of industry alliance at Paradise, it's not to be missed for devotees or those looking to discover their new favourite band. STRAWBERRY FIELDS November 17-20 Tocumwal, New South Wales A celebration of art, sounds and creative expression, Strawberry Fields is an all encompassing sensory experience. A few hours outside of Melbourne, stages, venues and pop ups are like the pirate ship above are design-focused and curated to showcase art and music. There are workshops, experimental sounds, emerging artists and decor displays — this is an artistic-muso-camper's dream. It's one of the few festivals that allow RVs, teepees, tents, and caravans inside. MOUNTAIN SOUNDS February 17-18 Mount Penang Parklands, NSW One of the more boutique music and cultural festivals near the Central Coast in NSW, Mountain Sounds scored RUFUS as headliners this year. Cars and camper vehicles are allowed on the grounds, and tents can be hired for the weekend as well. The amenities are basic, but abundant, and while it doesn't have some of the flashier conveniences of the others, it has a low-key and unpretentious vibe. FALLS MUSIC & ARTS FESTIVAL New Years Eve New South Wales, Victoria, Tasmania and Western Australia The Avalanches are just one of the artists who have just been announced in the full 2016 lineup for Falls Festival this year, alongside Childish Gambino, London Grammar, Grouplove, Broods, Jamie T, Parquet Courts and heaps, heaps more. As always, Falls will be heading to Lorne in Victoria for four nights, and Marion Bay in Tassie and Byron Bay on the NSW coast for three nights over New Year's Eve. They'll also be setting up shop in Fremantle for the first time with Falls Downtown, a two-day city festival slated to take place over the weekend of January 7-8. We're giving away a whole heap of camping gear, in collaboration with Teva. A pair of hiking boots, a tent, water bottle and a whole bunch of extras will come in very handy this festival season. Head here to enter.
If there's one place in New South Wales — well, besides Sydney — that's embraced the state's newly liberated small bar culture, it's Wollongong. Like that of the harbour city, The Gong's night life used to be all about rowdy pubs and dance clubs. Now, we're not saying there's anything wrong with that — sometimes, there's no better way to end a working week than sinking a few and tutting like you're Taylor Swift in utter anonymity — but, like the great Latin writer Publilius Syrus quipped: "The most delightful pleasures cloy without variety". And during the past decade Wollongong, which you'll find just a 90-minute drive south of Sydney, has diversified. In the city's easily walkable centre, you'll stumble across a bluesy whiskey den, a laneway warehouse plastered with street art, a pocket-sized wine bar with a giant-sized wine list, a hatted hideaway serving French degustations and a waterfront pub championing microbrews. And that's just the start of it. Beyond the streetscape, there are beaches, mountains and woodlands galore. In one weekend, you can ride a horse through rainforest, picnic by a waterfall, cruise clifftops on the back of a Harley, loop de loop in a WW2 biplane and, needless to say, take your pick of beaches to swim at. Speaking of which, Wollongong's sandy coastline gives you two options, north and south of Flagstaff Point. On one side, there's the calm, swimmer-friendly North Beach, while on the other is the wild, 3.1-kilometre long City Beach. For more, skip town to visit the string of seaside villages that make up the outer northern suburbs, watched over by the spectacular, 400-metre high, sandstone Illawarra Escarpment. Here's your guide to eating, drinking and adventuring your way through a Wollongong sleepover. [caption id="attachment_569010" align="alignnone" width="1280"] Sage Hotel via Wotif[/caption] STAY To wake up just a stumble away from a swim, check into the Sage. Once known as the Chifley and taken over by Silver Needle Hotels in 2015, this four star, 11-storey, 168 room hotel is across the road from City Beach. For fantasy novel-inspiring panoramas of a morning mist-enshrouded Mount Keira, ask for a north facing balcony room or suite. Wherever you are, you'll get invigorating ocean breezes, a super comfy bed, a 40-inch tele and cosy armchairs. When the surf's too rough for a dip, plunge into the spacious lap pool. Buffet brekkie — served on the hotel's Five Islands Terrace — comes with dazzling ocean views, while downstairs at Cold Water Creek Restaurant and Bar, you can slip into a red-cushioned booth anytime and build your own burger. [caption id="attachment_569278" align="alignnone" width="1280"] South Coast Bike Hire[/caption] DO To make zipping around town a cinch, rent a bicycle from South Coast Bike Hire, who'll deliver the bike to your doorstep. Stick to scooting from one bar to another or, if you're keen to counter your excesses with a workout, conquer the waterfront cycleway, which runs between Port Kembla and Thirroul, where you can cool off in a 1930s ocean pool, grab a coffee at Gidget's, browse local art or take a surfing lesson with Illawarra Surf Academy. All in all, Wollongong has 42 kilometres of shared paths. For more scenery (at a much faster speed) take a High Adrenaline Ride and Fly Tour. Just Cruisin' Tours' Steve Melchior will roll up at your hotel, pop you on the back of his Harley and lead you on a twisting, turning, coast-hugging journey along Grand Pacific Drive, which runs as far north as the Royal National Park. Hold on when you hit Sea Cliff Bridge, a dizzying series of curves suspended 665 metres above the ocean, backdropped by sheer cliffs. If you're travelling with a mate, book the Boom Trike. [caption id="attachment_569088" align="alignnone" width="1280"] Southern Biplanes[/caption] Afterwards — or perhaps before — Steve will transport you to Southern Biplane Adventures, where you'll jump aboard a fire truck-red biplane known as Lilly Warra. She's a bonafide World War Two veteran, built in 1943 to perform military aerobatics. Your pilot will strap you into the open-air cockpit and take you soaring hundreds of metres above the Illawarra coastline. Just how gnarly things get is up to you; settle in for a straightforward right-way-up joy flight or order as many tricks as you can handle, from a wingover (a steep climb followed by a sideways fall) to a loop de loop (a 360-degree, upside down turn). To see the Lilly Warra — and hundreds of other stunt planes — in action, head to Wollongong on the weekend of April 30 for the annual Wings Over Illawarra Air Show. And, for a journey through Australia's aviation history, swing by the nearby Historical Aircraft Restoration Society Museum, where you can sit in the cockpit of a Vietnam War fighter jet. [caption id="attachment_569102" align="alignnone" width="1280"] Otford Farm[/caption] Done with the adrenaline pumping? Make tracks to Otford Farm to explore at a gentler pace. This Lords of the Rings-esque property is home to 40 or so horses, who spend most of their time roaming freely across its 300 acres, but will cheerfully take you for a ride if you ask nicely. The three-hour Bald Hill Adventure trail ride is a magical journey through dense rainforest, alongside babbling creeks and across open woodlands. You'll stop at the hang gliding mecca of Bald Hill Lookout and the pretty Kellys Falls Picnic Area on the way. Short on time or not ready to commit to 180 minutes on horseback? Book a one- or two-hour stroll instead. [caption id="attachment_569091" align="alignnone" width="1280"] Caveau[/caption] EAT UK-born Peter Sheppard was just a kid when he decided to become a chef. Some years later, after training at Sydney's Banc, he moved to Wollongong, where he opened Caveau in 2004. In 2005, his French-inspired creations earned a Good Food and Travel Guide Chef Hat — and they've won one every single year since then. Any day of the week, plonk down on a turquoise polka dot chair in one of the hushed, dark dining rooms and work your way through a seven-course degustation. Like the furniture, the plates are splashed with bright colours, from brilliant purple baby beets to bright red heirloom tomatoes to vibrant warrigal greens. Sheppard sources local, organic produce and pursues a nose-to-tail philosophy, ensuring nothing is wasted. Vegetarians can expect to be treated with equal respect as carnivores; the meat-free degustation is not just an afterthought, but a masterpiece in itself. For a more casual chow down in an epic setting, there's Three Chimneys. Hidden down an alleyway and covered in street art, it's a former warehouse turned hospitality kingdom, incorporating not only a restaurant and bar, but also a coffee roastery, bakery and live music venue. Flop onto a corner couch and keep to yourself, get loud at a communal table or hit the dancefloor. The share plate menu is made up of tasty, tasty morsels in generous portions, from 12-hour braised lamb sliders to crumbed camembert with cranberry sauce. [caption id="attachment_569139" align="alignnone" width="1280"] Diggies[/caption] Several cafes serve up high quality breakfasts and lunches. To start your morning right — that is, overlooking North Beach — reserve a spot at Diggies. Local brothers Stan and Aaron Crinis have been feeding ravenous surfers in this airy, heritage-listed, former cottage for more than a decade. Dig into brioche toast with strawberry compote and mascarpone cheese or sweet corn fritters with a poached egg, sour cream, smoked salmon and a rocket and zucchini salad, and you'll be ready for anything the day throws at you. [caption id="attachment_569133" align="alignnone" width="1280"] Humber[/caption] At Humber, a three-level, triangular cafe-bar in an 80-year-old building, slide onto a jade banquette and tuck into a plate of slow-baked ocean trout with eggs, or a dish called Mushroom Thyme, which features five types of local mushies. At least 50 percent of all produce comes from within a 100-kilometre radius. On the third floor, there's a lovely, laidback rooftop bar serving cocktails and tapas by evening. Throughout April, the eatery will hold Humberfest, which will see a slew of special events, from yoga lessons to mixology classes to movie nights, come to life. [caption id="attachment_569143" align="alignnone" width="1280"] lee and me[/caption] Just down the road in an 1890s terrace house, you'll find lee and me, recognisable from the bicycle in the window. There's a cafe downstairs and a retail space called THE STORE upstairs. So, you can contemplate buying fresh flowers and cool furniture, in between nibbling away on a shredded chicken sub with pickled carrot, or a roast lamb toastie with baba ghanoush, onion jam and Gruyère. Owners Benny and Naomi Hudson have a second outpost in the form of laneway burger joint His Boy Elroy, which turns classics into fun new inventions. The Heisenburg-er, for example, is packed with southern fried chicken, iceberg lettuce, hot sauce and a secret blue sauce. Take the Grand Pacific Drive back to Sydney to stop in at Thirroul (we recommend Postmans Quarter in an old 19th century building that used to house a bank) and/or one of the most spectacularly-located pubs in Australia, The Scarborough Hotel. Passing by on a clear day? Bags a table on the top floor terrace, order a seafood plate and a bottle of sparkling, and don't make any plans to go anywhere else until sundown. Should you miss out on the terrace, a table in the vast, grassy beer garden is a happy second prize — and there are Pacific Island-style thatched huts for groups. [caption id="attachment_569136" align="alignnone" width="1280"] The Throsby[/caption] DRINK For a pre-dinner wine or a quiet chat, slip into The Throsby, a 50-seater bar that's been keeping locals hydrated since December 2014. Owners Erick Zevallos and Maddie Sullivan have taken care of every detail, from the Scandi-style high stools to the hanging plants to the 53 variety-strong wine list showcasing small winemakers from all over the world. Later on, venture to dimly-lit Howlin' Wolf to sample the ever-changing 100+ whisky collection — and if you visit on Thursday, Friday or Saturday night, you'll be able to kick back to live music. [caption id="attachment_569137" align="alignnone" width="1280"] Illawarra Brewing Co.[/caption] Meanwhile, you'll get a view with your brew with a view at The Illawarra Brewery, just opposite City Beach (and not far from the Sage Hotel). Claim an outdoor seat and work your way through a tasting paddle, which covers a handful of offerings from the Illawarra Brewing Company brewhouse. In-house bistro Smoking Barrels dishes up a stack of exceptionally moreish American-style creations, including a salt and chilli-fried soft shell crab burger and sticky barbecue hot wings with smoked mayo. If you're wondering why the meat's so full of flavour, it's all slow-cooked in their custom made, Texan-style smoker. To find out more about the brewhouse, drop by its headquarters in North Wollongong, where you'll meet brewer Dave McGrath, watch the brewing process in motion and taste to your heart's content. Walking in, you'll notice a basketball hoop — manage three slam dunks and you'll be taking home a free growler, filled with your beer of choice. The Chuck Norris is very, very hard to go past. [caption id="attachment_569280" align="alignnone" width="1280"] Jonathan Mueller via Flickr[/caption] LET'S DO THIS; GIVE ME THE DETAILS Wollongong is about 90 minutes south of Sydney. You can drive or take the South Coast Line train from Sydney's Central Station to Wollongong Station. Jasmine travelled as a guest of Destination NSW. Top image: Maksym Kozlenko via Wikimedia Commons.
Austrian-British philosopher Ludwig Wittgenstein once famously stated that "the limits of my language means the limits of my world". Wittgenstein was part of a philosophical movement whose intense and sustained navel-gazing gave rise to an idea known as the "linguistic turn". This was an idea, with which everyone from novelists to zoologists jumped on board, suggesting that our creativity and conceptual imagination is limited by the fact that our languages are made up of a limited number of words. So we are stuck with a limited number of meanings. As such Wittgenstein, and his quite morbid buddies, argued that language is inadequate to the task of expressing human experience. The website "Dictionary of Obscure Sorrows" are doing their little bit to make the inexpressible more expressible, by creating an ever-growing list of new words to describe the sad little idiosyncrasies that make up modern life. This consistently hilarious and subtly insightful website believes that if words like "gif" and "trolling" deserve a place in the Macquarie Dictionary then why shouldn't words like "astrophe" or "heartworm." (Which describe, respectively, the hypothetical conversations we have with other people in our head, and those past relationships that are buried deep in our psyche.) With Dictionary.com recently releasing their "word of the year" here are our five favourite contender entries for next year from of "The Dictionary of Obscure Sorrows". Contact High-Five An innocuous touch by someone just doing their job—a barber, yoga instructor or friendly waitress—that you enjoy more than you'd like to admit, a feeling of connection so stupefyingly simple that it cheapens the power of the written word, so that by the year 2025, aspiring novelists would be better off just giving people a hug. Reverse Shibboleth The practice of answering a cellphone with a generic "Hello?" as if you didn't already know exactly who was calling—which is a little like the egg requirement that marketers added to early cake mixes in the 1950s, an antiquated extra step that's only there to reassure you that it's an authentic homecooked meal, just like grandma used to make. Sonder The realization that each random passerby is living a life as vivid and complex as your own—populated with their own ambitions, friends, routines, worries and inherited craziness—an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you'll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk. Astrophe A hypothetical conversation that you compulsively play out in your head—a crisp analysis, a cathartic dialogue, a devastating comeback—which serves as a kind of psychological batting cage where you can connect more deeply with people than in the small ball of everyday life, which is a frustratingly cautious game of change-up pitches, sacrifice bunts, and intentional walks. Semaphorism A conversational hint that you have something personal to say on the subject but don't go any further—an emphatic nod, a half-told anecdote, an enigmatic 'I know the feeling'—which you place into conversations like those little flags that warn diggers of something buried underground: maybe a cable that secretly powers your house, maybe a fiberoptic link to some foreign country. Entries and text from the wonderful Dictionary of Obscure Sorrows.
When it comes to eating out, we're spoilt for choice at every turn. Choosing where to eat is a difficult choice relegated to only the most decisive of friends. But, even so, sometimes you want to cook something at home. With that in mind, we annoyed the Porteño team to give us a recipe. So they relented and told us how make their insanely good, crispy brussels sprouts. You can make 'em too! PORTEÑO'S CRISPY BRUSSELS SPROUTS Serves eight 2kg brussels sprouts, cut in half 150g lentils 1 bunch of mint 1 bunch of continental parsley river salt flakes cottonseed oil (for deep frying) For dressing 2 tbls hot English mustard 100ml vincotto 200ml EVOO salt and pepper to taste Cook lentils in simmering water until tender, drain and set aside. Whisk all ingredients for dressing together. Trim ends and remove outer leaves of Brussels sprouts then cut in half lengthways. Heat cottonseed oil to 180˚ in a heavy based saucepan. Deep fry brussels sprouts in batches until golden and crispy. When done, drain on paper towel then place in a large bowl. Season with river salt flakes, add dressing, mint, parsley and lentils and toss to coat. Updated: December 24, 2017. This article was originally published in the lead-up to Taste of Sydney 2016.
Jed Kurzel boasts one of the most-enviable recent resumes in Australia's film industry. It was back in 2011 that the founding member of The Mess Hall added a haunting layer to Snowtown, the first feature directed by his elder brother Justin, via its score. The pair have worked together on every one of Justin's films since. But Jed doesn't just have the sounds of stunning Shakespeare adaptation Macbeth, game-to-screen flick Assassin's Creed, the dark-but-playful True History of the Kelly Gang, the complicated Nitram and the upcoming The Order to his name. Jennifer Kent's The Babadook and The Nightingale, Ridley Scott's Alien: Covenant, Dev Patel's feature directorial debut Monkey Man: he has scored them all as well. With a filmography that also hops from The Turning, All This Mayhem and Slow West to Overlord, Seberg and Encounter — plus Guillermo del Toro's Cabinet of Curiosities on the small screen — it might seem an impossible task to pick favourites. Even whittling down what to talk about at Kurzel's Screen Commentary session at SXSW Sydney 2024, where he's chatting through his work, might sound difficult. But ask him which of his projects stand out, as Concrete Playground did, and he has answers, even if he notes that his responses differ over time. "There's a few. But then they start to change as I go on, because I guess you learn more things, and some films follow a particular style that you might have gotten onto, or a particular thing that I've discovered and I will push that through a few films," he explains. "Snowtown for me is the one that that really stands out, I think because it's the first one and I still get offered films today that have put Snowtown in their temp music, which is the music they put in while they're editing — it's kind of crazy that's it's still being used. So that one particularly, it still pops up. Macbeth as well, I think just because it was the first real string score I've done, orchestral score, and I did it all over in the UK, so I met a lot of people that I'm still collaborating with then and I felt like we were all jumping into this thing together," Kurzel advises. "I think those two stand out for me, and The Babadook." His fruitful career composing for the screen might've come about as one could expect when your brother is a filmmaker — Justin asked him to have a go at scoring Snowtown — but working together and taking this path wasn't a long-held childhood plan. "Never. No, I don't think that we have ever spoken about it. It was just how it worked out," Kurzel notes. "We'd been working together before that, in that he'd been doing the video clips for us and all that kind of stuff. We were always doing things together. So it wasn't like it felt like an 'oh, here we go' kind of thing. It was really just one of those things where we're always a part of what the other was doing." Viewers can be thankful for sibling bonds and the route it has taken Jed down. As brilliant as everything they each splash across the screen is, Snowtown, Macbeth, Nitram, The Babadook, The Nightingale and more wouldn't be the films they are without Kurzel's scores. Ahead of his session at SXSW Sydney, we also chatted to the composer about what sparked his contributions to some of the above films, how collaborating with Justin is different to working with other filmmakers, ensuring that his music isn't commenting on the content of the movies, the influence of genre, challenges he'd like to take on and plenty more. On How Kurzel Began Composing for the Screen "I was touring around with The Mess Hall and I had some time at home. Then Justin, my brother, was doing his first film Snowtown, and he asked me if I'd like to have a go at scoring it because, outside of the things I was doing with the band, I was always messing around with stuff at home. I guess it was more in the film soundtrack kind of land, but I was just doing it for my own enjoyment. And he said 'oh, you know, some of that stuff could work well, all that kind of thing could work well'. And I said 'I've never done that before, so'. And he said 'look, it's fine if it doesn't work, I'll get someone else. But you have a go with it'. So I did and then that was kind of it, it just it snowballed from there. It wasn't something that I had set out to do really. At that point, I was really happy playing music — and playing, actually. But I was missing just being in the room and making music. We were out playing a lot, and it's very hard to make music when you're doing that. So I was missing that at that time — so it came at a perfect time, I think." On Collaborating with Justin on All of His Features So Far — and How It's Different to Working with Other Filmmakers "It is different now, because I think we've developed — I mean, we always had a shorthand, but it feels like it's become even shorter now. We almost hardly ever discuss it while we're doing it. It just happens, in a way, now. We used to take a long time. I'd start really early on his films and it would be this drawn-out process, and sometimes the process could get quite difficult as the edit changed and things like that. I think just through experience, we've started to work out an efficient way to work that is still as creatively rewarding. And the last couple of things I've done with him, like The Order, it was all very free-flowing and it came quite quickly, and it wasn't something that we laboured over. I think we've discovered that the more we labour over things, it doesn't help anything." On What Sparked the Score for a Film as Complicated as Snowtown "With that one, we always talked about that hitting the bullseye was a very slim chance in some ways, because we found that with most music that we put on it, it felt like it was commenting on it. So immediately it was like 'well, we don't want to do that' because that just wasn't what the film was doing — and it didn't want it anyway. So it became a really instinctive thing about what it wanted, and there was a lot of to-ing and fro-ing of changing the edits to suit where we were taking it. So a lot of back and forth between us. And then, I always feel like if you just listen to the film, it'll eventually tell you what it wants. You throw things on it and just sort of shrug it off, and then there'll be something that starts to stick. And as soon as it starts sticking, you're on your way." On Whether Working on Films Like Snowtown, Nitram and The Nightingale Brings a Sense of Responsibility Given the Historical Details They're Diving Into — and How to Avoid a Score That Comments "I think so. But, I mean, I think with those projects, you're well-aware of that before you've even started them. There is a certain responsibility, I think, not to — I guess what it is musically, I'm always aware of not commenting, and that you're adding. I feel like you're just adding another layer and energy to the film, rather than going 'this character comes on and they've got a theme' or anything like that. It's just different, it's adding a feeling. It's what the film wants — and if you start commenting with some of these films, it just doesn't work. It just feels wrong. But on other films, you can go into those areas and the film absolutely wants to have that. I think it just depends on what you're working on. I always love to look at the film itself, and how it feels and what it looks like, and where it's set and those kind of things, because I think with music, you can actually add to that even more so. Even cinematography, I think, is really a big one for music, too, that maybe gets overlooked a little bit, because we are responding to images, so that's the first thing you're looking at." On Adding Playfulness to a Score That's Also Quite Dark, Such as True History of the Kelly Gang "That one, I'm glad you said that, because actually that's what I wanted to achieve with that score — that there was a playful quality to it. I always really loved the Sidney Nolan paintings, and I was sort of taking a cue from that. And also I love the old Hanna-Barbera cartoons and things like that. So for me, they were the influences that I was grabbing. I guess if you've got a concept or an idea that you want to launch things off of, that's always helpful." On How to Find the Score for a Shakespearean Adaptation Like Macbeth When There's So Many Past Big-Screen Versions —Including Initially Skewing Electronic "I remember doing that and both of us [Jed and Justin] feeling a lot of pressure because it's been done. There's not many times when you do a film that's like 'well, this has been actually been done before word for word'. When films are made, I think there's some directors who've got it all in their head and then they go out and make it, and what happens in the edit is the film just wants to be something else — and if you fight against that, usually you'll end up with something that's probably nowhere near your vision, and that frustrates you. Whereas if you follow what the film wants and then listen to it, and just go with where it wants rather than trying to hold onto your initial idea, then I think you can end up in really interesting places. In that case, yeah, it started out as an electronic score, that's what we wanted to do, but the film just, again, didn't want it. So we had to change tact a little bit, and we got something completely different, but I think it's the same sort of idea that we started out with. We had an initial idea, and then we just followed our gut while we were doing the edit." On How Working on Something Smaller, or More Character- or Mood-Driven, Differs From a Big-Budget Sci-Fi Sequel Like Alien: Covenant "I think there's similar pressures with both. On a smaller film, even though it's a smaller budget, there's almost more at stake because a lot of the times that might be someone's first film that they've directed. So they're kind of like someone's baby. Whereas the big-budget films, there's so many people involved, and they keep changing and they tend to have a lot more time to sit with things. The smaller budgets, the smaller films, they don't, they have to finish by a particular time because they don't have the money to keep editing or keep doing things. So I think there's different pressures with both. But in terms of scoring them, I just I think they just different hills to climb." On the Way That Genre Has an Impact on How Kurzel Approaches Scoring a Movie "We all grow up watching films, so we've all got that language. So whether you like it or not, you're aware of genres, and what those genres are and what's come before you, which I think is great because it can set benchmarks for you. If you're looking at something and going 'I want to do a horror film' and 'what are the films that I really like in this sort of genre?', you can go back and have a look, and just see the way they've been approached — which may make you go 'well, I don't want to approach it like that, I want to approach it like this'." On What Drives an Unnerving Score Such as The Babadook "That's a good question because that score, the inspiration for that — I think I wrote this in the sleeve of the vinyl — when I was scoring that, I was living in Erskineville and there was a possum on my roof or in the tree above me. And it was knocking things down through the night, and it would jump off the tree onto the roof. So I was always listening to what sounded like people throwing bodies on my roof. On top of that, it would make these strange noises, or there'd be strange noises outside. So a lot of the time, I was keeping the door open and making music, and just letting those sounds come in as well — and going 'okay, that's interesting. I could kind of do something'. So I think what I'm listening for is what's unnerving me — and particularly late at night, if I'm doing something, you can hear things. The world really is making music all the time. So the environment's always really great, if you've got your ear out, you can always hear really interesting stuff. But in terms of horror, I like to be unnerved. I'm not that much into the jump scares and things like that. I like an eerie, unnerving kind of feeling." On the Response to The Babadook — Then and Now "Even internationally, you mention it and everyone knows it, and the characters. It's pretty amazing. I'm really proud of the work we all did on that and how much Jen stuck to her guns with the film. I think it's just been re-released on screens in the US, it's doing a tour of America at the moment, which is amazing. And that was a film that if you told us that's what was happening, and most of the things that happened with that film, we would have laughed at the time because it just was not on anyone's radar. Even when it was released here, it had such a tiny release, I don't think anyone even knew it'd come out." On Being in Action Mode with Monkey Man, But Using the Score to Build an Emotional World "That was really different, because Dev already had, for a lot of the action scenes, there was already a lot of source music placed in there as music that already existed. And he had a definite thing for me, which was 'I want the film to be the emotional underground of the character'. So a lot of it, we talked a lot about memory, and the music was representing his memory of his mother. And so it was really strange, I was doing an action film but I wasn't really doing the action side. There's a few chase scenes and things like that. But in terms of that being the focus, it really wasn't, it was this whole other world that Dev was after which I found really appealing and exciting when we first spoke about the film." On the Most-Important Task for a Film Score to Achieve "I always feel like I'm there to add a layer that's almost not even music — it's another layer to the film that wasn't previously there, that if you took out, you would really notice it. A lot of people talk about watching films and not noticing the music. But I feel the other way. I want to notice it. And I want it to give me another layer on there that I know wouldn't exist otherwise — the performances wouldn't get it, the editing, it's adding something that's unique and almost impossible to describe, which is what to me that music is. It feels like some sort of magical language." On the Ultimate Challenge in Composing for the Screen That Kurzel Hasn't Taken on Yet — But Would Like To "I really don't know, because I find everything that I do, there's a new challenge and it usually rears its head pretty quickly. You get into something and you think 'oh yeah, I know how to do this' — and suddenly the film, like I said, the film starts to move into a direction and that tilts everything. Being aware of those things, I think that's the exciting part about it. If you're living in the moment and scoring things for the moment, listening out for really happy mistakes — which I call those things that you kind of go 'ohh, I'm going to try this' but something else happens that was a mistake, and you think 'that's actually better than what I was going to do. I'm going to go down that path for a while'. They're the things that I love about composing. In terms of feeling like there's something I haven't done yet, I haven't really done any romantic comedies. But I just, for some reason, I don't think I'm the go-to guy for those." [caption id="attachment_875685" align="alignnone" width="1920"] Courtesy of Netflix © 2022[/caption] Concrete Playground: "I chatted with Justin about Snowtown and he told me at the time that the next film he had in mind was a tennis rom-com." Jed: "Yeah, yeah, yeah." Concrete Playground: "So maybe if he does end up doing one, you'll get one." Jed: "I keep saying to him, because he's very funny, so I keep saying 'you need to do a comedy. That has to be your next one'." Screen Commentary: Jed Kurzel takes place at SXSW Sydney from 11am–12pm AEDT on Friday, October 18, 2024 at Fortress Sydney. Head to the SXSW Sydney website for more details.
If the end times were coming, and the antichrist as well, how would an angel and a demon on earth cope? That's the question that fantasy authors Terry Pratchett and Neil Gaiman explored in 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, winning awards and plenty of fans as a result. Now, what'd happen if Michael Sheen (Quiz) was that heavenly figure and David Tennant (Doctor Who) his demonic counterpart? That's exactly what the Good Omens streaming series dived into when it initially arrived back in 2019. Four years later, the Prime Video show is finally returning for season two. With Sheen back as Aziraphale and Tennant as Crowley, that key casting remains intact. Jon Hamm (Confess, Fletch) also returns as Gabriel, this time showing up at Aziraphale's bookshop with zero memory of who he is — sparking the show's new mystery. Cue hiding the archangel from all interested parties — below and above — and, as is Good Omens' custom, getting Aziraphale and Crowley leaning on each other. Cue jumping from before The Beginning through to modern times as well, including stops in the biblical and Victorian eras, and the Blitz in 1940s England. As the trailer for season two shows, divine chaos ensues, even though Aziraphale and Crowley thwarted the apocalypse in season one. How it all turns out, other than amusingly, will be revealed when the series hits streaming again on Friday, July 28. Also back for a second go-around are Doon Mackichan (Toast of Tinseltown) as archangel Michael, plus Gloria Obianyo (Dune) as archangel Uriel, while Miranda Richardson (Rams), Maggie Service (Life) and Nina Sosanya (His Dark Materials) return as well — but in different parts. They're all joined by series newcomers Liz Carr (This Is Going to Hurt), Quelin Sepulveda (The Man Who Fell to Earth) and Shelley Conn (Bridgerton), the latter as Beelzebub. And Neil Gaiman is back as executive producer and co-showrunner, helping guide a season that now expands past its source material. Check out the trailer for Good Omens season two below: Good Omens returns for season two from Friday, July 28 via Prime Video.
When Josh and Julie Niland announced in 2024 that they're launching their debut Queensland restaurant this year, with Hamilton Island their destination, it was huge news. As the venue gets closer to welcoming patrons in the door — from Thursday, April 24, in fact — it remains one of the big culinary openings of 2025. You'll find the pair's first Sunshine State eatery at The Sundays, a brand-new hotel that's launching on the same date. But Catseye Pool Club, as the Nilands' venture is called, stands out from the pair's other restaurants. There's the location, of course — and eating here does indeed mean dining at an oceanfront spot in The Whitsundays. Then there's the fact that Catseye Pool Club isn't a seafood joint. Whenever Josh and Julie's names come up, it's usually in the same breath as their preferred form of protein. Acclaimed Sydney restaurants, award-winning cookbooks, global kudos, a sustainable seafood restaurant in Singapore: championing a fin-to-tail approach to the ocean's finest, their footprint spans all of the above. Whole-fish cookery remains a feature at Catseye Pool Club, though, but it's just one part of the menu. The plan is to hero Australian ingredients and celebrate shared dining, with dishes designed to be tucked into communally. Taking your time in the sun, making the most of the fact that you're on an island and relaxing in general are also key aspects of the vibe — and the pool club part of the restaurant's name says plenty. Yes, it the eatery is by the pool, too, so you'll be peering at water from multiple sources. "Whilst 'family-style' or 'share-style' dining is very much a way restaurants have operated for many years, the Catseye Pool Club approaches its menu with each item very much designed to be enjoyed as a whole table, with all the trimmings coming with each dish," explains Josh. "The menu is still undergoing final deliberation, but guests can expect beautiful fresh pastries made by the team, 'CPC' spanner crab royale, and coconut and verjuice honey bircher." The Nilands have released a sample menu, to give a further idea of the types of dishes that might be on offer. Think: eastern rock lobster with white bread rolls and tarragon mayonnaise; roasted chicken for two and four, paired with slow-cooked zucchini, chicken-fat roast potatoes, and tomato and grilled bread salad; grass-fed beef rib eye for four, accompanied by boiled greens and house fries; hard line-caught coral trout in salt pastry, again for four; and a neapolitan sundae for dessert. Catseye Pool Club will also serve up breakfast just for hotel guests — and you'll be able to enjoy its range of meals if you're hanging out by the pool rather than sitting at a table. "It's about creating an atmosphere where everyone can detach, unplug and simply enjoy being together. We will also extend our hospitality offering to the guest's pool and sun loungers, with a Queensland ingredient-focused cocktail menu curated by Sam Cocks, the Saint Peter Bar Director," explains Josh. While The Sundays is a luxury boutique hotel, being family friendly is part of the point of difference for the 59-room venue at Catseye Beach's northern end. That mindset applies to the new restaurant, too, with catering to family holidays a guiding principle. At a hotel run by Hamilton Island Enterprises, which is also behind qualia, guests can also look forward to that oceanfront swimming pool surrounded by private cabanas, alongside a pickleball court and tropical gardens. Room options include balcony and terrace, plus interconnecting family rooms, all decked out in calming hues. Find Catseye Pool Club at The Sundays, Catseye Beach, Hamilton Island, from Thursday, April 24, 2025. Head to the hotel's website for more details in the interim. Images: Hamilton Island Photography, Sharyn Cairns, Adam Rikys, Nick Leary.
As much of the TV-watching world is, Ashley Zukerman is a Succession fan. Unlike almost everyone else, however, his affection was partly built from inside of the award-winning series. In a recurring role across the HBO masterpiece's four seasons, he played political strategist Nate Sofrelli, whose past romantic relationship with Shiv Roy — portrayed by fellow Australian Sarah Snook (Memoir of a Snail) — kept spilling over into their present professional and personal spheres. But "there was periods where I didn't know if I was coming back", Zukerman tells Concrete Playground, "and there were periods where I just became more fan than part of it". A role in one of the best TV shows of the 21st century, plus a range of others in fellow international fare — big-screen horror-western The Wind and drama Language Arts; television's A Teacher, The Lost Symbol and City on Fire; and the three straight-to-streaming Fear Street movies among them — kept Zukerman away from home for years. Then In Vitro, an Aussie sci-fi thriller that premiered at the 2024 Sydney Film Festival and hit local cinemas in general release on Thursday, March 27, 2025, came his way. Before this, he hadn't worked on a homegrown project since 2017's The Easybeats miniseries Friday on My Mind. Prior to that, he'd hopped between the Australian and Aussie-made likes of The Pacific, Rush, Terra Nova, Underbelly and The Code, and Manhattan, Fear the Walking Dead, Masters of Sex and Designated Survivor overseas. Starring in In Vitro eventuated because he initially met two of the film's co-writers and fellow actors, Will Howarth (who also co-directs with Tom McKeith) and Talia Zucker, in Los Angeles when they were all stateside endeavouring to establish their careers. Due to release timing, audiences who didn't catch In Vitro on its 2024 festival run will have seen Zukerman pop up in homegrown efforts in Aussie limited series Apple Cider Vinegar first, earlier in 2025. Later this year, he also has Australian-made, New Year's Eve-set time-travel film One More Shot heading to Stan. Only In Vitro has him playing a cattle breeder in an eerie vision of the potential near future, though — a livestock farmer experimenting with biotechnology in a world, and an industry, decimated by the climate crisis and struggling to adapt to the new reality. As Jack, husband to Zucker's (Motel Acacia) Layla, Howarth (Toolies) and McKeith's (Beast) movie also tasks Zukerman with exploring the distance that clearly lingers in the the feature's central marriage, digging into the source of Jack and Layla's domestic disharmony, and unpacking the impact of controlling relationships. More than two decades have now passed since Zukerman's initial screen role, also in an Australian film, with playing Thug #2 in Tom White his debut performance. Looking back on it, "so that was my first-ever thing, and I hadn't gone to the Victorian College of the Arts yet. I had no idea what I was doing", he advises. "My family, no one in my family, was in creative industries at all. I was just trying to brute-force my way through, trying to get headshots and making cold calls and just trying", Zukerman continues. "And then when that called and I got a role, I thought it was the craziest thing in the world. Then I get there and I do it, and I'm in a scene with Colin Friels [Interceptor] and Dan Spielman [Black Snow], who I ended up playing brothers with in The Code years later. And I thought that was just very, very special at the time. Dan was on, I think, The Secret Life of Us, and Colin Friels on Water Rats, and they were heroes of mine at the time. And then to be able to revisit that with Dan years later as, I guess, equals, was very special." [caption id="attachment_997134" align="alignnone" width="1920"] Succession, David Russell/HBO[/caption] From the outside, the success that Zukerman has enjoyed over the last few years with Succession, Fear Street, City on Fire, A Teacher, The Lost Symbol and more seems huge. It is huge. He's also added Apple TV+'s Silo to his resume. For him, however, "it hasn't felt huge, but I don't think I necessarily ever have that feeling of looking at things from the outside", he reflects. "From the inside, I'd say that it's felt really fun. I know that the thing I love most is when I love the project and I feel like I'm close to the coalface of something. I thought that they were all great projects, and so that has been fun." "You're right, it's been a really nice few years, and it felt comfortable," Zukerman goes on. "I guess I'll say I've just never really stressed work. I've always known things will come, and I've always been aware that if I'm not chosen for something that it's because the person, the artist in charge of it, just doesn't need my specific colour, my specific paintbrush, and so I've never really sweated it if things haven't come to me. But the last couple of years, it's just been really enjoyable to just work on special things — and to be able to have a continuous run of that, I do feel very full now. I'm not someone who enjoys acting all the time, I don't necessarily love the experience, but I do love it when I feel that there are certain elements there, and I've been on a run projects now where those elements were largely there. It has been a really fun few years for that." From what excited Zukerman about In Vitro, his read on his complicated character and the research that went into his performance, to farewelling Succession, returning home and his initial acting dream, our chat with Zukerman covers them all — and more — as well. On What Excited Zukerman About In Vitro, and About Making His First Australian Project Since Friday on My Mind "So I knew Tahlia and Will. I'd known them before. We all met in LA when we were all younger and hustling out there. It was just this coffee shop that we all ended up frequenting, and that's where we got to know each other. It was during the pandemic that they sent the script and said 'we've been working on this, we've been thinking about you for it'. And I read it and I thought 'wow'. And I was honoured that they thought of me for it. But I thought that they had done something just really special. I think that the horror genre or the thriller genre is interesting when it's used to explore other themes. And so the thriller part of it didn't necessarily pop for me, but I thought that they were able to thread together some nuanced questions about a few issues that we're dealing with in the world, and finding a connection between them — with the climate crisis; domestic violence; how we use tech to brute-force our way through solutions; and how some people in our world don't really care about our world or the natural world or each other as the actual life that exists in it, but just what they can take from it. And I think that they were able to thread all those ideas in a very nuanced way, offering something new to the questions of 'what do we do in this world?' and 'how are we going to deal with all of these issues we have?'. The climate crisis, like so many of us, that keeps me up at night. One of the things I worry most about it is this idea that it's happening just, just slow enough that we get used to it, and it's so hard to talk about. It's so difficult to engage with it, because it's so scary for so many of us. As soon as, I know for me personally, it's hard for me when I see an article written about it for me to click on it, for me to actually open that page and delve into it. It's hard for me to watch something about it. And I thought that what they did here was they did it in a very nuanced way, where they offered something very new to that conversation, and in a way that I thought was going to be very useful and interesting — and human. It was just that the film seemed to have a very new idea to approach this issue, and that's I think what moved me about it. And then, as we went on, there were questions about the character that became far more important for me to ask. But when I first read it, that's what touched me." On Zukerman's Read on Jack and His Motivations "I think it depends how far back we go with him. If we go from what we know backwards, I think he's gotten to a stage where he has lost his sense of humanity and he's just so far down the rabbit hole on this that he can't actually turn back. I was working on this show, The Lost Symbol, the Dan Brown thing, at the time that I read this, and I was researching these secret societies and how people who were doing bad things justified them. And I came across this quote, which was from the Bible: 'to the pure, all things are pure'. I think that that is key to Jack, that because he felt he was doing something worthy and important, everything else he was doing was fine and justified … It's this idea that he's probably just a bucket with a hole in it. It doesn't matter what you pour in, he's always going to be empty. I think he's one of these just incredibly ordinary people who thinks that he's a vulnerable genius, and no one is giving him the adulation he deserves, and he will never get enough love from his partner, and that then leads to control and violence. So I think those are the things that are at play in him." On Playing a Part That's a Puzzle for the Audience as They Try to Piece Together the Full Story "Typically, the more complex a character, the less challenging I find it, because then there are just so many things underneath the surface. So those things were great, and once I knew the approach, what we were trying to do, we talked, Will, Tom and Tahlia and I talked early about this idea that we'd be doing a disservice to this story if he was arch — especially the domestic control, domestic violence story. And that he had to be so ordinary in that way, that if we were trying to portray a villain, it would do a disservice to Tahlia's story and it would be doing a disservice to the wider story. So the fact that we could let all of that complexity live in him, that gave me a lot of freedom. But you're right that the challenging thing in any of these stories is how we bury the lead when we choose to drop breadcrumbs, how we lean on awkward moments as clues for the idea — like leaving just enough the information for the audience to question what is going on to lead them down the rabbit hole with us ,but gently. That is the more challenging thing, because that's not necessarily about just living in the scene naturally. That's trying to plan the larger story. I was buoyed when I saw it — I thought we did that quite well. I really loved especially how they put it together in the edit, leaning on those awkward interactions, I thought was quite nice." On the Research That Goes Into Playing a Part Like This, Digging Into Coercive Control, Biotech and More "Typically I do love a lot of research, and I started down the path of him being an engineer. I wanted to make sure those thoughts were in there. I wanted to know where we were at with that stuff. But I think ultimately where I got to was, all that stuff — like you like feel at the end of the film — I think is window dressing in a way. I needed to know enough about that so that I could know what he was doing, but ultimately the key to him is what we're talking about — how to actually think about these men who do these things, like 'what is the wiring going on in in them?'. That's the work of understanding this character. It's the domestic work. It's the human work. And to try to explain, empathise, not absolve, but just to understand what makes these people do those things. I think that was the work with him." [caption id="attachment_997132" align="alignnone" width="1920"] Succession, Macall Polay/HBO[/caption] On Saying Goodbye to Succession, and What It Meant to Zukerman to Be a Part of It "I think it's so nice that that show will exist forever. I think it's now part of television canon, and to be a part of it, I'm just so proud. So I think it will just always have a life. I grew up loving The Sopranos and Six Feet Under and The Wire and Oz, and those seminal TV shows — and The West Wing. I knew characters that were there for an episode, that were there for three episodes. I was so aware of every little storyline on all of those shows, and I was just like 'if only I could be in something like that, that would be it'. Like, 'I would be fine'. [caption id="attachment_997133" align="alignnone" width="1920"] Succession, Peter Kramer/HBO[/caption] And I'm lucky that I got to do one of those, and I got to be there for a little bit, and I got to witness how they made it, and I got to be around those people. I just feel so lucky. I was there and I was a part of it, but I got to also be an audience just as much as, I think, in it. It's an interesting question. It was something just so special about that production that I think I'll continue to try to, I guess, understand and learn from and think about. [caption id="attachment_997137" align="alignnone" width="1920"] Succession, David Russell/HBO[/caption] All I love about any work is how close to the creative muscle I can be, and I think what was special about that show was that. I was on the periphery. There were moments when I was a little more forward in the story, but largely I was orbiting the story. And I think what was special about that is that it doesn't matter how big your role must have been — that's both the cast and crew — everyone on that set felt like they were a part of it, that they had agency to make decisions, that they were genuinely like what was being asked of them was what was special about them to only bring that. That was what was special, and that's what I'll remember. And I think it left something with me that I've taken to other things. I think it's that energy that I've brought with me after that show. " [caption id="attachment_997145" align="alignnone" width="1920"] Apple Cider Vinegar, courtesy of Netflix © 2025[/caption] On Heading Back to Australia After a Significant Run of Roles Overseas "It was never by design that I would be away. It was just that the right things didn't come up, or scheduling got in the way, or something happened for me over there that meant that I couldn't come back for various things. And it was just always I missed it. I really missed being back. I really love it here. I love the way we work. I love how fast we are, how efficient we are. We work with few resources sometimes, but it's an advantage, it creates the style of TV and film that we make. It all goes into it. It ends up on camera, that energy. And it kind of has become our visual language sometimes. [caption id="attachment_997144" align="alignnone" width="1920"] One More Shot, Ben King/Stan[/caption] And I also guess there is something about being overseas and an expat which means I'm always playing someone else in a way. There's something about home, is what I'm saying, that's important. That I know the rules of Australia. I know how people interact, that there's the micro gestures between us all, how we all interact. I guess that is home for me, that when I get back to Australia my shoulders drop and I just know how to live here. Even though the US isn't that different, it's different enough that it changes me. It requires something else of me to live there. And that's a joy sometimes. I mean, to leave is wonderful — but to come back is really, it's home. It's just a very special thing. And also, I feel very fortunate because of what I've been able to do overseas, I can now come back and work on these great things, and help these great things get up." On the Initial Dream for Zukerman's Acting Career When He Was First Starting Out "It's such a great question, because it's so rare to look back and go 'what was it that that younger person had actually wanted, and are you there now?'. That's a very special question that I don't really often give myself time to do. But I think I probably had a lot of chutzpah and a lot of ambition back then. I probably had ideas, but I didn't know what the job was, even. I didn't know what the work of being an actor was. I had a feeling that acting gave me the ability to do something I couldn't do in life, that I loved the analysis of human beings, and I loved being able to express things that I didn't express in my normal life. I loved that. But that hadn't really congealed yet, and probably at the time I just had ideas about wanting to play these big roles and do these big things, but I didn't know what it was. [caption id="attachment_997146" align="alignnone" width="1920"] City on Fire, Apple TV+[/caption] Once I started studying and I started understanding what it was, I think very quickly the only goal of mine was to have choice — just to be able to do the things I love. Like I said, it's just not always the case that I love acting, and I knew that early on that sometimes the experience can be difficult for myriad reasons. But to be able to get to a point where I can just, from project to project — based on, whether it's the quality of the work or it's the quality of the people, or both — that I could just choose to do that. I think that's nice to think about that. I think I have it, I am doing that now. I get to be pretty picky with what I do, and I get to do things for the right reasons." In Vitro opened in Australian cinemas on Thursday, March 27, 2025.
When Robert De Niro asked his reflection who it was talking to, Joe Pesci questioned whether he was funny, and Leonardo DiCaprio crawled along the ground under the influence of Quaaludes, one man was responsible. Over a career spanning almost six decades, Martin Scorsese has brought tales of taxi drivers, goodfellas and wolf-like stockbrokers to the screen — and now an exhibition dedicated to his work is coming to Australia. From May 26 to September 18, the Melbourne's Australian Centre for the Moving Image (ACMI) will pay tribute to one of America's most iconic directors, exploring everything from his early experimental beginnings to the award-winning films that have shaped many a movie buff. If you're already a fan, you'll be in Scorsese heaven. If you've somehow resisted the charms of (or completely missed) the likes of Raging Bull, The Departed and Hugo — or his concert flicks such as The Last Waltz and Shine a Light, or even Boardwalk Empire and Vinyl on TV — then prepare to have your eyes opened. [caption id="attachment_561113" align="aligncenter" width="1280"] Exhibition section "New York". Photo: Deutsche Kinemathek / M. Stefanowski, 2013.[/caption] In its only Australian stop after wowing Berlin, Ghent, Turin and Paris, SCORSESE will present a collection of more than 600 objects spanning the filmmaker's entire cinema resume, as curated by the Deutsche Kinemathek, Berlin's Museum of Film and Television. Expect storyboards, hand-annotated film scripts, unpublished production stills, costumes, film clips and more, all drawn from the private collections of De Niro, Taxi Driver writer Paul Schrader, and Scorsese himself. No ACMI exhibition would be complete without a bustling lineup of screenings, talks and other events, so expect plenty of those as well. The complete program is yet to be announced, but we'd advise blocking out a few days to delve into the influence and impact of the guy who hasn't only mastered movies, but directed the music video for Michael Jackson's 'Bad' too. SCORSESE will run from May 26 to September 18 at ACMI in Melbourne. For more information, visit the ACMI website. Top image: Ray Liotta, Robert DeNiro, Paul Sorvino, Martin Scorsese, Joe Pesci in GOODFELLAS, USA (1990). Source: Sikelia Productions, New York.
What's better than one stunning glimpse well beyond this pale blue dot we all call home? Several, each as spectacular as the next. If you're a fan of space — and aren't we all? — then this week has been huge for peering past the earth, with NASA releasing a number of images from the James Webb Space Telescope. First came the snap dubbed Webb's First Deep Field, aka the deepest and sharpest view of the universe that's ever been captured. Yes, showing the galaxy cluster SMACS 0723 as it appeared a whopping 4.6 billion years ago, and covering thousands of galaxies, it's quite the sight. NASA then backed that up with more pictures from the space science observatory that's been charged with peering deeply into our solar system and far beyond, and taking images of what it spots. Prepare to be dazzled again. Cosmic cliffs & a sea of stars. @NASAWebb reveals baby stars in the Carina Nebula, where ultraviolet radiation and stellar winds shape colossal walls of dust and gas. https://t.co/63zxpNDi4I #UnfoldTheUniverse pic.twitter.com/dXCokBAYGQ — NASA (@NASA) July 12, 2022 Perhaps the most astonishing has been called 'Cosmic Cliffs', and looks at a star-forming region NGC 3324 in the Carina Nebula — around 7600 light-years away. As captured in infrared light by the Webb telescope's near-infrared camera (NIRCam), it shows areas of star birth that have been obscured previously, and also proves the kind of sight that'll inspire a thousand big-screen space operas. Also phenomenal: two looks at the Southern Ring Nebula, a hot, dense white dwarf star, including one at its centre for the first time. One shows jagged rings of gas and dust, with light emanating from it — and, because perhaps the only reference point we have for looks at the heavens this stunning is everything that movies have thrown at us, it blows the best special effects you've ever seen out of the water. [caption id="attachment_861133" align="alignnone" width="1920"] Southern Ring Nebula[/caption] And, the Webb telescope has also captured Stephan's Quintet, a grouping of five galaxies. Again, there's a cinema tie — it's what the angel figures at the beginning of Christmas classic It's a Wonderful Life are based on. Located in the Pegasus constellation, it features galaxies located between 40 million and 290 million light-years from Earth: galaxies NGC 7320, NGC 7317, NGC 7318A, NGC 7318B, and NGC 7319. With these jaw-dropping visuals, NASA now has images of a dying star's last hurrah thanks to the Southern Ring Nebula shots, and pictures that'll help scientists explore galactic mergers and interactions, as well as black holes. Indeed, showing the world staggering sights is really just the beginning when it comes to the telescope's output. [caption id="attachment_861135" align="alignnone" width="1920"] Stephan's Quintet[/caption] "Today, we present humanity with a groundbreaking new view of the cosmos from the James Webb Space Telescope — a view the world has never seen before," said NASA Administrator Bill Nelson. "These images, including the deepest infrared view of our universe that has ever been taken, show us how Webb will help to uncover the answers to questions we don't even yet know to ask; questions that will help us better understand our universe and humanity's place within it." Yes, you're allowed to only want to stare at these pics for the next few minutes, hours and days. You're also allowed to summon your inner Keanu and exclaim the only thing that's appropriate right now: "whoa!". [caption id="attachment_861132" align="alignnone" width="1920"] Southern Ring Nebula[/caption] For more information about the James Webb Space Telescope, head to the NASA and James Web Space Telescope websites. Images: NASA, ESA, CSA, and STScI.
So the saying goes, life imitates art. But in times of political and economic upheaval, perhaps the art we turn to isn't a mirror — it's a doorway. In 2025, Australians aren't just listening to music that reflects the world around them, but the worlds they'd rather escape to. Dance floors have become places of release, bass drops a kind of collective exhale, and the 2025 ARIA Award nominations tell the story: we're craving movement, connection and joy. According to Spotify editor Marty Doyle, this year's ARIA nominees capture that cultural shift — one that's driven not just by hooks and beat drops, but by a distinctly Australian sense of optimism. Dance and electronic music now dominate both the charts and the cultural conversation, with acts like Dom Dolla, RÜFÜS DU SOL and record-breaking nominee Ninajirachi leading the charge. Together, they represent a generation of artists who have turned isolation into innovation, transforming post-pandemic energy into something deeply communal — and distinctly global. [caption id="attachment_1005091" align="alignnone" width="1920"] Dom Dolla performing on his recent tour.[/caption] "The dominance of Australian dance music is undeniable and a true testament to the amazing work our artists are doing," Doyle says. "There were one billion export streams of Australian dance music in March 2025 alone, which is an amazing result." Those billion streams aren't just happening at home. Australian artists are setting the global tempo, taking sweaty club tracks and festival anthems far beyond local shores. "Artists like Fisher, RÜFÜS DU SOL and Dom Dolla are some of our biggest exports," Doyle says, "and they're helping pave new roads for more Australian artists to come behind them." That international reach now extends to Ninajirachi, whose eight nominations — the most ever for a female electronic artist — mark a new benchmark for women in dance music. "It's incredibly exciting to see Ninajirachi lead the charge," Doyle adds. "It's an achievement that should be celebrated." [caption id="attachment_1035191" align="alignnone" width="1920"] DJ Nina Wilson performs as Ninajirachi during Lollapalooza 2023.[/caption] The Sound of Escapism If dance and electronic music are thriving, it's not just about BPMs — it's about emotion. In uncertain times, Australians are finding joy, connection and escape on the dance floor. "It's impossible to pinpoint one reason," Doyle says of the genre's surge. "But COVID definitely accelerated our appetite for dance music." When lockdowns shut clubs, cancelled festivals and erased social connection, music filled the gap. "The idea of dancing in a sweaty club together or even being outside at a festival became one of our biggest aspirations," Doyle says. "When we were finally able to get outside again, there was an explosion of enthusiasm. People were partying like it was their last night on earth." That post-pandemic energy, Doyle argues, hasn't faded — it's evolved. "Amidst an unsettling and shifting geopolitical world, Aussie artists have managed to not only address complex issues within their music, but they've also found solace in making it fun," he says. "It's a testament to our resilience, optimism, sense of humour and shared values as Australians." In other words: when the world feels heavy, Australians dance. [caption id="attachment_913128" align="alignnone" width="1920"] Home-grown EDM favourites RÜFÜS DU SOL performing live.[/caption] From Lockdown Loops to Global Stages The pandemic didn't just reignite audiences' desire to dance — it reshaped how artists created. "COVID provided a chance for artists to retreat into their home studios and create some of their most profound work," Doyle says. Fred again.. is perhaps the most famous example, but the ripple effect was global — and local. Aussie duo Shouse turned their track 'Love Tonight' into an international anthem of resistance during lockdowns, soundtracking balcony singalongs across Europe. "There are so many stories like this that have contributed to the acceleration of dance music over the last few years," Doyle says. That creative spark continues. Spotify's data shows that dance and electronic streaming in Australia now spans every part of the day — from morning workouts to study playlists and nights out. "Electronic music is made up of various sub-genres, and new ones are constantly being invented and mashed together," Doyle explains. "It's fertile ground for innovation and discovery." And increasingly, that experimentation is paying off on the charts. "We're seeing electronic music cross over into mainstream and end up on the ARIA Charts," Doyle adds. "That curiosity among Australian listeners is helping drive the rise of the genre." [caption id="attachment_1035190" align="alignnone" width="1920"] Marty Doyle— Editorial Lead, Spotify AU/NZ[/caption] Beyond the Beat While electronic and dance dominate the conversation, other genres are thriving too. "Indie and guitar-based music is also booming," Doyle says. "Australia has always punched above its weight in this space." Spotify data backs it up: Australian indie exports have surged 94 percent since 2021, while indie pop isn't far behind, up 86 percent in the same period. It's evidence that our music scene isn't defined by one sound — it's an ecosystem of artists pushing boundaries across styles. Looking ahead, Spotify's editors don't expect the momentum to slow. "There's no evidence to suggest this growth will drastically change," Doyle says. "But we're also seeing exciting early signs in local country and post-punk." [caption id="attachment_1014087" align="alignnone" width="1920"] Melbourne's Electronic and EDM A3 Festival, returning later this year.[/caption] A New Era of Australian Sound If there's one takeaway from the 2025 ARIA nominations, it's that Australian music is entering a new era — one powered by diversity, innovation and fearless experimentation. "While you'll see some familiar names among the nominees," Doyle says, "it's amazing to see a record-breaking number of first-time and independent artists in the mix too. It proves there's a never-ending pipeline of incredible new talent that Australian audiences are embracing." From massive export numbers to global festival stages, Australian artists and producers aren't just making people move — they're exporting a feeling. And right now, that feeling sounds a lot like hope. Find out more about 2025's Aria Award nominees and cast your votes now. Images: Supplied | Getty Images
Wineism has become a fixture of Albion's growing hospitality scene, drawing locals and wine lovers who know exactly why they're here. This is a venue shaped by experience, led by co-owner and sommelier Ian Trinkle, whose career spans some of Australia's most respected dining rooms and wine programs. Before opening Wineism, Trinkle built his reputation working across high-end restaurants, developing the kind of deep tasting knowledge that only comes from years in the industry. That background informs everything at Wineism, from the structure of the wine list to the way guests are guided through it. The focus is on premium wines, thoughtful selection and helping people find what suits their palate, whether they're eager to explore or happy sticking with what they know. Classic expressions sit alongside newer discoveries, with the list shaped by balance rather than fashion. Styles move across regions and varietals, but the focus remains on clarity, structure and wines that speak clearly of where they're from. Education is part of the experience, but never heavy-handed. With a background in teaching wine, Trinkle and his team focus on giving guests the language to understand what's in the glass, without stripping away the romance that makes wine compelling in the first place. That same approach carries through to Wineism's popular WSET courses, which attract both industry newcomers and enthusiastic drinkers keen to build confidence and knowledge in a relaxed setting. Designed to suit its industrial surroundings, Wineism feels confident, polished and welcoming. It's a place to drink well, ask questions if you want to, and enjoy the simple pleasure of a great glass poured by people who genuinely know their stuff.
When it comes to being photogenic, Queensland has the formula perfected. Especially on its beaches, just look at that tropical white sand, the azure water and bright green forests that meet it. Perfection. And abundance, too — with Australia's second-largest coastline and just over 1,700 recorded beaches. With numbers like that, choosing favourites might seem like an impossible task. We've made a selection for Brisbane's best beaches, but to look at the rest of the coastline, we've turned to the experts. That job falls to Lonely Planet, who have shared with us their picks of the best beaches in Queensland and why — which you can read in full (alongside the other states' highlights) in their new Best Beaches Australia guide. [caption id="attachment_1075518" align="aligncenter" width="1920"] Shutterstock[/caption] Lady Elliott Island, Southern Great Barrier Reef Few islands have a comeback story quite like this remote coral cay at the southern tip of Queensland's Great Barrier Reef. Stripped almost bare by guano miners in the late 1800s, with new growth prevented by goats placed on the island to ensure food for shipwrecked seafarers, Lady Elliot Island had been reduced to little more than a field of compacted coral by the mid‐20th century. A small resort was opened on the degraded island in 1969 and a DIY revegetation programme commenced. But it wasn't until Peter Gash, Lady Elliot's current custodian, took over in 2005 that the regeneration of the island shifted into high gear. Its forest ecosystem has since been largely restored, providing a haven for seabirds and even marine life as nutrients seep through the 'beach rock' and fertilise the fringing reef. Run almost entirely on renewable energy, the island's low‐key eco‐resort has a minimal effect on this rich habitat. One of the best ways to enjoy the 42‐hectare (104‐acre) island is to walk around the crushed coral and sand beach encircling it, which takes about 45 minutes without stops. The eco‐resort is located on the east‐facing 'sunrise' side of the island, where a shallow reef stretches towards the horizon, and durable plastic sunloungers provide a comfortable seat for quiet contemplation as the sun rises above the Coral Sea. You can only snorkel here at high tide, when you're likely to meet a few turtles. Can you hear that crackling sound? It's a sign of a healthy reef. Head clockwise around the island and look out for rare red‐tailed tropicbirds nesting under the octopus bushes lining the shore. As you round the southwestern corner of the island, see its 1893 lighthouse towering over the west‐facing 'sunset' beach. This part of the beach is a launchpad for snorkelling and diving adventures in deeper waters, with mere steps separating you from your next manta ray encounter. As the sun begins its evening descent, overnight guests gather here to watch the sky light up with a cool drink in‐hand and the sand between their toes. Getting there: Lady Elliot Island is only accessible by a small aircraft flight from Bundaberg, Hervey Bay, Brisbane, or the Gold Coast, arranged by Lady Elliot Island Eco Resort as part of your visit. Day trips are possible, but a longer stay is recommended to enjoy the island to the fullest. [caption id="attachment_1075521" align="aligncenter" width="1920"] Shutterstock[/caption] Nudey Beach, Fitzroy Island It might surprise first-time visitors to this Great Barrier Reef gateway hub to discover that Cairns/Gimuy is not a beach destination – its muddy foreshore is more popular with coastal birds. But with Fitzroy Island on its doorstep, it doesn't need to be. Before sea levels rose around 9500 years ago, Aboriginal groups could walk to this small, hilly island 5km (3 miles) from the mainland to fish, gather food, and hold ceremonies. Now a national park, Fitzroy Island offers a classic tropical‐island experience just 45 minutes from Cairns. Ferries arrive at Welcome Bay, where a 1.2km (0.75‐mile) return shaded rainforest track leads to small, undeveloped Nudey Beach which, despite its name, isn't clothing‐optional. Bookended by granite boulders, with turquoise water lapping its crunchy white‐coral sand, the setting is sublime. There's good snorkelling off the northern end of the beach, with pretty patches of hard and soft corals visited by angelfish, butterflyfish, parrotfish and wrasses, along with the odd green turtle. Getting there: The Fitzroy Flyer ferry runs three daily services between Cairns and Fitzroy Island in both directions. There is a resort with two restaurants and a campground on the island. [caption id="attachment_1075520" align="aligncenter" width="1920"] Shutterstock[/caption] Balding Bay, Magnetic Island/Yunbenun Queensland may be the only Australian state or territory lacking an official nudist beach, but that doesn't stop locals and visitors to Magnetic Island's Balding Bay (Yunbenun to its Traditional Wulgurukaba Custodians) from getting their kit off here. It takes a bit of effort to get to the state's best‐known unofficial nudist beach – the 2.8km (1.7‐mile) return track from neighbouring Horseshoe Bay is very steep with many steps; sturdy footwear is recommended. But it's all part of the experience – keep an eye out for orange‐flanked rainbow skinks basking on the rocky path. Upon reaching the remote‐feeling bay, where a small arc of golden sand settles between granite‐boulder headlands, diving into the tropical water is de rigueur, clothed or not (outside the November to May stinger season). While the Great Barrier Reef protects Balding Bay from powerful waves, be mindful that help is at least a 40‐minute hike away. Getting there: Magnetic Island is a 20‐ to 40‐minute ferry ride from Townsville. Bring your car or e‐bike, or take a bus from the Nelly Bay ferry dock to Horseshoe Bay (p32), 7km (4.5 miles). The track to Balding Bay begins at the eastern end of Horseshoe Bay. [caption id="attachment_1075519" align="aligncenter" width="1920"] Shutterstock[/caption] Low Isles/Wungkun, Port Douglas Captain Cook's log described the 'small low island' he sighted from the Endeavour on 10 June, 1770, and set about giving it an unimaginative renaming. In reality, the Low Isles off Port Douglas have been known to the Eastern Kuku Yalanji and Yirrganydji peoples for centuries as Wungkun, an important cultural site and Dreaming place. A teardrop of sun‐kissed sand with an 1878 lighthouse rising above a cluster of palm and casuarina trees, the smaller of the two coral cays that comprise the Low Isles was made for a day on the beach. A string of permanent umbrellas provides much‐needed shade on sultry Tropical North Queensland days, and a reef – part of the Great Barrier Reef Marine Park – begins just steps from the shore. There are 150 corals for snorkellers to count, along with turtles, reef sharks and a cornucopia of tropical fish. Not just a pretty reef, this rich marine ecosystem has played an important role in global reef science. The world's first scientific study of a coral reef was undertaken here in 1928, with subsequent studies helping scientists understand how reef systems decline, recover and change over long periods of time. With boat tours from Port Douglas taking as little as 15 minutes to make the 15km (9.3‐mile) journey to the island, it's perfect for visitors looking for a taste of the Great Barrier Reef but lacking the time for a full‐day trip to the outer reef. Visit on a calm, sunny day for the best snorkelling conditions, ideally at high tide, and don't stress about crocodiles, with only three glimpsed out here in as nearly as many decades. Not much of a snorkeller? You can circumnavigate the 1.6‐hectare (4‐acre) island in as few as 15 minutes. Automated in 1993, the island's lighthouse no longer requires a keeper, but the Great Barrier Reef Marine Park Authority (GBMPA) appoints a new set of caretakers roughly every two years to ensure the Low Isles' natural and heritage values are maintained. If this sounds like your dream job, keep an eye on GBMPA's Facebook page. Getting there: Port Douglas is 67km (41.5 miles) from Cairns/Gimuy, which has an international airport. Port Douglas–based operators offer a variety of Low Isles tour options, from speedboat snorkelling tours that return you to the marina in less than 2.5 hours, to leisurely catamaran sojourns. These excerpts were supplied by 'Lonely Planet' from their 'Best Beaches Australia' guide — available online and at bookstores near you now. Images: supplied
Making the leap from computer screens to gallery walls, digital art is here to stay. Tokyo has a whole museum dedicated to it, and now Brisbane Powerhouse is following suit for a month-long showcase. Displaying in the Visy Foyer and other exhibition spaces, Power to the Pixel runs from Tuesday, January 15 to Sunday, February 17, highlighting the eye-catching work of some of the world's best artists in the medium. Australia, the US, the UK, Brazil and Israel are all represented, with Brisbane games whiz Wren Brier on curation duties. If you've played Jetpack Joyride or Fruit Ninja, then you're familiar with her work. Other featured artists include Melbourne's Paul Robertson, who's particularly fond of geometry and fractals; American Jubilee, who reinvents landscape images in 8- and 16-bit form; and Brazil's Bruno Moraes, who features characters travelling through space heavily in his work. Getting up close and admiring every aspect of these pieces is highly recommended — they've been created one pixel at a time, after all. Image: Paul Robertson.
When the Goodwill Bridge, then the Neville Bonner Bridge, then the Kangaroo Point Bridge each opened in Brisbane, helping pedestrians get around the River City on foot was high among each structure's aims. Brisbane Festival 2025 clearly applauds that idea. The Queensland capital's major annual arts fest is not only embracing the concept, but is also building upon it. How does an event in a city that adores constructing more and more bridges work that reality into its program? By turning those three aforementioned river crossings into art installations — and featuring them in an art trail. Walk This Way is one of Brisbane Festival's big 2025 highlights. Brisbane art and design duo Craig Redman and Karl Maier, who are globally known as Craig & Karl, have been given the task of transforming the Goodwill, Neville Bonner and Kangaroo Point bridges with large-scale art. With this free part of the fest's program, you'll not only see these structures as you've never seen them before and, of course, mosey along them; you'll also follow the path around the city to other iconic sites. Craig & Karl have an exhibition at Griffith University's Art Museum, celebrating where they first met, on the Brisbane Festival 2025 as well. Across Friday, September 5–Saturday, September 27, there's plenty more in store for the city — 106 productions and 1069 performances, in fact, featuring contributions from 2260 artists. A huge 21 events in the program are world premieres, while more than 39 percent of the lineup is free. After-dark experience Afterglow is among those global debuts, filling the Brisbane City Botanic Gardens with fire sculptures and candlelit installations. Or, catch The Great Gatsby-themed show and pop-up club GATSBY at The Green Light, which is heading to Twelfth Night Theatre to celebrate 100 years since F Scott Fitzgerald's book first hit shelves. Thanks to Gems, which was commissioned by French luxury house Van Cleef & Arpels, Brisbane will witness three specific pieces by acclaimed choreographer Benjamin Millepied and LA Dance Project staged together for the first time ever. Courtesy of Baleen Moondjan, First Nations artist and Bangarra Dance Theatre founder Stephen Page is back home in Brisbane with a production that explores the link between baleen whales and Country — and, fittingly, will be performed in a barge featuring whale bone sculptural elements on the Brisbane River. [caption id="attachment_1008626" align="alignnone" width="1920"] Craig & Karl, Dirty Puppet and Jared Hinz.[/caption] Another must-attend Brisbane Festival show pays tribute to one of the city's beloved Indian restaurants, with A Place in the Sultan's Kitchen not only featuring Joshua Hinton chatting about his family's eatery, but cooking his grandmother's chicken curry live. Fellow standouts include yet another dance must-see in Bad Nature, with Australasian Dance Collective and the Netherlands' Club Guy & Roni teaming up; TINA — A Tropical Love Story's tribute to Tina Turner; the solo debut of Josh Taliani, who is behind House of Alexander; Shake & Stir giving A Midsummer Night's Dream a pop makeover as The Lovers; and Back to Bilo bringing Priya and Nades Nadesalingam and their family's tale to the stage for the first time. Plus, AMPLIFIED: The Exquisite Rock and Rage of Chrissy Amphlett is an ode to its namesake, Milestone is William Yang's latest presentation, 100 Guitars gives 2025's festival its mass-participation performance and Community Choir: The Musical does indeed show the love for everyday voices. Roma Street concert series Night at The Parkland has a heap of Aussie talent on its bill, such as ICEHOUSE, Lime Cordiale, Jack River, Xavier Rudd, Amy Shark, Grinspoon and Cut Copy. To catch Odd Mob, CW Stoneking, Wolters, Phantastic Ferniture and more, head to Tivoli in the Round, which is shaking up its stage setup. And, Wunderhorse, Winston Surfshirt and Sarah Blasko are also on Brisbane Festival's program, as are Brisbane Serenades' outdoor concerts at Brisbane Powerhouse, Manly, Moorooka at St Lucia. It wouldn't be a Brisbane Festival without Riverfire, which will light up Brisbane's night sky with fireworks on the event's opening weekend. Also getting everyone looking up, Skylore will be back with another First Nations traditional story taking to the air via 400 drones. [caption id="attachment_1008620" align="alignnone" width="1920"] Laurent Philippe[/caption] Top images: JD Lin, Craig & Karl, Lachlan Douglas, Joseph Mayers, George Gittoes, UAVS, Stephanie Coombes, Laura Du Ve and Children of the Revolution.
