Maybe you like magical movie experiences. Perhaps you're a Timothée Chalamet obsessive. Or, you could love nothing more than catching an old-school flick on the big screen again. Whether one, two or all three of the above applies to you, there's a reason to head to Moonlight Cinema in January 2025. And if you're a fan of romances, horror, animal-led tales and biopics, there's even more where they came from. This Australian summer tradition unveils its lineup in batches — and has just dropped the program of flicks that will start the year. Wicked will be defying gravity, A Complete Unknown has your Timmy C (Dune: Part Two) fix covered and the OG Freaky Friday will give you a blast from the past before the sequel arrives later in 2025. Plus, We Live in Time, Heretic, Mufasa: The Lion King and Maria will also play under the stars. With seasons in Brisbane, Sydney, Adelaide, Melbourne and Perth, Moonlight Cinema mostly screens the same movies in each location; however, there are some differences. In January, 2024 Palme d'Or-winner Anora and crime thriller-meets-musical Emilia Perez are only heading to Sydney and Melbourne, for instance, but the bulk of the lineup will play across all five cities. Other highlights include Gladiator II, Moana 2, Paddington in Peru and Sonic the Hedgehog 3, giving franchises plenty of love; Better Man joining the music-fuelled picks; the Jesse Eisenberg (Sasquatch Sunset)-starring, -written and -directed A Real Pain; and Conclave's tension in the Vatican. Among the retro fare, Bridget Jones's Diary, Shrek and The Princess Diaries will get you looking backwards. Brisbane's season is on until Sunday, February 16 in Roma Street Parklands, while Adelaide's runs till the same date in Botanic Park. Moonlight Cinema's stints at Centennial Parklands in Sydney, Royal Botanic Gardens in Melbourne, and Kings Park and Botanic Garden in Perth all extend through to Sunday, March 30. As always, the films and the setting are just two parts of the cinema's experience. Also a drawcard: the Aperol spritz bar. Nosh-wise, the event is again letting you BYO movie snacks and drinks (no alcohol in Brisbane, though), but the unorganised can enjoy a plethora of bites to eat onsite while reclining on bean beds. There's two VIP sections for an extra-luxe openair movie experience, too, as well as a platinum package with waiter service in Sydney and Melbourne only, and a beauty cart handing out samples. Plus, dogs are welcome at all sites except Perth — there's even special doggo bean beds. Moonlight Cinema 2024–25 Dates Brisbane: Thursday, November 21, 2024–Sunday, February 16, 2025 in Roma Street Parklands Sydney: Friday, November 22, 2024–Sunday, March 30, 2025 in Centennial Parklands Adelaide: Thursday, November 28, 2024–Sunday, February 16, 2025, 2024 in Botanic Park Melbourne: Friday, November 29, 2024–Sunday, March 30, 2025 in Royal Botanic Gardens Perth: Thursday, December 5, 2024–Sunday, March 30, 2025 in Kings Park and Botanic Garden Moonlight Cinema runs until February 2025 in Brisbane and Adelaide, and until March 2025 in Sydney, Melbourne and Perth. For more information and to buy tickets, visit the cinema's website — and we'll update you with further program details when they're announced.
The Yarra Valley and the Great Ocean Road boast scenic sights as far as the eye can see, but that's not their own attraction. Both areas are also home to a combined chocolaterie and ice creamery. Exploring the countryside, snacking on hand-crafted chocolates, licking your way through an array of gelato flavours — what's not to love? Now, the Mornington Peninsula has also joined its regional counterparts, welcoming its very own purveyor of sweets. It's the third venue for Ian and Leanne Neeland, who've created a petite-sized sibling to their Yarra Valley and the Great Ocean Road stores. As well as serving up chocolate and ice cream in the seaside town of Flinders, their new location will also feature a brownie bar. Taking over the space formerly occupied by Mornington Peninsula Chocolates on Cook Street, the chocolaterie and ice creamery combines a bit of the old and the new — although, regarding which is which, it depends on how you look at it. The store will continue to make truffles in flavours made popular by the site's previous owners, such as chilli and tequila, blood orange and tonka beans, and tangy lime caramel. And, it sells over 300 unique chocolate varieties made by Belgian and French chocolatiers Thomas Wierinck and Anna Guinet, who also provide the sweets for the Neelands' other spots. Among the chocolate range, nut clusters, rocky road, giant chocolate freckles, and choc-coated ginger, honeycomb and nougat are all on offer. At the ice creamery, a range of Italian gelato flavours are available, too. And as for the brownie bar, it's baking a revolving menu that includes triple choc, mint, Cherry Ripe, Nutella and Baileys varieties. Milkshakes, hot chocolates and barista-made coffee are also be on the menu. If you're super keen on chocolate, you can enjoy a 20-minute hosted tasting session, which take place at 11am, 12pm and 1pm each day. Or, you can book into a chocolate discovery class, where you'll not only taste a few choccies — you'll also make some. Find Mornington Peninsula Chocolaterie and Ice Creamery at 45 Cook Street, Flinders — open Monday to Sunday from 9am–5pm.
In The Lost Flowers of Alice Hart, blooms are rarely out of sight and petals never evade attention. Adapted from Holly Ringland's 2018 novel, the seven-part Australian miniseries is set on a farm that cultivates native flora. It dubs the women who tend to them, an ensemble from various backgrounds largely seeking refuge from abusive pasts, "flowers" as well. Whether stem by stem or in bunches, its characters use florets as their own secret language. And yet, as much as bouquets linger, getting all things floral on the mind, star Sigourney Weaver burns rather than blossoms. Fire is another of the Prime Video newcomer's strong recurring motifs, so it's still fitting that its biggest name is as all-consuming as a blaze. As seen via streaming from Friday, August 4, Weaver needs to be that scorching: this is a story about endeavouring to survive while weathering woes that ignite everything in their path. She also draws upon almost five decades of thriving before the camera, often playing steely, smart and sometimes-raging women. Her on-screen career began sparking with Alien, the film that made her an instant icon. Since then, everyone has heard her performances scream. Weaver's resume also boasts the Ghostbusters franchise and fellow 80s hit Working Girl, everything from Copycat and Holes to Baby Mama and My Salinger Year, and the Avatar saga — playing a 14-year-old Na'vi girl in Avatar: The Way of Water included — and, in The Lost Flowers of Alice Hart, she's again dazzling. Flowers frequently surround Weaver's June Hart far and wide, and in all hues and shapes. With a carefully selected cutting — be it of wattle, Sturt's desert pea or other Australian natives — she can say all she needs to. Indeed, June is a woman of few words if she can help it. The shotgun-toting matriarch of Thornfield Flower Farm, she knows how to make her presence felt as much as the most striking bloom, and favours action over talk. That's what the eponymous Alice (Ayla Browne, Nine Perfect Strangers) quickly learns about her grandmother when she arrives at the property following a tragedy. She too becomes one of the farm's flowers, moving in after losing her pregnant mother Agnes (Tilda Cobham-Hervey, Hotel Mumbai) and violent father Clem (Charlie Vickers, The Lord of the Rings: The Rings of Power). This is a tale about traumas, secrets and lies that lurk as deeply as the earth — about the choices and cycles that take root in such fraught soil, too. When nine-year-old Alice relocates fresh from hospital, her whole existence has been darkened by her dad's temper, but the determined June, her doting partner Twig (Leah Purcell, The Drover's Wife The Legend of Molly Johnson) and their adopted daughter Candy Blue (Frankie Adams, The Expanse) aim to shower the girl with sunlight in their own manners. You can't just bury problems, however, then hope that something vivid and colourful will grow over the top. Dedicating its first half to Alice's childhood and its second to 14 years later, when she's in her early twenties (Alycia Debnam-Carey, Fear the Walking Dead) and making her way away from Thornfield, The Lost Flowers of Alice Hart understands this immutable fact in its core. When it spends time with its namesake while she's young, The Lost Flowers of Alice Hart sees a slip of a kid who dreams of an escape, snatches what solace she can from borrowed books and loses her voice literally when fire sweeps in. The show's initial episodes witness the forces influencing Alice's life — some stormy, some luminous, many in-between — including as librarian Sally Morgan (Asher Keddie, Rams) and her police-officer husband John (Alexander England, Black Snow) contemplate battling June for custody. When it leaps forward to watch Alice flee all that she knows after a devastating revelation, it spies her heading to the Red Centre, collecting a stray pup along the journey, switching from floriography to being a park ranger, and falling for colleague Dylan (Sebastián Zurita, How to Survive Being Single). It also spots how the past keeps finding new routes to sprout no matter where she is or what she's doing. Add The Lost Flowers of Alice Hart alongside Deadloch, The English and Big Little Lies on the growing list of series that interrogate the brutality that too often surrounds women. Where Kate McCartney and Kate McLennan's excellent fellow Australian series adopted humour and satire, and the Emily Blunt-led series was a western, The Lost Flowers of Alice Hart joins Big Little Lies in embracing melodrama. Forget the term's soap-opera connotations; the best examples understand that some stories demand telling with heightened emotions and by plunging viewers into a world of feelings, but can also be relayed thoughtfully, smartly and sensitively. That's exactly what showrunner Sarah Lambert (Lambs of God), fellow writers Kim Wilson (A League of Their Own) and Kirsty Fisher (Deadloch), and director Glendyn Ivin (Penguin Bloom) perfect in a series that's constantly probing, pondering and empathising. Still, it's easy to see how a lesser version of The Lost Flowers of Alice Hart could've played out — and how formulaic, neat and straightforward it would've proven. Thankfully, the show that's reached streaming queues always digs in, flourishes in its own patch and turns its specific elements, familiar as some may be, into something powerful. There's no shying away from the horrors that haunt the series' characters, some passing down through generations, others tied to Australia's atrocious treatment of First Nations people and many sadly remaining far too prevalent IRL. There's no ignoring the potency of its mysteries as savage events beget long-hidden truths. And, there's no looking away from cinematographer Sam Chiplin's (The Stranger) meticulous imagery, which enthrals and immerses whether surveying the Australian landscape, focusing on minutiae, or peering intently at Weaver and her co-stars. As phenomenal as Weaver is, she isn't short on excellent company in a miniseries flowering with lived-in performances. Also portraying formidable women with harrowing histories that will never wilt, Purcell, Adams and Keddie always have pain and perseverance simmering in their eyes even when they're at their most caring. Conveying the fields upon fields of troubles and struggles shaping Alice via their expressions and physicality, Browne and Debnam-Carey are both exceptional — especially the former when nothing can be spoken, and the latter while navigating another fight to truly have a voice. Those blooms that are used to communicate? The farm's women have a dictionary, The Thornfield Language of Flowers, explaining them. With its cast, The Lost Flowers of Alice Hart takes a leaf out of that book, too, knowing how to say everything even when no one utters a thing. Check out the full trailer for The Lost Flowers of Alice Hart below: The Lost Flowers of Alice Hart streams via Prime Video from Friday, August 4. Images: H Stewart.
It's no overstatement to describe Neil Perry — the restaurateur, chef and revered doyen of Australian cooking — as an icon. Now, however, it's official. On Thursday, June 6, Perry was announced as the winner of the Woodford Reserve Icon Award at a glitzy ceremony in Las Vegas for The World's 50 Best Restaurant Awards 2024, one of the culinary scene's most prestigious gongs. The achievement, which is voted for by an international panel of 1080 industry experts, recognises an outstanding contribution to the hospitality industry that's deemed worthy of global notice. "Throughout my career, I've been incredibly lucky to work with some of the finest hospitality professionals in the world, doing what I love and creating memorable experiences for people to enjoy," said Perry of his accomplishment. "I hope this award inspires everyone in our industry to keep going and to never give up." View this post on Instagram A post shared by Neil Perry (@chefneilperry) For more than four decades, Perry has been a guiding light of Sydney's restaurant scene. Cutting his teeth in some of the city's top kitchens, including Sails in Rose Bay, he first made his mark in 1986 when he launched the Blue Water Grill in Bondi. However, it was his next major venture — and arguably his most famous — that would catapult him to global stardom. Opened in 1989, Rockpool quickly asserted itself as not only one of Sydney's top fine-diners, but also one of the nation's — and in 2002, it was ranked the fourth best place to eat on the planet by The World's 50 Best Restaurant Awards. Today it has grown to be a cherished brand, with sister venues in Perth and Melbourne. Despite Perry stepping down as the group's Culinary Director in 2020, it continues his storied legacy, ranking as the eighth best steak restaurant in the world in May 2024. [caption id="attachment_960466" align="alignnone" width="1920"] Kitti Gould[/caption] One of Perry's defining traits is his ability to project his love and understanding of food through many cultural lenses. From Asian to Italian and even burgers and aeroplane food, Perry's menus are a fusion of top-tier produce and craftsmanship with an accessible attitude and a belief that cooking doesn't need to be gastronomically pretentious to be exceptional. Take, for example, his most recent venture Margaret, a deeply personal "neighbourhood restaurant" named for Perry's deceased mother. Despite its humble billing, the judging panel noted that at Margaret, diners experience "a veteran bringing together his love of super-fresh seafood and Asian flavours to outstanding effect". It also currently ranked as the third best steak restaurant in the world. Since opening Margaret in 2021, Perry has extended his presence on Double Bay's Guilfoyle Avenue to the Baker Bleu bakery next door, and he has two more venues preparing to open in the area in late August: Asian-inspired diner Song Bird and cocktail bar Bobby's. [caption id="attachment_961054" align="alignnone" width="1920"] Petrina Tinslay[/caption] The only other Australian to be recognised by this year's The 50 Best Restaurants Awards was Josh Niland, whose revolutionary low-to-no waste seafood diner Saint Peter placed 98th on the 100-venue longlist. Perry is one of Australia's most-decorated chefs, having earned more Good Food Chef's Hats (Australia's answer to Michelin stars) than any other individual in the country, as well as numerous other accolades. However, this latest laurel makes the point most definitively: if you're someone with even a glancing interest in eating well, you need to experience a dish crafted by Perry at least once in your life. [caption id="attachment_961135" align="alignnone" width="1920"] Petrina Tinslay[/caption] For the full rundown of The World's 50 Best Restaurants Awards 2024, head to the list's website. Top image: Petrina Tinslay.
By 2023, Victoria will finally to introduce a container refund scheme, so you'll be able to swap your tinnies for cash. But that's not the only tactic in the state's war on waste that's due to come in effect over the next few years, with a ban on single-use plastics just announced. The Victorian Government has revealed that 2023 will also mark the end of plastic straws, cutlery, plates and stirrers, as well as polystyrene food and drink containers. Not just limiting the phase-out to items you eat with, it'll also scrap plastic cotton bud sticks. Crucial to the plan is the existence of already-available alternatives — whether they're reusable, in the case of cutlery and plates, or 100-percent compostable, as seen with paper straws and stirrers. Some areas won't be affected, including the use of these single-use plastic items in medical or scientific equipment, emergency services and other activities that require them for health and safety reasons. And, before anything official is put in place, the state will undertake consultation with the community, businesses and various stakeholders, including the aged care sector and people with disability. For the latter group, some alternative products to plastic — such as bamboo, paper and metal straws — aren't always a viable option. From February 2022, the Victorian Government will start by banning the products from its own departments and agencies, a move that's already been started by Melbourne Museum, the NGV, Victoria's TAFEs and Zoos Victoria. As for when the ban will kick in 2023 for cafes, restaurants, bars and other organisations in Victoria, an exact date hasn't been revealed. Obviously, it's hoped that the move will significantly reduce the use of disposable plastics across the state — where the government says each Victorian is responsible for approximately 68 kilograms of plastic waste ending up in landfill every year. "Single-use plastic items — like straws and plastic cups — make up about one third of Victoria's litter. We need to change this, so we're getting rid of them," said Minister for Energy, Environment and Climate Change Lily D'Ambrosio. Similar laws are also coming into effect in South Australia, Queensland is working towards implementing a single-use plastic ban as well and, as a nation, Australia has floated banning all non-recyclable packaging by 2025. And, that's on top of smaller-scale initiatives, not only including bag bans and container schemes, but the phasing out of single-use plastics in various guises at the company level, with Coles, McDonald's, IKEA, Coca-Cola Amatil and Qantas among those making steps in the plastic-free direction. You can read more about the Victoria's single-use plastic ban on the government's website.
Good news for literally anyone who's sought a pre-Cinema Nova negroni recently — Johnny's Green Room has officially flipped its 'Closed' sign to 'Open'. After shutting its doors in July for months of hibernation, the much-adored rooftop oasis has sprung back to life, bringing a taste of Roman summer energy to Carlton right in time for Melbourne rooftop season. Owners Jamie Valmorbida and Luca Sbardella have joined forces with architect Dion Hall (known for his work at Music Room, Supernormal, Pidapipo Laboratorio and Rare Hare) to give the place a snazzy makeover and increase the site's capacity. They've even thrown in a semi-retractable roof, because Melbourne weather. Celebrity chef and author Karen Martini, who has taken on the role of Culinary Director, has whipped up an Italian-inspired menu that's all about sharing — think 48-hour slow-fermented dough pizzas and stacks of cicchetti — which is great because food tastes better when it's pinched from someone else's plate. Expect a culinary journey from Carlton to the coasts of Italy, minus the jet lag. As for the drinks, cocktail guru Matthew Bax (formerly Bar Americano) is crafting the cocktail list as an ode to Italian outdoor drinking. Envision sophisticated yet cool sips with a side of people-watching — one of the oldest and greatest forms of entertainment. The wine program comes from sommelier George McCullough and features mostly Italian drops from both established and emerging winemakers. Vibes will be set from afar, thanks to Hope St Radio. The crew has collaborated with Johnny's Green Room to curate a year-round music program that'll feature Melbourne DJs and live music acts. You'll find Johnny's Green Room at 293 Lygon Street in Carlton, open from midday till late every day of the week. Head to the venue's website for more details. Images: Arianna Leggiero
Life doesn't stop in Melbourne in the wintertime after dark. On the contrary, that's when it comes into its own. Pubs, bars and live music venues really kick into gear at night: think good hearty pub food, fireplaces, red wine and free music to make you forget about the disastrous weather outside (just cop it and get an Uber home). If you're floating around Fitzroy or Collingwood, in particular, there are myriad venues to ensconce yourself in for a warming drink and some free entertainment. Plus, Samsung's new Galaxy S9 and S9+ have a new low light camera, if you're the type that likes to capture all the magic on your phone to relive later (or make your mates jealous) but needs a bit of help when the lights are dim. THE EVELYN, FITZROY Ah, The Evelyn. There's something to be said for tradition, and there are few better than grabbing a cheap meal on Brunswick Street, popping into The Ev's on-site bottle shop, and then kicking back with whatever you bought right there in the pub. The smokers area is always full and buzzing, although on a cold night you might be better off in the bandroom. It's one of the best places on the street for live music and a big part of what makes the venue such a Fitzroy institution. THE OLD BAR, FITZROY As the old saying goes: the stickier the floor, the better the tunes. Or something like that? The Old Bar certainly has both of those attributes in spades, so you'll know where to get down next time you're wearing your winter boots and craving a night of free live music. A stalwart of Melbourne nightlife, Old Bar is open late every night, the music line-up varies from evening to evening, and there's a nice cosy fire. Oh, and their football league is called The Unicorns, so you know you're onto something rare. THE TOTE, COLLINGWOOD An undisputed home of live music in Melbourne's north, The Tote's corner (Johnston St x Wellington St) might be one of the busiest this side of the Yarra, especially on the weekend. You've no doubt walked, rode or rolled down the hill on your way to a gig at The Tote: they've been showcasing the loudest bands Australia has to offer since 1980. There's upstairs or the front bar to choose from, and a constant stream of rock and punk (and other) bands on the lineup. Browse their huge gig guide on their website – there's something on pretty much every night, and it's often free. THE GRACE DARLING, COLLINGWOOD With a plant-filled atrium that'll almost fool you into thinking you're outside (also prime place to take your new Tinder profile pic), the first thing you'll want to do at the Grace Darling is tuck into their famous Sunday roast. Alternatively, you can warm up by the fireplace and grab a $7 pint (at Happy Hour, 4-6pm Monday to Friday) or one of their Bombay Sapphire G&T twists. Once you're sorted? Head upstairs to the bandroom, where the music is often free and always a good time. THE CATFISH, FITZROY There's beer, there's music, there are cheesesteaks. If those don't equal three big ticks on your itinerary for a winter night, then we don't know what else to tell you. The Catfish is small in size but big in heart – come for the lengthy tap list, stay for the good feels and the free music. With a relaxed vibe, more beers than you can poke a stick at, and shows in the front bar as well as upstairs, you'll be staunching a table and really kicking back and taking your time here. After all, who says you can only have one cheesesteak? Instead of spending your winter nights on the couch, discover all the after-dark happenings in your city here — and don't forget to document it all on the new Samsung Galaxy S9 and S9+, designed especially for low light so you can capture your best moments no matter what. Images: Cole Bennetts.
There’s nothing bad about Bad Frankie. In fact, it's a pretty damn good addition to Greeves Street in Fitzroy — just a hop, skip and a jump away from Smith. The dimly-lit bar stands as a cheeky homage to John Franklin, the infamous governor of Van Diemen's Land who outlawed small pot stills in the 19th century. And therein lies the premise behind Bad Frankie: it's filling the gap from the time lost in the industry way back when. Black and white photographs act as wallpaper and ropes dangle from the ceiling bearing lights in jars to give off a soft, yellow glow. Dark furnishings and cushioned benches make up the quiet dining space, which becomes an intimate and ideal date spot once the sun goes down. On the menu you'll only find a range of boutique Australian spirits, wine and beer — so it's lucky, as it turns out, that we do booze pretty well here. The Pepperberry Fizz ($18) is a delightful and refreshing concoction of Melbourne Gin Company gin mixed with lemon and pepperberry syrup, a dash of egg white and soda. Or if you’re taking the Aussie theme all the way, go for the martini made with 666 vodka from Tasmania and an infusion of eucalyptus — aptly named Euco Drops ($19). With such an extensive list, the flight of spirits option is a serving of five 10mL pours to broaden your liquid horizons. Line them up on a Saturday night, then nurse your hangover with a jaffle or three on Sunday. Yep, the iconic jaffle is the only form of food you'll get at Bad Frankie, but they've got sweet and savoury covered. There's no going past the classic ($5) with vintage cheddar and mozzarella on white bread with either Vegemite or tomato chutney to accompany the sandwich, golden brown on the outside and warm and gooey on the inside. And to say no to finishing off with the lamington ($7) — chocolate soaked sponge cake filled with jam and rolled in coconut with cream — would only be un-Australian. With some of the friendliest and most welcoming service we’ve seen in a long time, Bad Frankie is our new understated go-to for a pleasant, low-key evening.
When Hans Zimmer composes a film score, audiences remember it. His list of credits is as massive as his love of music, spanning everything from Dune, Top Gun: Maverick and No Time to Die through to Prehistoric Planet, Wonder Woman 1984 and The SpongeBob Movie: Sponge on the Run in just the past three years alone. Also on the German composer's resume: helping put the bounce in The Lion King's score — both versions — and the droning in Inception's memorable tunes, plus Thelma & Louise, Christopher Nolan's Dark Knight trilogy, Blade Runner 2049 and more. We could keen naming titles — flicks like Hidden Figures, The Boss Baby, Dunkirk, Widows, X-Men: Dark Phoenix, Gladiator, Pirates of the Caribbean, 12 Years a Slave, Sherlock Holmes, Mission Impossible II and Pearl Harbour, for instance — but all movie lovers know that the best way to appreciate the the Oscar-, Golden Globe-, Grammy- and Tony-winning talent is to listen. And, that's exactly what the Melbourne Symphony Orchestra wants you to do on two big winter nights, thanks to its upcoming The Music of Hans Zimmer performances at Hamer Hall at Arts Centre Melbourne. [caption id="attachment_724809" align="alignnone" width="1920"] Hans Zimmer[/caption] Sadly, especially if you caught his 2019 Australian tour, Zimmer himself won't be there. But Australian conductor and composer Nicholas Buc will lead the charge as the SSO plays through a selection of Zimmer's work, focusing on The Dark Knight, Gladiator, Inception, Interstellar, Pirates of the Caribbean and The Lion King. Buc is no stranger to Zimmer's tunes, after conducting the world-premiere live concert for The Lion King. And, he's no stranger to this kind of event in general, with doing the same for Beauty and the Beast, and just leading live film concerts around the country and the world, also on his resume. Taking place on Wednesday, May 3 and Thursday, May 4, The Music of Hans Zimmer will also feature The Art of the Score podcast hosts Andrew Pogson and Dan Golding talking audiences through the music with Buc.
The National Gallery of Victoria isn't just good for art — it's also good for a bit of wining and dining, with cafes across all three levels and the Garden Restaurant on the ground level, too. The gallery's Tea Room on level one is good for you if you've brought your mum along and she's mentioned she'd love a cup of tea five times so far, or for you, if you just want to treat yourself to something a bit fancy. The high tea option puts fresh finger sandwiches on the table (poached chicken, leg ham, free-range eggs and cold smoked Tasmanian salmon) as well as homemade croquettes and mini quiches. As far as sweets go, there are scones, as well as pistachio macarons and yuzu meringue tarts. The high tea is served with a glass of bubbly and a pot of tea or coffee. It's a surefire way to make even a routine trip to the gallery a little bit special. [caption id="attachment_671242" align="alignnone" width="1920"] Visit Victoria[/caption]
Can you feel a tingling in your toes as your feet start to defrost? That's the feeling of winter slipping away, or maybe you've been sitting cross-legged for too long. Either way, with the cold weather fading into the past for another year comes the return of a warm-weather favourite: Australia's beloved Moonlight Cinema. Ahhh balmy nights on the grass, we have missed you. Heralding the arrival of the sunnier months, Moonlight Cinema is a summertime tradition that will make its usual annual comeback at the end of 2022, then roll into 2023. As it always does, it'll hit up screens in Sydney, Melbourne, Adelaide, Brisbane and Perth for a few months of movies in the open air, under the stars and soaking in another Aussie summer. Nosh-wise, Moonlight Cinema will again let you BYO movie snacks and drinks (no alcohol in Brisbane, though), but the unorganised can also enjoy a plethora of bites to eat from food trucks — perfect, messy treats made for reclining on bean beds. The overall season runs from November through to March, although it varies city by city. As for what'll be screening, expect to hear what's on the bill closer to the outdoor cinema's return for the year — before the season kicks off in Brisbane and Sydney on Thursday, November 24, obviously. And, while the 2022–23 locations haven't yet been confirmed, Brisbane's season tends to pop up in Roma Street Parkland, Sydney's in Centennial Park, Perth's in Kings Park and Botanic Garden, Adelaide's in Rymill Park and Melbourne's in the Royal Botanic Gardens. MOONLIGHT CINEMA 2022–23 DATES Brisbane: Thursday, November 24–Sunday, February 19 in Roma Street Parkland Sydney: Thursday, November 24–Sunday, March 26 in Centennial Park Perth: Friday, November 25–Sunday, March 26 in Kings Park and Botanic Garden Adelaide: Thursday, December 1–Sunday, February 19 in Rymill Park Melbourne: Thursday, December 1–Sunday, March 26 in Royal Botanic Gardens Moonlight Cinema kicks off in November 2022, running through until March 2023. For more information, visit the cinema's website — and we'll update you with program details when they're announced.
Founded by ceramics artist Amanda Reishi and operating out of her cosy home studio, Everyday Clay is about as laidback and chilled an art experience as you'll likely ever have. Amanda's philosophy is simple — uplift and inspire through the craft of pottery. Unlike many brick-and-mortar pottery spots in Melbourne, Everyday Clay operates as a mobile studio. You pick the location and number of people (up to about 60), and Amanda will bring everything to you. That makes Everyday Clay better for those who already have a group of people keen on creating — either for a hen's party or work gathering. Classes include a one-day "Create Your Own Everyday Drink Set", where students will walk away with a delightful mug, saucer and spoon. A two-day handcrafting course will explore using hands to mould creative and one-of-a-kind pieces. There is also an online course and a "Clay and Me" workshop, where students are encouraged to express themselves with a piece that represents them. It could be a clay cat. It could be an ashtray. It's up to you. There is also a focus on healing through clay — an art therapy program designed to facilitate healing, self-expression and creativity. Yes, art can be healing as well as pretty.
The anticipation is building for the FIFA Women's World Cup 2023™. Seeing as we are hosting the iconic occasion Down Under, Sydney is set to witness some exhilarating matches. Meaning the city will be bursting with football fever and a plethora of vibrant events and experiences to enjoy. So, if you're planning a trip to the city, be sure to witness the best of what Sydney has to offer. From art and culture to music and culinary delights, Sydney is poised to showcase its dynamic spirit during the month-long World Cup celebration. Luckily for you, we've rounded up some top picks that you should not miss during your stay.
Oh we love cities. Make no mistake. But venture beyond the borders and go further out and you'll discover a haul of destinations rich with unique events and adventures worth road tripping for. Whether your interests are culinary, cultural or the creative arts, we've teamed up with Destination NSW to curate a guide to the biggest regional events and festivals to keep you entertained during the cooler months. From floral displays to food-packed fiestas, fruit picking and free live music performances, it's time to fuel up the car, fire up your Spotify playlist and settle in to discover the best that New South Wales has to offer. Explore the best of NSW's Regional Events and Festivals at the Destination NSW website.
Two years ago, Pappa Rich gave tastebuds across Australia the culinary hybrid they didn't know they were craving: a nasi lemak burger. They were originally sneakily trialled in Sydney stores in 2018, then rolled out for a limited time in 2019. Now, they're back. The burger takes the typical accompaniments in this Malaysian rice dish and sandwiches them all between two toasted burger buns. There are layers of crispy Malay fried chicken, spicy sambal, peanuts and anchovies, all topped with cucumber, lettuce and a fried egg. As a side? Expect Pappa Rich's deep-fried chicken skin, of course. You can also opt for chips if you prefer. The Malaysian hawker chain is returning the nasi lemak burger to its menu — at all of its 31 stores countrywide, but only until Sunday, May 30. If you're instantly hungry, you'll want to pop into one of Pappa Rich's outlets, which includes Chadstone, Southern Cross and QV in Melbourne.
It's time to clock on: come spring 2024, The Office will reopen, this time in Australia. Back in 2023, Prime Video announced that it was making the 13th international take on the hit workplace sitcom, and also the first to be set Down Under. Now, the latest version of the franchise has a release date — and a debut image of star actor and comedian Felicity Ward (Time Bandits) as Flinley Craddick Managing Director Hannah Howard. Whether you think that David Brent was awful, awkward or a bit of both, Britain doesn't have a monopoly on cringeworthy bosses. Accordingly, after the original UK version of The Office proved a huge success two decades ago, more iterations of the comedy were always going to follow around the world. The American series became even more popular, and everywhere from Canada, France and Germany to Israel, India and Poland have similarly given the idea a go — so it should come as no surprise that an Aussie version is finally making its way to screens. Move over Brent, and also Michael Scott — it's now Howard's turn to become the manager that no one wants but everyone has worked for. She oversees a packaging company. When she receives news that head office is shutting down her branch, with everyone working from home instead, she's determined to keep her team together. Obviously, that won't go smoothly, or there'd be no sitcom antics to be had in The Office's Aussie stint. Joining Ward is a hefty cast spanning Edith Poor (The Lord of the Rings: The Rings of Power), Steen Raskopoulos (The Duchess), Shari Sebbens (Preppers), Josh Thomson (Young Rock), Jonny Brugh (What We Do in the Shadows), Pallavi Sharda (The Twelve), Susan Ling Young (Barons), Raj Labade (Back of the Net), Lucy Schmit (The Pledge), Zoe Terakes (Talk to Me) and Claude Jabbour (Last King of the Cross). Also featuring: Susie Youssef (Deadloch), Justin Rosniak (Colin From Accounts), Carlo Ritchie (A Beginner's Guide to Grief), Rick Donald (Population: 11), and Chris Bunton (Wolf Like Me). Viewers will be able to binge Ward and company's antics, with the entire eight-episode first season of the The Office dropping on Friday, October 18 — so get your staplers in jelly ready. As well as marking the first woman-led version of the franchise, the Australian take on The Office also features an impressive roster of female talent off-camera. Jackie van Beek (The Breaker Upperers) co-developed the series alongside Julie De Fina (Aftertaste), with both executive producers — and van Beek the setup director. Kylie Washington (Return to Paradise) is also an executive producer, with Sophia Zachariou (Ladies in Black) and Linda Micsko (The Letdown) producers. There's no trailer yet for the Australian version of The Office, but you can check out clips from the UK and US versions below: The Australian version of The Office will stream via Prime Video from Friday, October 18, 2024. Top image: John Platt and Prime Video, © BBCS and Bunya Entertainment.
They say great things take time and, as you can imagine, the State Library Victoria's huge $88.1 million makeover counts as one of those things. Dubbed Vision 2020, the redevelopment project has been almost five years in the making — and you can get your first proper look from today, Thursday, December 5, as the site opens to the public to show off its full suite of changes. Along with its brand-new look, Australia's oldest public library now boasts an extra 40 percent more public space, as well as a 70 percent boost in seating. Which means it'll be a whole lot easier to nab yourself a table and hit the books. And of course, without its scaffolding that has seemingly been up forever, that grand facade is now looking a much better backdrop for hangs on the iconic front lawn. [caption id="attachment_753888" align="alignnone" width="1920"] Swanston St Foyer by Patrick Rodriguez[/caption] The 163-year-old building now comes armed with a suite of new features and services, with the crowning glory a striking new Swanston Street entrance, sporting a modern foyer and plenty of digital upgrades. The library's many spaces have been refurbished and reimagined for public use. The original heritage reading room has been transformed into The Ian Potter Queen's Hall, to be used as a library space by day and an events space by night. Hansen Hall will be a multi-functional space for meetings and projects, and, courtesy of the John and Myriam Wylie Foundation, October saw the launch of a new exhibition space known as the Victoria Gallery. The building has also been divided into newly named quarters. If you're a small business owner, you'll want to make use of StartSpace in the Ideas Quarter, a new service featuring co-working spaces, business-oriented meet-up events and free support for start-ups, born with the support of the Christine Christian Foundation. Meanwhile, the new Conversation Quarter is somewhere you might also find yourself, attending lectures, conferences and workshops. [caption id="attachment_753890" align="alignnone" width="1920"] Conversation Quarter by Patrick Rodriguez[/caption] The other two quarters are aimed at budding young minds — a program of talks and events will take place in the schools-focused Create Quarter, while the Pauline Gandel Children's Quarter is specifically for families and children. Australasian design firm Architectus, along with Scandinavia's Schmidt Hammer Lassen Architects, have headed up the multi-million dollar build. The massive project has been funded with a mix of donations, public contributions and support from the Victorian Government. The State Library Victoria will reopen to the public today — Thursday, December 5 — at 328 Swanston Street, Melbourne. It's open from 10am–9pm Monday to Thursday, and 10am–6pm Friday to Sunday. Images: Patrick Rodriguez.
When Toko closed in Prahan, Tokosan took its place — with a focus on cocktails, karaoke and a casual Japanese snack menu. It also brought with it something to make both your stomach and your wallet happy. On Tuesdays it's honing in on sushi with endless supplies for just $20. There's a selection of rolls and temaki — and options for vegetarians too — so gather the gang for a cheap feast. And if you haven't been to the venue before, Tokosan's outdoor lounge courtyard is a pretty good place to make your debut. Doors open at 5pm and, to sweeten the deal, a happy hour with $10 cocktails and $5 beer and wine runs until 7pm.
April is here, which means that it's almost that time of year: the time when you're either at Coachella or curing your FOMO by watching it at home. 2024's lineup dropped in January, featuring Lana Del Rey, Tyler, The Creator, Doja Cat and the reunited No Doubt as headliners. Now comes news just as big: if you're dancing along in your living room over two weekends this month and you've got a set clash, you'll be able to livestream multiple stages at once. How many? Four in total, all thanks to YouTube's annual coverage of the event. Each year, Coachella and the online video platform join forces to beam the massive music fest around the world. Of course, that's no longer such a novelty in these pandemic-era times — but being able to fill your screen with a quartet of Coachella sets at the same time definitely is. YouTube's multiview concert experience will enjoy its debut in the music space, and globally, at Coachella. This year, the service will be capturing six different stages, as it did in 2023 for the first time ever — with Sonora on the list for the first weekend and Yuma on the second. That said, while you can feast your eyes on four stages simultaneously, you'll only be able to hear one, so you will still need to pick a favourite in any given timeslot. View this post on Instagram A post shared by Coachella (@coachella) Coachella 2024 runs from Friday, April 12–Sunday, April 14 and Friday, April 19–Sunday, April 21, which is Saturday, April 13–Monday, April 15 and Saturday, April 20–Monday, April 22 Down Under. For those lucky enough to be getting the IRL experience, the fest takes place at Empire Polo Club in Indio, California. The full bill is a jaw-dropper, as usual, featuring a stacked array of acts that also spans everyone from Blur, Ice Spice, J Balvin and Peso Pluma to Sabrina Carpenter, Grimes, Lil Yachty and Flight Facilities. [caption id="attachment_936351" align="alignnone" width="1920"] Casey via Wikimedia Commons[/caption] Coachella 2024 runs from Friday, April 12–Sunday, April 14 and Friday, April 19–Sunday, April 21 — which is Saturday, April 13–Monday, April 15 and Saturday, April 20–Monday, April 22 Down Under — at the Empire Polo Club in Indio, California, and livestreams via YouTube across the same dates. Top image: Roger Ho.
Legendary Scottish brewery BrewDog didn't hold back when it came to creating its first Melbourne venue. Off the back of the brand's 2019 Aussie debut in Brisbane, it unveiled this absolute monster of a brew bar within the historic Pentridge Prison site in November 2022. Done in partnership with Australian Venue Co (Harlow, The Smith, State of Grace), the $3 million beer bar spans two spacious levels within the prison's E Division building. At 12,000 square feet, it's got room for 500 punters; complete with a ground floor dining room and den, three upstairs function spaces, and a gigantic beer garden with its own container bar and dedicated games area. From the bars comes a 20-strong tap beer lineup, starring numerous BrewDog drops alongside a rotation of guest brews. Favourites like the Dead Pony Club pale ale ($14.40), the Punk XPA ($14.90) and the Elvis Juice American-style IPA ($15.90) make an appearance, as do newcomers like an E Division pale ale ($14.90). Expect drops from the likes of Hop Nation and Hawkers, too. To match, there's a sprawling menu of classic pub fare, featuring an impressive ratio of plant-based and gluten-free options. It jumps from a range of schnitties, parmas, tacos and burgers — including one done with XPA-braised brisket ($27.95) — to pizzas and a whole stack of wing varieties. Grazing plates include the likes of buffalo chicken loaded fries ($18.95), and haloumi with native pepper berry ($18.95); while the Hoppy Meal option gets you a burger, a side and a beer icypole for $25.95. Like all good pubs, weekly specials abound here — from Monday's two-for-one vegan menu, to an all-you-can-eat wings situation each Wednesday. Images: Anna Kucera
Melbourne's Fed Square is turning up the volume this season, announcing a stacked run of free openair gigs that'll see some of the world's biggest names performing right in the city's heart. First up, King Gizzard & The Lizard Wizard will take over the Fed Square Main Stage on Friday, October 24 (7–10.30pm) for an entirely electronic rave set. The hometown heroes are debuting their techno incarnation live in Australia for the first time, performing unscripted, modular-based electronic music that's been years in the making. It marks a bold new era for the genre-hopping collective — a band known for reinventing itself across every release — as they swap guitars for eurorack synthesisers in a show that promises improvisation, experimentation and pure energy. Supporting on the night is Merve, the Berlin-based, Melbourne-born DJ and producer known for boundary-pushing sets at Panorama Bar and Boiler Room sessions around the globe. The program continues with a world-class double act on Thursday, November 27 (7–10pm), when Detroit house legend Moodymann joins forces with Melbourne's own DJ JNETT for another free, all-ages dancefloor session under the stars. Rounding out the year, Fed Square will host its annual New Year's Eve celebration on Wednesday, December 31 (7pm–1am), curated by returning favourite Barry Sunset. The night will feature local favourites MzRizk, Gavin Campbell and Barry Sunset spinning disco, funk, house and dance floor classics in the countdown to 2026 — all with prime CBD skyline views. Fed Square Director and CEO Katrina Sedgwick OAM says the new program cements the precinct's role as a cultural meeting point. "Fed Square has cemented its place as one of Australia's most exciting homes for live music," she says. "This next wave of events builds on that success, with King Gizzard & The Lizard Wizard, Moodymann and JNETT joining a lineup of world-class artists who make Fed Square the place to experience unforgettable live music — accessible and open for everyone to enjoy." The series, part of Fed Square Presents, continues the venue's commitment to free, all-ages events showcasing local talent alongside international heavyweights. Each show will take place at the Fed Square Main Stage and is completely free to attend — no tickets or registration required. Images: Maclay Heriot
If you live with your significant other, it's likely you've already reached the stage where you dine together in PJs with unwashed locks and something distracting playing in the background. And while there's no shame in being comfortable, perhaps you'd like to bring a sense of occasion back to your date nights? And, if you're visiting your date for dinner, maybe you'd like to take the pressure off your partner by ordering takeaway for one night during lockdown. While ordering-in share dishes like tacos, curries and decadent desserts will bring you both back to the dining table for some all-important eye contact time and fresh conversation (we bet your chat game is starting to dry up), you might want to spice things up a little more. If you usually reach for a white wine to pair with your takeaway pizza, or a beer to wash down those dumplings, we've got some more unexpected drinks to match with your meals. We've teamed up with Pernod Ricard to bring you four at-home dining suggestions that you can order (booze included) to your door, so you can pop that well-worn cookbook back on the shelf and try your hand at boozy iced tea or whisky highballs next time date night rolls around. [caption id="attachment_744418" align="alignnone" width="1920"] Baja[/caption] SHARE CITRUSY-SWEET TACOS AND BOOZY ICED TEA You may not be able to plan a casual weeknight date at one of your favourite Mexican restaurants right now, but you can recreate the experience at home. Instead of cracking into a tropical lager to knock back with your fiesta-worthy feast, try making a jug of spiked iced tea that you can share along with a selection of meaty or vegetarian tacos. Include a squeeze of lime or a side like pineapple salsa, as the citrus pairs particularly well with the zesty fruit flavours of a single malt whisky in that iced tea. What to order: In Melbourne, you can get Mamasita's DIY taco packs via Mr Yum with prawn, jackfruit and barbacoa beef options, or El Sabor's nachos and burritos via Deliveroo. In Sydney, order the chargrilled chicken or beef brisket tacos from Mejico via Deliveroo, or takeaway vegan and gluten free cauliflower or stir fried oyster mushroom corn tortillas from Bad Hombres. Brisbane's The Burrito Bar has pulled pork, steak and crispy fish tacos, which you can order in from Deliveroo, or swing by Baja, which has takeaway set up for its Mexican-inspired menu. Pair with: The Glenlivet Founder's Reserve and T2 Iced Tea. Order a packet of Packs a Peach loose leaves as it creates a fruity cocktail that's naturally sweet, so there's no need to add sugar. [caption id="attachment_745926" align="alignnone" width="1920"] Mary's Burgers by Nikki To[/caption] PAIR A JUICY BURGER WITH WHISKEY DRY AND LIME Just because it's date night, doesn't mean you have to use cutlery. If you're feeling the call of comfort food, and want to move onto that episode of Unorthodox without having to stack the dishwasher, make your date night feed a handheld treat. Order a couple of new-to-you burgers and go splitsies, that way you can taste-test beyond your go-to patty and (as no one else is around to judge you) go large on the sides. A simple whiskey cocktail, such as a classic ginger and lime mixer, helps cut through the fat with a refreshing aftertaste. What to order: In Brisbane, you can order a wagyu or soft shell crab burger from Yuzu Burger and Co in Milton, or a vegan and gluten free Biggie from Lord of the Fries, both on Deliveroo. In Melbourne, you can get Huxtaburger's Andrew (grilled or fried chicken, bacon, cheese, jalapeños) for $14, or Royal Stacks has its Prince Harry, Queen Bey or Regina George patties — both available on Deliveroo. In Sydney, Ume Burger is slinging its karaage, fish katsu and cheeseburgers to your door, as is Mary's with its signature beef patties, plus mushroom and chicken options. Pair with: a highball glass of Jameson Irish Whiskey, dry ginger ale and a wedge of lime. [caption id="attachment_728897" align="alignnone" width="1920"] Colonel Tso's cauliflower at Daughter in Law by Peter Tarasiuk[/caption] COSY UP WITH CABERNET SAUVIGNON AND A CURRY Feeling that wintery chill? Warm yourself from the inside out with an elegant Indian takeaway. Though a cold beer or creamy lassi is a more traditional pairing for a spicy subcontinental feed, you might want to try matching a fruity, full-bodied red wine with a mild lamb-based curry, such as rogan josh. The backbone of tannins and subtle oakiness makes for a wine you can take from the dining table to the couch after your belly-warming banquet. What to order: In Sydney, Indu delivers a Kashmiri-style lamb shoulder curry, and Darlinghurst's Malabar has lamb shank rogan josh as well as a creamy lamb khurumah made with cashew nuts and a touch of mint. In Brisbane, Halims Indian Taj Restaurant has madras, vindaloo, nariyal and korma, which can all be made with lamb as the hero ingredient. All three of which can be ordered to you door via Deliveroo. And, in Melbourne, you can get Daughter in Law's Kashmiri-style lamb rogan josh (or its famed Colonel Tso's cauliflower dish, pictured), or lamb biryani from Mukka in Fitzroy. Pair with: a bottle of St Hugo Coonawarra Cabernet Sauvignon — expect mint and blackcurrant aromas with a silky mouthfeel. [caption id="attachment_716965" align="alignnone" width="1920"] Lukumades[/caption] INDULGE IN PLAYFUL CHOCOLATE DESSERTS AND GROWN-UP HIGHBALLS If you're snatching meals between Zoom calls, or bickering over whose turn it is to do the supermarket run, it's possible that you've lost some childlike joy in your day-to-day life with your partner. We get it — there's a lot to juggle right now. To bring back some of that fun and frivolity, make your date night especially decadent with a chocolatey dessert (or, forget the mains altogether). If a boozy nightcap is in order, match your malty or dark, bitter chocolate snacks — such as a warm chocolate brownie — with a whisky highball. The spirit's nutty and vanilla flavours are a grown-up complementary tipple to your otherwise nostalgic sugary snack. What to order: In Melbourne, go all out with handmade Greek doughnuts from Lukumades, including oreo, twix and tella classics. In Brisbane, Cakes & Sh!t has oreo cheesecake and double choc brownies with toasted marshmallows. Sydneysiders and Melburnians can stock up on Koko Black choccies, and diners in every city can have Gelato Messina's tiramisu tarts delivered to your door. Pair with: a classic highball made with Chivas Regal Extra, which has a toffee and milk chocolate flavour. Right now, Pernod Ricard is offering a $10 Deliveroo voucher for every $50 spent on a select range of its wine and spirits — bought online or in-store at its partner liquor stores. Find out more, here. Top image: Bad Hombres.
An unassuming Brunswick silo has become a towering new mural showing New Zealand Prime Minister Jacinda Ardern embracing a Muslim woman. But the large-scale artwork has also rustled up plenty of controversy, with backlash over the depiction of a foreign leader, rather than a local. The original photo of an emotional, hijab-clad Ms Ardern was taken as she comforted members of Christchurch's Muslim community, following the March 15 terror attacks on two of the city's mosques. Captured by New Zealand-based photographer Hagen Hopkins, it's since become an iconic image, reproduced in various large-scale iterations across the world. Locally, a GoFundMe page drummed up $11,000 — in a single day — to fly renowned street artist Loretta Lizzio to Melbourne, so she could capture the image in paint, on the side of the 25-metre-tall Tinning Street silo. Any extra money has gone to supporting the attack victims' families, through the Christchurch Shooting Victims' Fund. Having lived and worked in Melbourne previously, Lizzio is a renowned artist and muralist whose work has appeared everywhere from Vancouver and New York, to London. She donated nine days of her time to creating the project, which was completed last Sunday. While the silo is privately owned and the project had full the support of its owner, it still managed to cop a bit of backlash. Some locals aren't on board with the idea of using the large-scale work to reference an attack that happened overseas, instead of something more locally focused. One Change.Org petition had 14,696 signees calling for the mural to be stopped, citing its so-called irrelevance to the Melbourne community. https://www.instagram.com/p/Bxeo-irAmLN/?utm_source=ig_web_copy_link On her latest Instagram post for the mural, the artist shared her own views on the matter, in response to one of the critics. "Appreciate the feedback, though this has everything to do with Aus, as anywhere in the world," she writes. "Hate crimes are a global issue... This particular project is about love and acceptance of all that call Aus home no matter your background." Loretta Lizzio's mural of Prime Minister Jacinda Ardern is located at 20-24 Tinning Street, Brunswick.
The newly opened Aromi is a restaurant you'll want to leave your neighbourhood for — unless you're lucky enough to live in Brighton, that is. Then, we're sure, you're about to start throwing around 'ciao bellos' with owners Paolo Masciopinto and Salvatore Montella on a regular basis. Masciopinto and Montella, having worked together for five years at Bar Carolina and Sarti, saw an opportunity to open their own place — and jumped. The resulting 44-seater restaurant is elegant and intimate. Perch at the black granite bar with a view into the kitchen, at a table in the dining room or at a stool looking out the window. Wherever you sit, make sure you check out the vertical wall filled with rosemary, thyme and marjoram before you leave. It's the inspiration behind the restaurant's name: 'aromi', which means 'aromas' in Italian. And aromas are an important part of the dining experience at Aromi, with Masciopinto telling us "smell can bring you back to places or bring back memories". Taste, of course, is equally important here and all the food is made from scratch, including the bread and the pasta. The menu has many sections that you'll want to work your way through — we recommend you invite a friend or two (or go back several times solo) so you can savour the full range. Start with the stuzzichini (meaning finger food) of gnocco fritto — light, crisp pillows of fried gnocchi — with soft cheese and wagyu bresaola ($5) and Geelong piquillo peppers, marinated and stuffed with goat's cheese and topped with black garlic ($4). And, they're not lying, you really should eat these with your hands. Move on to antipasti, and, perhaps, order the scallops, potato and truffle ($14) and the soft shell crab ($8). If you do, ask for extra bread so you can mop up every last drop of the sauce. Then, when in Rome, do as the proverbial Romans do and choose a pasta or risotto before your main course. The spaghetto ($34) is made with tomato in both the dough and sauce, crab meat strewn throughout and macadamias scattered on top. For secondi, we choose the crisp-skinned barramundi, which arrives atop a cauliflower purée and topped with capers and spinach leaves ($39). If you've made it the end of the menu, well done — we suggest you finish with the popcorn and salted caramel ice creams ($7), which look like mini Magnums and land on your table stuck into a tiny log. The wine list is tight, favouring Italian wines but with a few Australian and New Zealand wines included for good measure. One to note is the Don Chisciotte fiano by Pierluigi Zampaglione. Grown at 800 metres and fermented in stainless steel for six months, this orange-tinted wine smells like mountain herbs and has a fresh, mineral flavour. When Montella tried it, he was surprised at how much it differed from the fianos he grew up drinking — so surprised, in fact, that he purchased all 1000 bottles the supplier had. While you're there, you should also try a cocktail or gin. Bar manager Luca Masciulli has devoted a page of the drinks menu to local and international gin-makers, matching each gin to a different tonic. The cocktail list changes every week and Masciulli's latest creation is a margherita (yes, the pizza) drink made with piquillo jam-infused coconut tequila and garnished with a mozzarella, basil and tomato pane carasau (Sardinian crisp flatbread), which balances precariously on top of the glass. As you leave, you'll be given a plantable thank you card, which you can then use to grow your own basil, thyme and memories. Images: Silvia Zanone.
For almost a quarter-century, Jamie Oliver has been sharing his culinary tips with audiences worldwide. This November, he'll dish up a chat about all that time spent in and around kitchens — on-screen, by releasing recipe books and thanks to his stint in the restaurant business — at Sydney Opera House. The Naked Chef, Oliver's Twist, Jamie's Kitchen and Jamie's Comfort Food star is heading back Down Under for an Aussie-exclusive discussion, returning to the Harbour City after selling out a talk at the same venue in 2015. Back then, Oliver brought his Food Revolution with him, and cooked up a storm live while making his Opera House debut. This time, he's in conversation with Melissa Leong about the 24 years since The Naked Chef first hit television — and all the pukka cuisine he's whipped up since. "Every time I visit Australia it feels like a big old hug — it's a real home away from home for me and I'm so excited to be back this year for this event." said Oliver, announcing the chat. "I can't wait to sit down with you all for good chats about good food and good times, have a laugh, and take some questions from the audience. And, it is such a privilege to be at the Sydney Opera House, what a setting. I hope to see you there." While there's clearly no shortage of topics for Oliver to touch on when Saturday, November 11 hits, when he takes to the stage in the famed venue's Concert Hall — the British chef has those two-plus decades of TV shows, those 70-plus eateries in 22 countries, and oh-so-many recipes to mention, for starters — this once-off event is timed around two specific things. Firstly, he's launching a campaign about creating "a happier, healthier world through the joy of food". And secondly, he's just released his new cookbook 5 Ingredients: Mediterranean. Attendees at this Sydney-only talk will also learn what keeps Oliver inspired and motivated, why he loves cooking so much and about his passion for getting in the kitchen. He's the latest big-name chef discussing his career onstage in Australia this year, following on from Israeli chef Yotam Ottolenghi, Oliver's fellow Brits Marco Pierre White and Nigella Lawson, and viral recipe queen Alison Roman. Jamie Oliver in conversation with Melissa Leong will take place in Sydney Opera House's Concert Hall on Saturday, November 11, 2023 — with ticket pre-sales fro 9am on Wednesday, August 23, and general sales from 9am on Thursday, August 24. Images: Jamie Oliver Enterprises / Paul Stuart.
The flavours of South America are showcased through local produce at this beautiful restaurant and event space on Ryrie Street. The buzzing, dimly lit space — which features deep green banquette seating and artwork-adorned walls — is great for both a vibey date night or a levelled-up lunch. On the menu, you'll find a great selection of small and large sharing dishes, desserts, dessert-style cocktails and digestifs. The drinks program showcases mostly Australian and South American wines, and also has an extensive beer list.
Since 2020, fans of cowboy-themed ice cream have had two options: lick your way through a classic ol' Bubble O'Bill on a stick as you've always done, saving the bubblegum nose for last (of course), or tuck into a Bubble O'Bill tub. That's all well, good and tasty, but frozen desserts can't keep a lasso over the fictional, confectionery-based Old West figure — because Bubble O'Bill Easter eggs are now a sweet treat that truly exists. Set to hit the shelves at Woolworths on Wednesday, March 16, the 160-gram chocolate eggs aren't shaped like their namesake, however. They're regular old egg-shaped, but with swirls of strawberry marbling, pieces of caramel and chewy berry pieces mixed into the Chocolatier Australia chocolate. Love the gumball part of Bubble O'Bills? Of course you do. And they're still included in the Easter egg version, with five found inside once you crack open all that chocolate. Turning a beloved Streets ice cream into an Easter egg isn't just the domain of Bubble O'Bill, either. Returning to both Woolies and Coles this year is the Golden Gaytime Easter egg, which sports the same toffee flavour as the frosty dessert and comes coated in Golden Gaytime crumbs. And, it's available now. Yes, Easter is still more than a month away — hitting on Sunday, April 17 in 2022 — but that just means you've got plenty of time to stock up, or to mark the occasion for weeks in advance. Being an adult means eating Bubble O'Bill and Golden Gaytime Easter eggs whenever you like. Find Bubble O'Bill Easter eggs at Woolworths stores from Wednesday, March 16, costing $10 each. Golden Gaytime Easter eggs are available at both Woolies and Coles now.
The Calile Hotel has gone three for three, making the World's 50 Best Hotels list for the third consecutive year, ranked at 34th. After placing 12th in 2023 and 25th in 2024, the Fortitude Valley five-star stay is the only hotel in the entire Oceania region to make this prestigious grade in every edition since the award's inception. Opening in 2018, the seven-story, 175-room hotel was billed as 'Australia's first urban resort'. While suitably situated among luxe fashion boutiques and high-end restaurants along leafy James Street, the hotel serves as a sun-soaked sanctuary from the outside world. Described by The World's 50 Best as "laid back Aussie spirit meets buzzy Palm Springs and Miami stylings," guests can retreat to siesta by the pool or slink away to private quarters designed for maximum comfort. "To have been selected three years in a row marks a significant affirmation of The Calile's place on the global hotel-industry stage and reinforces our reputation as a desirable destination for international travellers coming to Brisbane, Australia," says Co-Owner Catherine Malouf. However, The Calile experience goes far beyond its dreamy 30-metre centrepiece pool or sophisticated rooms adorned with a "neutral, chic palette of peach, rose and pistachio." Dining and drinks are a serious treat, with Hellenika, Bianca and Lobby Bar adding to Brisbane's burgeoning culinary scene. Plus, the hotel's cultural program is a major highlight, regularly hosting art exhibitions and performances by renowned names, such as the Australian Chamber Orchestra. "Being recognised among the world's best hotels for the third consecutive year is an incredible honour and a testament to our remarkable team. Their professionalism, consistency, and genuine care for our guests define The Calile experience for which we are known," says The Calile Hotel General Manager, Chris Kemlo. As for the rest of the list, Capella Sydney achieved top honours for Australia, debuting on the list at an impressive 12th place. Meanwhile, Rosewood Hong Kong has finally claimed the No. 1 spot, having previously been ranked No. 2 and No. 3. Don't forget to keep an eye out for updates on The Calile's expansion to Noosa Heads, a perfect location for the hotel's tropical look and feel coming in the near future. For the full World's 50 Best Hotels list for 2025, head to the website for more information. Images: Cieran Murphy.
Lemon, Middle and Orange is a coming together of caffeine, food and architecture. Opening in an old paint factory in Rokeby Street, the new Collingwood haunt is expats' Margaret Lawless and Liam Ganley's first joint venture. Lawless, an Irish hospo through and through, most recently worked at Brassiere Bread in South Melbourne, while Ganley brings in the architecture side of things with a construction background. The small space — tucked into the side streets of Collingwood between Johnston and Victoria Parade — has been converted by John Wardle Architects and branding studio Projects of Imagination. The result is an array of light woods, cute recycled looking counter stools, an open plan kitchen, and street art-style linings on the table seating. It's clean and it works. The brunch menu has the normal structure, but the items are a little different. For a light option go for the lemon infused local yoghurt with toasted and puffed grains, earl grey poached seasonal fruit and pistachio ($12) or maybe the poached duck egg, grilled asparagus, green peas, pancetta and sourdough crumbs ($16). For something bigger there is sweet — waffles with caramelised banana puree, Jock's vanilla ice cream, crispy bacon and banana chips ($15.50) and savoury — the 'Full Breakfast' of eggs, bacon, Cumberland sausage, confit mushrooms, bubble 'n' squeak, tomato fondue with sourdough or brown soda bread ($18.90). Lunch consists of sandwiches like the confit chicken with apple slaw, pickled celery, walnut and raisin pesto on toasted ciabatta ($14) or a handful on non-sandwich options like the slow roasted lamb shoulder, skordalia, braised silverbeet, pickle and pine nuts ($16). Coffee is from Espresso Syndicate and, with a single origin from Clark St Roasters, is made up on a La Marzocco machine, while the tea selection is from locals Storm in a Teacup. The street doesn't give this space away, but, once you've found it, you'll be glad you did.
With apologies to the many worthy winners at the 2024 Oscars, this year's ceremony will always be known for one thing. When the lights went pink, Ryan Gosling started singing from his seat in the crowd (with Margot Robbie and Billie Eilish giggling around him) and the words "doesn't seem to matter what I do…" rang out, the world began to witness Academy Awards history. His rendition of 'I'm Just Ken' from Barbie was a musical number for the ages. When he made it up to the stage to keep crooning about Kenergy, the man behind the tan and blonde fragility, it wasn't the only time that Gosling stepped up onto the platform that night. He also delivered a tribute to stunts with Oppenheimer's Emily Blunt — and the two couldn't have been better candidates to make the presentation, which doubled as a reminder that their new film was on the way. In The Fall Guy, Gosling blends his action and comedy modes to play a seasoned stunt performer. Blunt co-stars as the director of the latest flick he's working on, and also his ex-girlfriend. The picture is helmed by David Leitch, who famously was in the stunt game himself, including doubling for Brad Pitt on movies such as Fight Club and Ocean's Eleven, and also for Matt Damon, then jumping behind the camera on John Wick, Atomic Blonde, Deadpool 2, Fast & Furious Presents: Hobbs and Shaw, Bullet Train and now this. Gosling and Blunt's shared portion of the Oscars ceremony was also a call to arms: stunts, despite being so crucial to the film industry, are not currently recognised by the Academy Awards. They absolutely should be. Ask Leitch if he sees The Fall Guy as helping to advance the case to recognise the field at Hollywood's night of nights and he tells Concrete Playground "that's the hope". He continues: "I think it is definitely a celebration of the stunt industry, and hopefully it continues to shine a light on how much these unsung heroes contribute to the films you guys love and we all love. You just can't separate the history of action from the history of cinema, and stunt performers have been there since the beginning." Loosely based on the 80s TV series of the same name, The Fall Guy tasks Gosling with playing Colt Seavers, who has spent much of his career making actor Tom Ryder (Aaron Taylor-Johnson, reteaming with Leitch after Bullet Train) look good. He's been out of the business after a workplace accident when he's enlisted to help out on a big-budget sci-fi blockbuster — not just to double for Tom, but to work out why the flick's star has gone missing in Sydney. Making the gig even more chaotic: plenty of nefarious folks on his tail, complete with a chase across the Sydney Harbour Bridge. Plus, there's the fact that his ex Jody Moreno (Blunt) is directing, and it's her first stint in the role. Cue an action-comedy from Leitch, plus Kelly McCormick as his regular producer, that doesn't just showcase stunts but is firmly about stunts as well. [caption id="attachment_952101" align="alignnone" width="1920"] Caroline McCredie[/caption] When The Fall Guy's shoot shut down one of Sydney's most-famous landmarks, everyone in Australia knew. It isn't every day that Gosling brings the Harbour City to a halt, after all. The bridge isn't the only part of the New South Wales capital that can be spotted in the movie, however, because this is a film that takes place in Sydney and makes the most of it. The Fall Guy is a love letter to stunts, of course, but McCormick — who also co-founded production and action design company 87North with Leitch — also considers it a love letter to its setting. Using the Sydney Opera House as the backdrop for a sci-fi shoot also isn't forgotten quickly. ("It's still so sci-fi. It's still beyond its time. It's an amazing, amazing building," says McCormick.) Leitch and McCormick returned to Sydney in early April to give The Fall Guy a big local premiere at the State Theatre. While they were in Australia, the pair also chatted with us. Leitch living the dream as a former stunt performer-turned-filmmaker now making a movie about stunts, the challenges on such a stunt-heavy film, ensuring that the movie is a mix not just of action and comedy but also mystery and romance, casting Gosling and Blunt, shooting in Sydney: we asked the duo about all of the above and more. On Living the Dream by Being a Former Stunt Performer Now Directing a Movie About Stunt Performers David: "Absolutely — I mean, the 80s TV show was one of those shows that lit the fuse of me wanting to be a stunt performer. There's a lot of wish-fulfilment in that show as a teenage kid. So it was exciting that this property would come [my way] — and obviously having 20-plus years as a stunt performer and the anecdotes and the real life experiences to go with it, I had a lot to be able to put into it. And I felt I could really talk with the authentic voice and actually give Ryan some notes from a real place." On Whether Making a Movie Like The Fall Guy Was the Plan when Leitch Was Still Doubling David: "I don't know if that was the actual aim, although I did early on get the film bug and really want to tell stories beyond the stories I was telling in the action. So, I really did lean into spending my time on set observing and learning everything I could about filmmaking process so I could move to the director chair. I was excited about directing." On the Challenges of Making a Movie That Isn't Just Stunt-Heavy, But Is Constantly Calling Attention to Stunts Because It's About Stunts Kelly: "I think every movie has its own challenges, action or otherwise. I think safety is obviously something that comes to mind that we are particularly sensitive to. When we're doing an action sequence, bringing a team together that is top of class is essential to make sure that it's as safe as possible and as creative as possible at the same time. That's always the goal. I think that's maybe a bit of extra pressure, but it's exciting in the sense that stunt performers get into the business to do stunts — so the last thing we want to do is not do stuff. It's making their dreams come true and making them viable in the film business. So it's this tricky balance of just trying to make sure that you know you're as safe as possible and you've got excellence around them, and in them, to make sure that you can give them the opportunities." David: "I think it was fun to be on the other side of it. I was a stunt coordinator for so many years that it was fun to challenge the team to do these things. I knew what they were going to have to go through to achieve them. But to be like 'good luck, guys' and just run in there and throw down the gauntlet — 'I need you to recreate some of these classic stunts from history, but just make them bigger' — that was fun for me. So I didn't feel the pressure. I made the stunt team feel the pressure and, again, I felt that for many years as a coordinator, when I've been asked to deliver things. And I certainly didn't have to feel the producorial pressures like Kelly had to feel as well. So I was just telling people what to do." On Making It an Aim to Create a Fun Vibe on Leitch and McCormick's Sets Kelly: "I have this theory that the set atmosphere flows through the film to the audience. And we actively try to keep a happy, congenial family environment on our sets, as big as they are. That's what we're always striving for and hopefully achieving. We work with a lot of our heads of departments again and again and again, and part of that is because we like their energy, we like their creativity and we like to have a family kind of atmosphere around our films." On Balancing the Mix of Action, Comedy, Romance and Mystery in The Fall Guy Kelly: It was like problem-opportunity in a sense. I consider David an atonal director — and that used to be such a dirty word, but I actually think it's such a positive thing because you never know what energy you're feeling or you're going to be having in a David Leitch film. You may be crying one moment and laughing the next, and feeling the stakes in one moment and thinking it's ridiculous another moment later. When you have three movies in the one movie, that is the bigger challenge — to strike that tone and to get all of that right. And so it was a way to challenge David in his filmmaking." David: "I loved it. I loved taking the audience on a ride. I liked what Kelly just said, laughing at one moment, being awed by spectacle the next, then pulling at the heartstrings few minutes later. And to have an a property, an IP, where we could do that and have two actors that can pull it off with you is was really, really fun to do." On Casting Ryan Gosling — and Only Approaching Ryan Gosling for the Part David: "Ryan is obviously an incredible actor. He's great at comedy. He's great at romance. And our early conversations — he was the only person we went to, and we were crossing our fingers and toes that we would get him. It was even before we had a script. But I think he saw the potential in the property and the potential in this underdog hero, and that we could create an action, hopefully, franchise where he could use all those skill sets. I think that's what he was excited about — where he could use romance and comedy, and his new action chops that he had on The Gray Man. So a lot of the DNA of the tone stems from also what Ryan was excited about doing and we all leaned in as well, and it was fun." On Casting Emily Blunt — and Shaping the Role to Suit Her Kelly: "To be honest, we just feel so lucky that we got her. Right before we went to her, we switched the role from a makeup artist to a first-time director, thinking that it raised the stakes for that character and allowed for her to be in a place where she was dealing with some really serious stuff, like the weight of her dream on her shoulders and getting that to take over directing for the first time — and then this person who basically broke her heart and she thought she was over coming in, and the last thing she ever wanted to see, and the one thing that could probably disrupt this big opportunity for her. We went to Emily right after we had come up with that idea with a very, very rough draft and felt so lucky that she saw her way into it, so that she could add so many layers. And so, in a sense, it was really tailored to her as well to like Colt was to Ryan." On Shooting in Sydney, Including on the Sydney Harbour Bridge and at Sydney Opera House Kelly: "It was really exciting, actually, to get the access to both of those two super-iconic locations. I was amazed at how much time we got at the Opera House. And we chose a scene that we could really exhibit the Opera House as something other than the Opera House — Jody Moreno is using it as the sci-fi backdrop of her epic sci-fi love story. That they allowed for us to put a bunch of sand on the beautiful stairs, and bring in waterworks so that we could make it rain, even though the sun was shining that day — and let us yank and pull and show the beauty of what a ratchet looks like in an action sequence — that stuff you don't get to see when you're normally looking at just the film, instead of the movie being made. It was really, really exciting and we just kept pinching ourselves. 'Can you believe we're just at the stairs with the Opera House here and they're letting us do this? This is a thing.' It was amazing. The whole city just really opened their arms, and wanted to solve the problems and give us access and show the town. And we just hope that everyone's really as happy with it as we are in showcasing Sydney. We really consider it a love letter to to this town." The Fall Guy releases in cinemas Down Under on Wednesday, April 24, 2024. Read our review.
Tales of projects that failed to come to fruition are common in the film industry, as is the wistfulness among audiences for what could have been in different circumstances. Iconic auteur Alejandro Jodorowsky's attempts to mount a cinema adaptation of Frank Herbert's 1965 science fiction novel Dune in the mid-1970s affords yet another example, but rarely has the recollection of a thwarted production been so entertaining. As relayed in the aptly titled Jodorowsky's Dune, the retelling of his efforts is the stuff cinephiles' dreams are made of. Director Frank Pavich assembles a who's who of cinema to furnish an account of how Jodorowsky, then riding a wave of fame thanks to El Topo and The Holy Mountain, tried to take Dune to the screen a decade before the David Lynch-helmed version emerged. Drive filmmaker Nicolas Winding Refn helps fuel the legend and kickstart the exploration of the documentary's central theories: first, that the finished film would have changed the course of cinema history; second, that even in its never-completed form, perhaps it still did influence all sci-fi offerings that followed anyway. The epic effort certainly would have been a sight to behold, as a volume of artwork created in pre-production clearly shows. Jodorowsky had corralled a host of remarkable talent into bringing his passion project to life, including the biggest names in entertainment at the time. Pink Floyd were set to provide the soundtrack; Salvador Dali, Orson Welles, David Carradine, Udo Kier and Mick Jagger to star; H. R. Giger (Alien), Chris Foss (Superman) and Jean 'Moebius' Giraud (Tron) to design; and Dan O'Bannon (Star Wars) to create the special effects. Jodorowsky's Dune may be indulgent, slightly made and steeped in idolatry in its ode to the imagination, but as wild stories unravel, it swiftly becomes apparent that no other approach would have been possible. Now-octogenarian Jodorowsky understandably steals the show as he reflects upon what would be a turning point in his career, his colourful anecdotes and amusingly frank admissions raising a permanent smile. Talking-head interviews with other surviving parties fill in further details, adding to the building of the film's mythology. In a fitting postscript, the celebratory central tale is not the only remarkable story to stem from Pavich's chronicle. During the documentary's making, Jodorowsky reunited with producer Michel Seydoux after decades out of touch, beginning to talk about collaborating once more. Their vision of Dune may have floundered, but 23 years after the auteur's last effort, they came together for 2013's The Dance of Reality. A bittersweet consolation, perhaps, but also proof that the power of creativity cannot be stopped, even if the potentially greatest sci-film of all time never came to be. What if indeed. https://youtube.com/watch?v=4WWu1kclNDA
Believe it or not, it's been 17 years since Stephenie Meyer's vampire romance saga first hit the big screen — and since tweens across the globe collectively fell in love with Kristen Stewart and Robert Pattinson, too. The pair's careers have rocketed since, with KStew hopping between everything from Clouds of Sils Maria, Personal Shopper, Charlie's Angels and Happiest Season to Spencer, Crimes of the Future and Love Lies Bleeding, and RPatz going from The Rover, The Lost City of Z and Good Time to High Life, Tenet, The Batman and Mickey 17. They'll always have that undead franchise on their resumes, though. Forgotten what the five vamp films are like? Love them and want to see them on a big screen again? Just adore movie marathons in general? Whatever reason you have, the Twilight Saga Overnight Marathon wants you to sink your fans in. Stewart, Pattinson, Taylor Lautner (Home Team) and all-star supporting cast that spans Dakota Fanning (The Watchers), Anna Kendrick (Woman of the Hour), Michael Sheen (A Very Royal Scandal) and Bryce Dallas Howard (Argylle) will all feature at Cinema Nova as the five blockbusters hit the silver screen once more. The lengthy journey of glorious supernatural light-erotica will kick off at 8pm on Saturday, April 26, 2025 — with sessions also at 9pm and 9.45pm — all as Bella lands in Forks, Washington in the original Twilight film. From there, it's all love triangles, revengeful vampires and half-human babies as New Moon, Eclipse and the two-part Breaking Dawn features run back-to-back. Tickets cost $45, and expect company — these sessions always prove popular. Also, you'll score breakfast via the complimentary cereal bar in-between the two-part finale.
Just how many finished cigarettes have been stamped out on the footpath, or casually flicked into the gutter? According to Greenbutts, no less than 4.5 trillion annually. And while these trillions of cigarette butts (typically made from cellulose acetate) are technically biodegradable, they take between 10 and 15 years to decompose. In 2006, cigarette butts amassed to 24.7% of the rubbish collected during the International Coastal Cleanup. Greenbutts has introduced a 100% natural alternative to traditional, chemical-laden cigarettes. Greenbutts' cigarette filters are composed of plant seeds, natural flax, cotton and de-gummed hemp, all bound together by natural starch and water. When covered by a thin layer of soil, discarded Greenbutts will sprout into flowers: a much lovelier and eco-friendly sight than a squashed butt. [Via Lost At E Minor]
When it comes to furnishing your home, finding pieces that strike the holy trinity of looks, build and cost is close to impossible. But with the return of the annual Fenton & Fenton Warehouse Sale, levelling up your interiors with a burst of colour and style suddenly doesn't feel so hard, or expensive. Open to the public from Friday, March 20–Sunday, March 22, the F&F crew is swinging open the doors to its sprawling Oakleigh warehouse once again. Inside, you'll encounter a vibrant mix of samples, ex-display pieces, archive designs, imperfect treasures and one-off finds, with prices up to 70 percent off. "This is where design lovers uncover pieces they'll never see again," says founder Lucy Fenton. "It's part treasure hunt, part design event, and always full of surprises." As you roam the space, you'll come across sculptural sofas, statement dining pieces and colourful accessories that give your blank walls or bare benchtop a little more personality. Alongside curious objects and attention-grabbing artworks, you can go bold with your home aesthetic and feel better about your bank account.
This time last year, there emerged an unlikely hero of Victoria's COVID-19 pandemic: Victorian Chief Health Officer, Professor Brett Sutton. So enamoured were people, that the obsession spawned a whole line of merch emblazoned with his charming mug. Now, Ashley Ellis, the local artist behind those designs, has turned her talents — and, like many Victorians, her attentions — towards the state's COVID-19 response commander, Jeroen Weimar. A regular face at Victorian press conferences and widely praised for his clear communication style, the eloquent Weimar has become the latest public figure to inspire a range of Ashley Ellis merch. You'll find doona covers, cushions, laptop sleeves, coasters, tote bags, wall clocks, stickers and even bath mats; all sporting a print of his face, available to buy now over at Ellis' Red Bubble online store. Fittingly, there's also a printed face mask in the collection. According to Ellis, the requests for Weimar merch have been flooding in and now seemed like the perfect time to make it a reality. "As a former mental health social worker, I know better than anyone that a bit of gallows humour and light-heartedness can really help get people through in incredibly tough time," Ellis told Concrete Playground. As for how the merch collection has been received by the man himself, it seems he's as humble as you'd expect. "Fortunately, when asked by a friend of mine who is an ex-colleague of Jeroen, he said it's causing great hilarity among his mates and has said he was 'rather incredulous' to be included in my 'pantheon'," Ellis said. "I'd never thought of my little drawings as a pantheon but I was very relieved to hear he didn't think I was a weirdo." Also currently available on Ellis' online store are merch designs featuring Victorian Premier Dan Andrews, CHO Brett Sutton and the infamous 'I've done all of Brighton' lady from last year's lockdown. Snap up some Jeroen Weimar-inspired goodies from Ashley Ellis' Red Bubble store and see more of her designs over on Instagram.
Ever convinced yourself that you needed something from Bunnings on a Saturday morning just so that you could down a snag in bread? If you answered no to that question, we don't quite believe you. The hardware chain's sausage sizzles are a beloved Australian weekend ritual, and we all missed them when they were put on hiatus during lockdowns. Come Saturday, July 23, however, they'll cost an extra $1. The price increase marks the first change in 15 years, and will see snags in bread go up from $2.50 to $3.50. And if you're quick to blame inflation, you're right, but it's worth remembering that the whole point of the sausage sizzles is to raise money for community groups. With the price of just about everything going up over the past few months, the community groups, not-for-profit organisations and charities that host the weekend barbecues have asked Bunnings to up the price so that their fundraising activities aren't impacted. When sausages, bread, onions, sauce and oil costs more for them to buy, that's less cash they're making after those snags have been sizzled, then sold to hardware-shopping customers. The entire price increase — the whole price for each snag, in fact — still goes directly to the community group running the barbie. So, while you'll be out an extra dollar, you'll also still be doing an ace deed. Drinks will remain $1.50, which means that you can grab a bite and a beverage for a fiver. On average, each Bunnings sausage sizzle brings in around $800–900, with more than 155,000 held at Bunnings outlets across Australia in the past five years alone — raising more than $140 million in that period. Bunnings' sausage sizzle prices will increase to $3.50 per snag from Saturday, July 23. For more information about the hardware chain, head to its website.
Stories about the world as humanity currently knows it ending, then those that remain endeavouring to cling to whatever life is left and make the most of it, aren't just stories of survival. As they fill screens big and small — be it in movies in the Mad Max and A Quiet Place franchises, or in TV shows like The Last of Us, Fallout, Station Eleven and Paradise, to name a mere few recent and diverse examples — they tell tales of needs, costs, threats, changes and choices. A sensation in the video-game domain since 2013, and as a HBO series from a decade later, The Last of Us knows that what it takes to endure, the price paid and the type of person that such an experience makes you all firmly beat at its heart. Adapted for television by Chernobyl's Craig Mazin, it's equally and just-as-acutely aware that the kind of new existence that should spring after apocalyptic horrors is as much its focus. There was no escaping those ideas in a TV smash that proved one of the best new shows of 2023 in its first season. There's no avoiding it in one of the biggest and most-anticipated small-screen returns of 2025, either (in a year that's been filled with huge comebacks so far, thanks also to Severance season two, the third seasons of The White Lotus and Yellowjackets, Hacks season four, plus Daredevil: Born Again as well). The Last of Us season two picks up five years after the events of season one, with Joel (Pedro Pascal, The Wild Robot) and Ellie (Bella Ramsey, Chicken Run: Dawn of the Nugget) engrained in the survivor community of Jackson, Wyoming — and with how to forge a path forward, and to create a better future for the younger generations navigating existence after the cordyceps infestation, as clear in its sights as a clicker spied through a rifle scope. For Gabriel Luna, season two is indeed a return. A star of Terminator: Dark Fate, True Detective, Agents of SHIELD, Matador and more before stepping into the shoes of Joel's younger brother Tommy, and seen in Fubar and heard in Secret Level since The Last of Us debuted its first season, he's back in a part that's stuck with him. "Even during hiatus, I never really felt completely removed from the flow of the story," he tells Concrete Playground. Accordingly, he's not new to pondering the show's depths, and also thinking about its true monsters — not clickers, aka the long-term infected after their exposure to the fungus that's largely wiped out the planet, but some of the people taking doing whatever is necessary to the extreme in the nightmarish situation that the likes of Joel, Ellie, Tommy and the latter's wife Maria (Rutina Wesley, Queen Sugar) have been weathering. As the second season unpacks Jackson's hard-earned new status quo — where post-pandemic normality is the aim, but guarded walls, patrol runs, trauma counselling, and other such security measures and coping tactics will never not be elements of the daily routine — Isabela Merced and Young Mazino are fresh to The Last of Us' realm. The former plays Dina and the latter is Jesse, both of whom will be familiar to anyone that's played The Last of Us Part II. Merced joins the series after 2024's Madame Web and Alien: Romulus, plus the movie adaptation of Dora the Explorer, featuring in Instant Family and Sicario: Day of the Soldado, and leading Nickelodeon TV series 100 Things to Do Before High School before that. Mazino's resume also spans back to 2013, as Merced's does, but he's best-known for Beef, which earned him an Emmy nomination for Outstanding Supporting Actor in a Limited or Anthology Series or Movie. [caption id="attachment_999544" align="alignnone" width="1920"] Scott Ehler, Max[/caption] As Dina and Jesse, Merced and Mazino find themselves thrust into season two's big schism, as Luna's Tommy also is. Gone is the surrogate father-daughter closeness that Joel and Ellie carved out in season one, with their relationship instead evolving into the frequent next step as children grow up: distance and rebellion, and a parent dismayed at their connection changing so drastically. Audiences know, of course, that's there's more to the tension between Joel and Ellie thanks to the events of the first season — thanks to decisions and actions that also link to fellow cast addition Kaitlyn Dever (Apple Cider Vinegar) as Abby. New faces (The Studio's Catherine O'Hara is another), both friends and foes; acrimony between a pair that earned their bond, and each other's trust, the hard way in season one; a love triangle; contemplating what type of community that Jackson wants to be; a quest for revenge; an early showdown with clickers: The Last of Us kicks off its seven-episode second season with all of the above. Before that even arrives, a third season was locked in, too. When Luna, Merced and Mazino travelled to Australia to help launch HBO's dedicated streaming platform Max Down Under — where you'll find The Last of Us season two streaming from Monday, April 14, dropping its instalments week by week — we chatted with the trio about where the new chapter takes the series, what excited Merced and Mazino about becoming a part of it, how Luna approached coming back, digging into those survivalist themes and facing down clickers, among other topics. On What Excited Merced and Mazino About Joining The Last of Us for Season Two — and the Unexpected Injuries That Came Along the Way Isabela: "Initially there's the pull of the massive, just enormous size of the show — and the amount of cast members, the amount of action scenes. That was the initial pull. And then with all of the writing, it's so deep and it's so much that you can chew on and really get yourself into and throw yourself into. I love how Craig writes his characters, so I was excited to just be one of those." Young: "Yeah, I second everything she just said. You can tell the writing's excellent in the first season, and so I was so excited to get to chew on those words. And it's fun. And the physicality of it, getting to do fun things like riding horses and shooting guns and running around fighting clickers." Isabela: "Oh that's right, you pulled a muscle." Young: "Yeah, yeah. My hamstring exploded in one scene and I think you can hear me going like 'aaaah' at the end of that — and I think they kept it in the episode, too. So good times, yeah." Gabriel: "I had almost pulled a quad, and then I remember, then I did pop my calf, I think. It's healed now." Young: "Yeah, you've got to warm up." Gabriel: "You've got to, but it's hard when it's so cold. I mean -20 degrees, it's hard to get warm." Young: "I'm just eating a sandwich on the steps of my trailer and they're like 'alright, you ready?' I'm like 'yeah'. And then next thing you know, I'm booking it like 15 times in a row." Isabela: "You're an athlete, too." On How Luna Approached Stepping Back Into Tommy's Shoes for the Second Time Gabriel: "Even during hiatus, I never really felt completely removed from the flow of the story. This just always — I just remained in contact with Craig and we'd talk a lot, and text about different things and ideas for the second season. And so even while off on other jobs, this job very much took up residence and has a lot of real estate in my heart and my mind, and I think about it a lot. So I went into it ready to get back to work. And I think some of that is being excited for what was to come. Knowing what happens in the second game as far as Tommy is concerned, it was all something that I had been champing at the bit to get back into anyway. We talked about all of our injuries, but just trying to stay as physically ready as I could, even though Craig was telling me 'you know what, you know you're 55 in this story, so you can't be in too good a shape'. I was like, 'well, that's where the acting will come in, because I don't want to die out there'. It was a lot, but I was, I felt, ready — and we were ready, and we got it done." On How Season Two's First Episode Sets the Scene for What's to Come Gabriel: "For Tommy, he is a new father. He's been forced to lock in — kind of a born to dilly-dally, forced-to-lock-in type of guy— but he's really taken on that role and those responsibilities willingly, with a lot of love and compassion for his family first, and then, of course, his community. So he's had to mature quite a bit. He and Maria have Benjamin [Ezra Benedict Agbonkhese, Snowpiercer], their son. And he's also a bit of the go-between and the mediator between a lot of elements of his family." Isabela: "[For Dina and Jesse] You kind of catch them in the middle of the love triangle. So yeah, you kind of feel that tension — and it's interesting because you leave the audience with a lot of questions, but they'll get answered." Young: "Yeah, you see the breadth of the aftermath of something that just happened, and we're stepping into this uncharted territory of what's to come." Isabela: "It was interesting as actors to sort of have to do that as a first scene together." Young: "Yeah, that's interesting — and it's clever, it's clever writing, too, to establish that so quickly, which I think people will see in the first episode." On Digging Into the Show's Themes, Including What It Means to Survive, What It Requires and Costs, and Building a New World Gabriel: "When preparing for the first season, I enlisted the help of my friend Jack Nevils, who trains army snipers, and he was our military consultant on Terminator: Dark Fate. And the one thing that he said to me very early in the process that stuck and resonated was 'you know, I've been in these places where when resources are low, people become monsters, and it happens very quickly — that descent happens swiftly'. And so it's kind of carrying that sense of the paranoia of a lot of the threats. The monsters are a known quantity; it's the people that you encounter, and their deception and their intentions and their designs, that you have to be wary of. I think I'm a very open person in my personal life, and very trusting and want to give people the benefit of the doubt, but I think within this world your senses are heightened and your awareness — I think it's important to open that awareness and to be able to clock the threats." Young: "I was just thinking, there's the world-building and the environment, but then I think it it's also important to look at the character. And I personally pull threads of very specific people that I know in my life, and kind of combine them to amalgamate into this character that I think would serve this story." Gabriel: "Yeah, and a good point — while they are the greatest threat, people, they're also the greatest resource. If you can find the right people and move together, yeah, that is how you survive." Young: "Community." On What Merced Draws Upon When Facing Clickers, Including in Season Two's First Big Showdown Accompanied by Bella Ramsey as Ellie Isabela: "That's kind of the first bit of clicker action we get in the series, is that — and I find it fascinating that I didn't know what to expect in the process, but I saw the clickers on that day for the first time, and the actors that are playing them are usually stunt people and they get them as close as possible to what you see on the show in the final result. So I got to see their real movements and their actions, and their general demeanour is so frightening, I think, because it's so unpredictable. They did a really good job choreographing them — and it's really, really fun. And as a fan of the game, just to see that in person, it's really cool. The Last of Us season two streams from Monday, April 14, 2025 Down Under, via Max in Australia and Neon in New Zealand. Read our review of the first season. Images: HBO.
Musicals don't get much bigger than Les Misérables. That's been evident on the stage for more than four decades. When the production has been adapted for the screen, too, it's also been clear. In Australia, next comes Les Misérables: The Arena Spectacular, which will put on a show set in 19th-century France on a three-city tour from April 2025. Do you hear the people sing? Audiences in Sydney, Melbourne and Brisbane definitely will when the production gets the music of the people, plus the songs of angry men, echoing. A stacked cast and a 65-plus-piece orchestra will bring Les Misérables: The Arena Spectacular to life at ICC Theatre, Rod Laver Arena and the Brisbane Entertainment Centre, with the format heading Down Under after playing the UK and across Europe. Starting on Wednesday, April 30 in the Harbour City, Australia is getting a five-week-only run, before the show travels through Asia — including Japan, Taiwan and China — and then returns to Europe, with American and Canadian seasons also planned. What makes this an arena spectacular, other than the venues that it's playing? The production isn't just taking the stage iteration of Les Misérables as is to sizeable sites — as a concert, it has been specifically created and designed for such locations. Les Misérables: The Arena Spectacular was born to celebrate a hefty milestone for the song-filled theatre take on Victor Hugo's famous 1862 novel: the London production of Les Misérables reaching its 40th year in 2025. Yes, it's West End's longest-running musical. But the arena spectacular's origins hail back earlier, to not long after Les Mis debuted on the stage in 1980 — and also have ties to Australia. "I have long dreamt of taking an Arena Tour of Les Misérables around the world, but I am especially thrilled to be bringing it back to Australia where the outrageous of idea of doing Les Mis as a concert began," explains producer Cameron Mackintosh. "When I first did the stage production of Les Misérables in Sydney in 1987 — with the wonderous Marina Prior as Cosette (only two years after its London opening) — we were invited to do a concert in Sydney's Domain in January 1989 as part of the Sydney Festival. It was very early in the life of Les Misérables, so we had no idea if anyone would turn up, let alone know the music, as the show had only been playing for a year in the 1000-seat Theatre Royal. But, to our astonishment, 135,000 people turned up and embraced the show with a mighty roar — it was a night I will never forget, and the concert was born." On its three Aussie stops, Les Misérables: The Arena Spectacular will star Tony-winner Alfie Boe and British talent Killian Donnelly sharing the role of Jean Valjean, while Michael Ball — who featured in the original London 1985 production — plus Bradley Jaden are doing the same with Javert. Prior is back as Madame Thénardier, as part of an international cast that also includes Little Britain's Matt Lucas as Thénardier, Rachelle Ann Go as Fantine, Jac Yarrow as Marius and Beatrice Penny-Touré as Cosette. Les Misérables: The Arena Spectacular Australian Dates 2025 From Wednesday, April 30 — ICC Theatre, Sydney From Wednesday, May 14 — Rod Laver Arena, Melbourne From Wednesday, May 28 — Brisbane Entertainment Centre, Brisbane Les Misérables: The Arena Spectacular is touring Australia from April–June 2025. Ticket presales start at 1pm local time on Tuesday, November 19, 2024, with general sales from 1pm local time on Friday, November 29, 2024. Head to the production's website for more details and to sign up for the waitlist. Images: Danny Kaan.
The Italian Dolomite region of the European Alps is dotted with mountain huts called rifugi, simple lodgings that serve hearty food and drink after a long day on the slopes. The Alps — Commercial Road's cosy neighbourhood wine bar — channels that same spirit, offering Melburnians an inviting rifugio of their own, whether on a lazy afternoon or a chilly evening. Run by the team behind hatted Richmond wine bar Clover, The Alps recently unveiled a thoughtful revamp, complete with an expanded food menu and a new-look courtyard. The once snack-heavy offer has made way for a heartier — yet no less shareable — menu by new Head Chef Miller Cowie (ex-Freddy's and Zita's) and Charley Snadden-Wilson (Co-owner and Executive Chef of Clover) that's now anchored by thin-based Roman-style pizzas with sauce that reaches right to the edges. The menu will feature a mix of permanent signature pies and seasonally rotating specials. Wine remains a core part of the experience — and on the 400-strong list, you'll find a cleverly curated selection spanning alpine producers, natural trailblazers and old-world icons. There's also a smart selection of local beers, Alpine-inspired cocktails and a strong showing of amari behind the bar, for those after something different. Out the back, an updated courtyard is now an all-weather affair thanks to a retractable awning and heaters, making it primed for year-round catch-ups. Inside, a newly integrated open kitchen brings the action to the bar, while the venue's warmth remains intact thanks to the open fire in The Cabin, which continues to host The Alps' signature Cabin Conversations — a fortnightly dinner and conversation series led by winemakers, importers and wine journalists. Plus, Thursday nights host complimentary wine tastings, with a different producer spotlighted each week. Images: Jack Carlin.
One of modern art's most argued-about works has been sold. Tracey Emin's famously debated 1999 work My Bed went under the hammer for the very first time, complete with dirty sheets, cigarette butts and condoms — and taking away a cheeky £2.2 million. Emin, who showed up to the auction yesterday, gained notoriety when her work Everyone I Have Ever Slept With 1963–1995 debuted at a 1997 Charles Saatchi's Sensation exhibition at London's Royal Academy. After getting drunk, going on national TV and getting all sweary, she'd release My Bed two years later to colossal debate. One of modern art's classic "Is this art? What is art? Is this bag of wrenches art?" generators, My Bed was expected to sell between £800,000 and £1.2 million (roughly $1.4 million to $2.2 million) at auction — instead raising the bar to £2.2 million. With the buyer's premium, My Bed really went for £2,546,500; a world record for Emin at auction. Francis Bacon's Study For Head Of Lucian Freud was also put under the hammer, fetching a quiet little price of £10.2 million. The highly-scrutinised installation is a recreation of Emin's actual bed during a rough time — the artist spent days in the bed during relationship difficulties and dealt with suicidal thoughts. Scattered with paraphenalia from the artist's own bedroom (condoms, menstrual-stained underwear, slippers), My Bed caused controversy not for the collective sum of confrontingly personal items but for the stains on the sheets. Gallery-goers saw the traces of bodily secretion as a little too human. "It's a self-portrait, but not one that people would like to see," Emin said. "I took everything out of my bedroom and made it into an installation," Emin said. "And when I put it into a white space, for some people it became quite shocking. But I just thought it looked like a damsel in distress, like a woman fainting or something, needing to be helped." The new owners (who haven't been revealed yet) might be able to recreate the work of two performance artists, Yuan Chai and Jian Jun Xi, who jumped on Emin's bed in a performance creatively titled Two Naked Men Jump into Tracey's Bed. Most interestingly will be the conditions under which the new owner must actually display My Bed. Previously (when not displayed in a gallery setting) the work has been on display at the home of its owner Charles Saatchi. As The Guardian reports, the work — a flurry of seemingly random miscellany — has very meticulous installation instructions. "It's a very complicated piece to put together," Director of Cadogan Tate Fine Art Stephen Glynn says. "It comes with a dossier of photographs of every object, and a list of where exactly everything needs to go." A bit like an Ikea instruction manual, then? "A bit. You're certainly trying to make sure that everything goes in the right place." Displayed at the Tate Modern in 1999, My Bed was shortlisted for the Turner Prize that year. Saatchi can now count its sweet, sweet Emin pennies, with proceeds going straight back to the Saatchi Gallery — the team are moving to make the gallery have free admission. Via BBC, Reuters and The Guardian.
On May 20, 2011, 500 people will explore the Stephen A. Schwarzman building of the New York Public Library (NYPL) from dusk 'til dawn in a new interactive game allowing players to become an author by sunrise. Find the Future is an overnight adventure where participants have specific missions and objectives to complete through the secret underground stacks of the library, where over 40 miles of books are housed. By the end of the excursion the group will have collaboratively written an entire book that will be published and entered into the permanent collection of the NYPL. Participants will observe over 100 objects of monumental significance to mankind and learn over 100 untold stories that are aimed to inspire creativity and encourage people to realize their dreams and goals for their own lives. The entry form to become one of the first lucky few to begin the Find the Future quest asks individuals to imagine a vivid picture of their future and then create a goal to achieve by the year 2021. The most original and determined entries will be selected for the overnight stay. Following the debut on the 20th, anyone can play the game during regular library hours at the NYPL, or online from anywhere in the world, to make history by finding their future.
When someone spots a giant spider, they take notice, even when it's simply a tall metal piece of art. Seeing one of Louise Bourgeois' towering arachnids is indeed a stunning experience; however, so is watching people clock her lofty works. Her Maman sculptures demand attention. They're the type of public art that audiences just want to sit around, soak in and commune with. They're photo favourites, too, of course — and one is coming to Australia. This will be the first time that Maman has displayed Down Under, with the world-famous work heading to Sydney as part of Sydney International Art Series returns for 2023–24. As previously announced, Bourgeois is one of three hero talents scoring a blockbuster exhibition during event, alongside Wassily Kandinsky and Tacita Dean. And, the nine-metre-high, ten-metre-wide sculpture that she's best known for will be catching Aussie art lovers in its web. [caption id="attachment_914565" align="alignnone" width="1920"] Louise Bourgeois' Maman, located outside the National Gallery of Canada. Radagast via Wikimedia Commons.[/caption] That said, there won't be any physical strings of silk — but Maman is that entrancing. The sculpture hails back to 1999, and boasts its name because it's a tribute to Bourgeois' mother. The artist described her mum as "deliberate, clever, patient, soothing... and [as] useful as a spider". If you're keen to see Maman on home soil, it'll sit on the forecourt of the Art Gallery of New South Wales' South Building from Saturday, November 25, 2023–Sunday, April 28, 2024 during Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day?'s run. And if it sounds familiar, that's because you might've seen permanent installations of the bronze, steel and marble work outside the Mori Art Museum in Tokyo — or at the Tate Modern in the UK, National Gallery of Canada in Ottawa, Guggenheim Museum Bilbao in Spain, Crystal Bridges Museum of American Art in Bentonville in Arkansas or the Qatar National Convention Center in Doha. [caption id="attachment_914560" align="alignnone" width="1920"] Louise Bourgeois 'Clouds and Caverns' 1982–89, metal, wood, 274.3 x 553.7 x 182.9 cm, Collection The Easton Foundation, New York, courtesy Kunstmuseum Den Haag © The Easton Foundation, photo: Christopher Burke.[/caption] "We are proud that the subject of our first major solo exhibition in our new SANAA-designed North Building, almost one year since opening, is the great Louise Bourgeois. We are honoured to introduce this deeply influential artist to new generations, and to have the opportunity to share the strange beauty and emotional power of her art with Sydney,' said Art Gallery of New South Wales director Michael Brand. "The scale of this exhibition, which is one of the most extensive ever dedicated to an international woman artist in Australia, demonstrates our commitment to revealing the depth and complexity of the artistic careers we explore and our commitment to celebrating the work of women artists in our collection and exhibitions." "We are proud to bring Maman, the largest spider sculpture ever made by Bourgeois, to Sydney for the very first time, and to be showcasing the extraordinary breadth of the artist's practice, which includes fabric sculpture, works on paper, bronzes, works from her series of Cells, mechanised sculpture, and more." [caption id="attachment_914563" align="alignnone" width="1920"] Louise Bourgeois 'Twosome' 1991, steel, paint, electric light, 190.5 x 193 x 1244.6 cm, Collection The Easton Foundation, New York © The Easton Foundation, photo: Elad Sarig.[/caption] A collaboration with The Easton Foundation in New York, Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? will showcase more than 150 works. It's the largest survey of Bourgeois' work ever displayed in Australia — and, as Brand mentioned, one of the most comprehensive ever devoted to a female artist in the country. The Bourgeois exhibition will display 13 years after the Paris-born artist passed away in New York in 2010, and after she stamped her imprint upon the art of the 20th century. Visitors to will see her Personage sculptures from the 1940s, textile works of the 1990s and 2000s, and plenty in-between, with the showcase playing up the duelling themes and ideas in her work by taking over AGNSW's major exhibition gallery and 'the Tank'. Other highlights include The Destruction of the Father, which is among the pieces that've never been displayed in Australia before; Crouching Spider, and one of the biggest works ever to grace the Tank; Clouds and Caverns, which is rarely seen in general; and the mirrored piece Has the Day Invaded the Night, or Has the Night Invaded the Day?, which shares the exhibition's moniker. [caption id="attachment_889027" align="alignnone" width="1920"] Louise Bourgeois, The destruction of the father 1974-2017, archival polyurethane, resin, wood, fabric and red light, 237.8 x 362.3 x 248.6 cm. Glenstone Museum, Potomac, Maryland. Photo: Ron Amstutz. © The Easton Foundation.[/caption] Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? runs from Saturday, November 25, 2023–Sunday, April 28, 2024 at the Art Gallery of New South Wales, Art Gallery Road, The Domain, Sydney, with tickets on sale from Wednesday, September 6. Sydney International Art Series runs from November 2023 — head to the AGNSW and MCA websites for further details. Top image: Louise Bourgeois 'Maman' 1999, installed during the exhibition 'Louise Bourgeois: To Unravel a Torment', Museu de Arte Contemporânea de Serralves, Porto, 3 December 2020 – 20 June 2021 © The Easton Foundation, photo: Filipe Braga.
Stages graced with international acts? Check. A hefty lineup led by Lizzo, Flume and Mumford & Sons? Check again. Gumboots aplenty, everyone from Pussy Riot to Tony Armstrong, and three wild days at North Byron Bay Parklands? Tick them off the 2023 Splendour in the Grass checklist, too. A graveyard, though? No one had that on their Splendour bingo card, but it's part of this year's fest thanks to ABC series War on Waste, which is drawing attention to fast fashion. Sometimes, you need to see a problem to truly grasp it. That's an approach that folks have been applying to the vast piles of textiles that end up in landfill for some time — in 2022, Joost Bakker filled Melbourne's Federation Square with 3000-plus kilograms of fashion waste, for instance. A cemetery symbolising discarded clothing items is another eye-catching away to get everyone thinking about the issue, with this pop-up gracing Splendour for its full 2023 run from Friday, July 21–Sunday, July 23. "Fast fashion has exploded! We've moved to ultrafast fashion, even though 30 percent of clothing in the average wardrobe has not been worn in the last year," said War on Waste host Craig Reucassel. "We're throwing out ten kilograms of fashion per person each year. To make only the cotton clothes that we throw out each year would take as much water as there is in Sydney Harbour. Meanwhile, over 60 percent of our clothes are made from plastic derived from fossil fuels." "Through this activation, we hope to engage the festival community in meaningful conversations about the impact of fast fashion and inspire them to embrace more sustainable and ethical practices. Buy less and wear it longer!" Reucassel continued. Splendour attendees will spot the graveyard opposite the Forum and Comedy Club, acting as a commentary on the 227 million kilograms of clothing that goes to Aussie landfills every year. The site's tombstones jokingly pay tribute to items bought and scrapped quickly, yet won't decompose for hundreds of years, and offer facts about the problem. Everything featured has been recycled or repurposed, and all materials used will be recycled or repurposed again after Splendour is over. As well as getting festivalgoers thinking about their outfits, the cemetery pop-up is timed to promote War on Waste's third season, which hits the ABC from Tuesday, July 25. Splendour in the Grass runs from Friday, July 21–Sunday, July 23, 2023 at North Byron Bay Parklands — head to the festival website for further details and tickets. Images: Georgia Jane Griffiths.
Musicals don't get much bigger than Les Misérables. That's been evident on the stage for more than four decades. When the production has been adapted for the screen, too, it's also been clear. In Australia, next comes Les Misérables: The Arena Spectacular, which is putting on a show set in 19th-century France from May 2025 in the Victorian capital. Do you hear the people sing? Audiences in Melbourne will when the production gets the music of the people, plus the songs of angry men, echoing. From Wednesday, May 14–Sunday, May 25, a stacked cast and a 65-plus-piece orchestra is bringing Les Misérables: The Arena Spectacular to life at Rod Laver Arena, with the format heading Down Under after playing the UK and across Europe. What makes this an arena spectacular, other than the venues that it's playing (including in Sydney and Brisbane, too)? The production isn't just taking the stage iteration of Les Misérables as is to sizeable sites — as a concert, it has been specifically created and designed for such locations. Les Misérables: The Arena Spectacular was born to celebrate a hefty milestone for the song-filled theatre take on Victor Hugo's famous 1862 novel: the London production of Les Misérables reaching its 40th year in 2025. Yes, it's West End's longest-running musical. But the arena spectacular's origins hail back earlier, to not long after Les Mis debuted on the stage in 1980 — and also have ties to Australia. In Australia, Les Misérables: The Arena Spectacular stars Tony-winner Alfie Boe and British talent Killian Donnelly sharing the role of Jean Valjean, with Michael Ball — who featured in the original London 1985 production — plus Bradley Jaden doing the same with Javert. Marina Prior plays Madame Thénardier, as part of an international cast that also includes Little Britain's Matt Lucas as Thénardier, Rachelle Ann Go as Fantine, Jac Yarrow as Marius and Beatrice Penny-Touré as Cosette. Images: Danny Kaan.
There's no single ingredient that will lead to success in the cafe business. Yet why is it that some venues have us queuing down the street just for a morning feed and coffee? Judging by Melbourne's most popular cafes of late, the secret could lie in Scandinavian interior design, succulents in old baked bean tins and logos apparently all produced by the same graphic design house. But there's another trend emerging amongst the cafe community that has seen customers pouring through the doors: dinner items on the morning menu. None of this eggs-and-bacon or muesli business; we're talking everything from hearty breakfast burgers and burritos to sating stews, salads and souvlaki. Shift workers and esurient eaters unite — your time for enjoying a full-on feed at sun-up has finally come. Barry As new kid on the Northcote block, Barry's menu manages to tick every box on the superfood catalogue. In fact, it's actually impossible to eat here without raising your energy and antioxidant levels. For those who simply can't stoop to a standard eggs benny, the cucumber and gin cured ocean trout ($17.50) should attract your immediate attention —slivers of trout are delicately draped over a pretty plate of freekeh, roasted cauliflower, pomegranate, coriander, shredded kale, and soft boiled egg. Don't worry if you’re not a local — just follow the quinoa delivery trucks down High Street and you'll find it, no problem. 85 High Street, Northcote, (03) 9481 7623, barrycoffeeandfood.com Tom Phat Asian street food has little regard for our Western notion of traditional breakfast ingredients, as anyone who's adventurously attempted a morning pork sausage congee will know. At Sydney Road local Tom Phat, Uncle Ho's Brekky with grilled pork chop, crispy fried free-range egg, tomato, cucumber & rice ($16.90) serves as a saucy twist on the classic oinker-and-egg combination, taking its inspiration from a culture that refuses to play by the brekkie-brigade's draconian rulebook. 182-184 Sydney Road, Brunswick, (03) 9381 2374, tomphat.com.au Top Paddock Elsewhere in the world, it's not uncommon for Mexican dishes like tacos, burritos and sizzling, chargrilled meats to make up a morning meal. Back in Australia, however, we still think it's all a bit of a novelty. Nevertheless, Top Paddock have found their own trademark 'dinner for breakfast' in the pan fried local snapper with chilli-fried egg, avocado, tomato, lime and corn tortilla ($19.50). Essentially a deconstructed wrap, the dish spans the entirety of the plate like a well-seasoned performer who knows exactly how to work the stage. Extra points are awarded for the generous use of avocado, which remains refreshingly un-smashed, retaining its structural integrity. 658 Church Street, Richmond, (03) 9429 4332, toppaddockcafe.com Third Wave Third Wave is the kind of cafe that can be relied upon for delivering a daytime dinner. The menu is oddly comprehensive, delving into Eastern European dishes alongside American BBQ country, while still catering to the paleo crew. We're not complaining — the end result is that there's something to please everyone. Recommended: the crunchy risotto hash brown ($19.90), involving a seared mushroom and parmesan risotto hash laden with mushrooms, chorizo, tomato and poached egg. 30 Cato Street, Prahran, (03) 9510 2991, thirdwavecafe.com.au Stalactites The venue might not be in vogue, but Stalacities' twenty-four hour commitment to service makes it worthy of a mention. Long-time hero to hoards of hungry drunks, nurses and insomniacs, it's the kind of place where lashings of hot, spit-roasted meat are available — stuffed into a pita bread blanket — at any time of day. For breakfast it's difficult to go past the sausage souvlaki ($10.50) — a bundle of grilled spicy sausage and fried egg, wrapped in pita like a delicious gift from the Greek food Gods. 177-183 Lonsdale Street, Melbourne, (03) 9663 3316, stalactites.com.au Mixed Business Sure, you could go for eggs any way you like 'em, but how about enjoying them as part of a Ploughman's Breakfast ($17)? This twist on the classic workers lunch combines sharp aged cheese with the acidic bite of sour pickle and the creamy, meaty savour of potted pork — all served on a platter with a soft boiled egg (which provides a token acknowledgement of the fact that this is still breakfast). 486 Queens Parade, Clifton Hill, (03) 9486 1606, mixedbusinesscafe.com Hammer & Tong 412 What else could you expect from a cafe that employs popping candy as a key kitchen ingredient? A breakfast ramen ($15), perhaps? Comprised of confit oyster mushrooms, soy and sesame candied bacon, slow cooked egg, coriander shoots, black sesame seeds and spring onion immersed in a bacon dashi broth, this is, by all accounts, inverts typical Australian breakfast fare. Match it with a coffee from Duke's Coffee Roasters for a true breakfast/dinner mashup. Rear 412 Brunswick Street, Fitzroy, (03) 9041 6033, hammerandtong.com.au The Grain Store The Grain Store has secured a stronghold on the Urbanspoon popularity ranks for some time now, and for good reason. Dedicated to chemical free, organic ingredients — sourced from the cream of the crop in local producers — their dishes deviate from the typical cafe fare by a mile. For a big ballsy vegan brekkie, try cauliflower, quinoa and goji berry with pumpkin hummus, celeriac and nigella seeds ($17). Carnivores needn't be turned off by the lack of animal product either — everybody loves an ancient grain these days, and here you'll find it utilised to maximum potential. 517 Flinders Lane, Melbourne, (03) 9972 6993, grainstore.com.au Hungry Birds Not to be confused with the irritating (although similarly addictive) mobile game Angry Birds, Hungry Birds serve early risers with a deconstructed assembly of black beans, fresh salsa and tortillas from early morn with their chicken with mole poblano ($14.50). Interestingly, it's also Melbourne's first NBN enabled wifi cafe — so those of you who tend to spill their dinner over their laptops would be well advised to bring moist towelettes. 242 Victoria Street, Brunswick, 0401 540 872, facebook.com/hungrybirdscafe Chez Dre It's not the most aesthetically pleasing of dishes, but the braised mushroom ragu (19.50) at Chez Dre is a solid performer amongst those trying their best to avoid the sweets cabinet (resistance to which is futile). A medley of mushies (swiss, button and field varietals) pile atop rich, gooey parmasen polenta, finished off with a lick of truffle oil. While it could easily double as an item on the dinner menu, a poached egg is thrown in to remind us it's still morning after all. Rear 285-287 Coventry Street, South Melbourne, (03) 9690 2688, chezdre.com.au Barry image credit: heidiapples; Tom Phat image credit: Caroline Pankert; Top Paddock image courtesy of Sabrina and Scott from Brunch Addict; Mixed Business image credit: jasonlow21.
It's somewhat of a drag, but it's a Melburnians' Sunday morning ritual — waiting for a table at brunch. It occurs all across the city, in pokey suburban cafes and industrial inner-city spaces, but none seem to match the quintessential wait at Auction Rooms. Even with a number of impressive alternatives just around the corner, still brunchers are willing to wait with growling bellies and pounding heads. They know what's worth waiting for. Luckily, the line isn't stagnant, and thanks to the sheer size of this converted warehouse-cum-cafe, tables are turned over and cleared quickly. If you're willing to wait — and you will have to wait on a weekend — expect to spend up to half an hour on the stand-by bench. Be sure to use your time wisely, by perusing the menu, reading up on the specialty coffee or keeping an eye on other peoples meals as they roll out of the kitchen. Either way, the large, naturally lit modern industrial space, with exposed brick, high ceilings and statement light fittings is one easy to enjoy. When you are seated, coffee by Small Batch Roasting Co. will be needed — make sure to check out the coffee of the day and specialty brewing methods in addition to your usual espresso order. The menu itself is not overly long or too tightly packed, and instead it offers just the right amount of options to make your selection. Place your offers where you will, but the pork belly 'schadenfreude' ($19) and the shakshuka of stewed tomato, eggplant, peppers and chickpeas with Meredith goat cheese, dukkah, poached eggs and grilled flatbread ($17) are both deals you can't pass up. The outside bids are made up of a mix of surprise favourites, with the smoked streaky bacon and chorizo with rhubarb reduction ($8.50) and the macadamia crumbed black pudding ($7.50) interesting inclusions. The menu also offers a few lunch options come midday, as well as smaller breakfast options and cakes at the front counter. Just make sure you leave room for the house-made banana and walnut bread, served with maple syrup and their incredible espresso butter ($10.50). Just as auction-goers used to enter this Errol Street warehouse with their bids, the crowds at Auction Rooms are no different; they know they'll have to wait to pounce on their prize. It's the guarantee of one of Melbourne's best brunch experiences — an exceptionally well-rounded menu, serious coffee and a buzzing space. There are no losers here.
