Seltzer brand Part Time Rangers has arrived with a new line of summer-ready drinks that are helping make a difference. The Peach Penguin is a flavour-packed addition to the brand's range and, as the name suggests, it has an affinity for one of the world's cutest creatures: the penguin. If you pick up a four-pack of these fruity vodka and peach juice drinks, you can feel a little better about your latest boozy purchase than usual. For every seltzer sold, Part Time Rangers donates to conservation initiatives around the world — and this time, a portion of the profits from the peach flavour are going directly to the Conservation Council of Western Australia and penguin expert Dr Erin Clitheroe. WA's Little Penguin has seen an 80-percent population decline since 2007 due to warmer ocean conditions and increased air temperature. It's species like the little penguin that the Conservation Council is working to save. On top of donating these proceeds to help provide assistance with the penguin population of Penguin Island, Part Time Rangers also wants you to get involved directly. After conducting a survey that found only five percent of young Australians consider the Little Penguin a conservation concern, the seltzer brand has launched a competition to try and raise awareness for these fluffy little animals. The seltzer brand is giving away an all-expenses-paid trip to Western Australia to help Clitheroe with her conservation efforts. The winner of this major prize will get to spend three days with the scientist, in what Part Time Rangers has described as a "scholar-sip". They'll also get return flights to Perth, four nights accommodation, $1500 to spend on food and transport, $2000 prize money and a case of seltzer. There will also be ten runner-ups who will each win a hat and a four-pack of seltzer. To enter, just head to the Part Time Rangers website and explain in 25 words or less why you want to fly to Perth and hang out with Dr Erin Clitheroe. Applications for the competition close at 5pm on Monday, February 20. Outside of the Peach Penguin flavour, you'll also find other drinks in the range — like the Pink Rhino, with proceeds going to Rhinos Without Borders, plus the Black and Yellow Elephant flavours, which both raise money for the Big Life Foundation. For more information on Part Time Rangers and the competition head to the brand's website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Thirty-five years ago, Spike Lee (American Utopia) directed his fourth film. Following a jazz trumpeter portrayed by Denzel Washington (Gladiator II), Mo' Better Blues started one of cinema's finest filmmaker-actor collaborations. Before that decade was out, the pair also made 1992's Malcolm X and 1998's He Got Game together. Then came 2006's crime-thriller Inside Man. Next, after a nearly two-decade wait, arrives Highest 2 Lowest. Lee and Washington are two of the biggest names in America filmmaking, and they're back in business together, teaming up on a movie that premiered at the 2025 Cannes Film Festival and will soon stream Down Under via Apple TV+. Highest 2 Lowest initially dropped a sneak peek back in May, asking if audiences can "handle the mayhem?". Ahead of the A24 flick's cinema release in the US, the picture has just unveiled its full trailer. The latest Lee-directed joint not only sees two icons reunite, but also reimagines the work of another. This time, the two Oscar-winners (Lee for BlacKkKLansman's screenplay, Washington for Glory and Training Day) are reinterpreting 1963 crime thriller High and Low from Akira Kurosawa. In the New York City-set Highest 2 Lowest, Washington plays a music mogul who is about to navigate quite the chaos. His character is renowned for having the "best ears in the business", then is saddled with a ransom plot, while also being faced with a moral dilemma with potentially grave repercussions. Also featuring Ilfenesh Hadera (Godfather of Harlem), Jeffrey Wright (The Last of Us), Ice Spice and A$AP Rocky (If I Had Legs I'd Kick You), Highest 2 Lowest is Lee's first film since 2020, when both Da 5 Bloods and concert movie American Utopia released. The movie has a date with US cinemas from Friday, August 22, 2025, then viewers everywhere — including in Australia and New Zealand — will be able to watch Highest 2 Lowest via Apple TV+ from Friday, September 5, 2025. Check out the full trailer for Highest 2 Lowest below: Highest 2 Lowest streams via Apple TV+ from Friday, September 5, 2025.
When Michael Shanks began writing Together over half a decade ago, he didn't start casting in his mind at the time. He didn't pen it thinking that a real-life married couple would play Tim and Millie, his debut feature's protagonists, either. To fuel the Australian filmmaker's leap from YouTube, shorts and TV — including Time Trap, The Wizards of Aus, The Slot, Parked and Rebooted, as well as visual effects on 2019 miniseries Lambs of God— to becoming the talk of Sundance 2025, scoring the first major sale of this year's fest, then playing SXSW in Austin and opening the Sydney Film Festival, however, Shanks was thinking about long-term relationships. They couldn't be more at the heart of his delightfully wild and smart body-horror must-see. So, enlisting two leads who've been together since 2012 and wed since 2017 is indeed perfect. Those stars, and also producers of Together: Alison Brie (Apples Never Fall) and Dave Franco (The Studio), adding another joint project to a shared list that already featured the latter's directorial efforts The Rental and Somebody I Used to Know, as well as the likes of The Little Hours, The Disaster Artist, BoJack Horseman and Krapopolis. Initially, though, Shanks drew upon his own romantic situation — one that owes a debt to the Aussie end-of-school rite-of-passage that is Schoolies. When an Australian thinks of that week of typically Gold Coast-set revelry playing a part in a horror film, a picture about falling for someone, sharing a life with them, commitment and co-dependency isn't a concept that naturally springs to mind. But that's Together, which is also a movie about love sticking. It takes that concept literally. Franco's Tim and Brie's Millie kick off Together as enmeshed in each other's existence as a couple generally, usually, normally can be. A big move, also literal, is their next step by each other's side: relocating for Millie's job as an elementary school teacher. But their going-away party turns awkward when a marriage proposal doesn't quite go as it should — and as aspiring musician Tim begins gleaning how shifting out of the city for Millie will practically impact his ability to play gigs and keep chasing his dreams. Tension accompanies the pair to their leafy new regional surroundings, then, where greenery-lined hiking tracks beckon, Shanks' key duo fall into a cave and the two find themselves even more linked, and unable to be apart, than ever. What if bonding with your other half had a physical dimension beyond cohabiting, sex, other displays of affection and the standard couple details? What if deciding to always be one of a pair was a corporeal connection right down to your flesh? Of the two big 80s music classics with "tear us apart" in their title, think INXS' Triple J Hottest 100 of Australian Songs-topping 'Never Tear Us Apart' over Joy Division's 'Love Will Tear Us Apart' — and not just because Together was shot Down Under, in Melbourne where Shanks is based. How love can change you, the anxieties that it can cause and the resentments that it can spark, and what it truly means to join your existence with someone else's: these are the ideas that Together ponders as it explores transformations inspired by fluttering hearts in its own distinctive and compelling way. Confronting painful real-life situations, while never being afraid to carve its own path into horror tropes such as unsettling new locales, creepy trips into bushland, eerie isolated houses and more: Together does this, too, as it spins a tale that favours life over the horror staple that is death, grief and loss. And in a picture that's firmly a body-horror flick with searing-into-your-brain setpieces to prove it, but is as much a romantic drama as well — and that always anchors its spectacle in the story, never getting gory purely for the sake of it — Franco and Brie are firmly "a dream cast", as Shanks describes them to Concrete Playground. The word "dream" earns a few mentions in our chat. "It's really, really insane," he tells us of Together's journey so far this year, even before reaching cinemas in general release on Thursday, July 31, 2025 Down Under and the day prior in the US. "Getting the film made just alone was a dream coming true, and then it getting into Sundance was a dream come true. And then it playing Sundance and selling to Neon was a dream. So it's kind of hokey to say, but it's sort of this dream that just keeps coming true. It's what every filmmaker dreams of." "When we played at Sundance for the first time, we'd spent months in post-production, just basically myself and an editor [Sean Lahiff, Territory] and an editing assistant, working on the film. We didn't do test screenings. It was just us in a little room. And then we thought it was maybe pretty good — like, we were pretty happy with the movie. And then at Sundance, we were in this theatre of 1000–2000 people, and it's like 'this is literally the first audience that's going to see it. We've got no idea. It's a midnight screening. It's a packed house. Here we go'," Shanks continues. "Five minutes in, there's a little scare, and we could feel the audience gasp — and we went 'oh'. And a few minutes after that, there's this little joke and the audience laughed, and we just felt like 'oh wow, this is going well, I think'. And fortunately it did. And now it's played SXSW and it played a couple of festivals in Italy, and it played in Mexico. And I'm traveling the world in a way I never thought I'd be able to just off the back of a film. It's an incredible privilege. It's been an amazing year," he advises. With the filmmaker that's given Australia another example of YouTube-to-worldwide horror feature success after Talk to Me and Bring Her Back's Danny and Michael Philippou — and whose script for HOTEL HOTEL HOTEL HOTEL featured on the Blacklist — we also contemplated that Schoolies link, dug into Brie and Franco's pivotal involvement, examined why making Together without an IRL couple as its stars might've been a nightmare and discussed the movie's vivid body-horror imagery, among other subjects. On How Schoolies Played a Part in Inspiring a Horror Film About Falling in Love, Commitment and Codependency — and When the Idea for Together Came to Shanks During His Long-Term Relationship "Oh, it was many years in. Because yeah, we met at Schoolies. I would have been 17, I think. And then we didn't start dating until a few months — we became friends, and we started dating a few months after. And then we've been together now — that was 16–17 years ago, so we've been together that long. I'm 34 now, I was writing the script in my late 20s. And that was about when we were moving into our second home together, and we were really beginning to amalgamate our lives, I guess. It really became true that we've been together for so long, we only had the same friends. The Venn diagram of our friendships was just a circle. And we went to all the same events, we listen to the same music, ate the same food, breathed the same air. And now we were living in a second house together. We had a cat. And I was like 'there is no part of my life that's separate from this person'. And likewise. And I started to, I think, confront something that a lot of people go through, of realising 'oh, do I still have independence while I'm committing to this forever-monogamous relationship' — and 'our lives are so intertwined, do I really know where I end and she begins?'. The Radiohead song 'Where I End and You Begin' probably helped dislodge that idea as well. And that was where this jumping off point was — where you already are committing to sharing a life with somebody in such totality, what if you took that even further into a physical, flesh-bound sharing, to take a real relationship and intertwine it in a physical way. That just felt like such an over the top and interesting, operatic exploration of those themes, that also would satisfy the kind of genre-filmmaker obsessive that I am." On Making a Horror Film About Love Instead of Genre Staples Like Grief, Loss and Death "It just felt really natural to me. I mean, the jumping off point to me was honestly just the idea of 'oh, what if people sharing a life started to get so close that they started to share flesh?'. That was sort of that simple. And then it was when I started to fill in the details of that story, and realising that I was putting so many specifics from my own life and the observations I've made of the couples around me in my friendship circles, that I realised that 'oh, this really is a love story' — and a dark, twisted love story. When the actors, Dave and Alison, came onboard, they paid me a great compliment — which was that they said 'reading the script, if you would pull out all the horror, it would still work as a relationship drama'. Which I was really pleased to hear that, despite all the crazy scenes of nastiness and body horror and stickiness and puppets and practical effects and insanity, it's all bound to a character journey and these two people that start in these very different emotional places. And where, like in most romantic movies, rom-coms or rom-dramas, we're basically there to see 'can they can they put this aside and realise that they love each other?'. Or, 'do they realise that they don't love each other and they need to extricate themselves from what has become perhaps a toxic relationship?'." On Casting Real-Life Partners — But Not Actually Penning the Film with That in Mind "No, I kind of wrote it just generically, just set in Australia, because why not? I think it was originally sent Trentham, because I have a friend who makes wine out there — and I was like 'aah, that's my kind of rural in Victoria'. But then I had a chance meeting with Dave, because I had another script of mine that was being passed around Hollywood people in LA. And off the basis of that, I got a meeting with Dave, and we just connected. So I already had the script, and I was like 'hey, maybe have a look at this — maybe you'll like it'. And he read it and loved it and gave it to Alison. And then within a couple of days, we were on a Zoom, the three of us, and kind of figured it out. So that was amazing. Them separately, just as actors and performers, were a dream cast. But them together as an actual married couple, it adds so much to the performances, to the metatextual elements of the film, as well as just an ease of working with them. We needed them to be so physically and emotionally intimate across this film, and the fact that they have such comfort being vulnerable with each other, it created an ease of work as well as an emotional truth that I don't think we could have done with any other actors." On How Pivotal Casting an IRL Couple Proved to Be to the Film "It would have been, especially if they didn't get on, it would have been a nightmare. There was a day on set where they basically had to be fully nude the whole day in front of each other. It's like 'okay, well that's easier to do when they're a husband and wife'. There were days on set where they had to be physically joined via a prosthetic appendage that we didn't have the budget to make a second of — so we couldn't remove it. So if they needed to go to the bathroom, they weren't allowed to separate. We needed them to go to the bathroom together. And of course, you could never impose that on actors, but because they were producers on the film and they're married, they would just be like 'oh, yeah, no worries. Definitely, definitely. We'll just do that'. It was so great. Dave said something in some interviews that I think is really sweet — is that he also said that working with Alison, he feels like it makes him give the best performance, because she knows him so well that he can't be fake in front of her. So he really has to go for it or she'll call him out. Which is — not that I witnessed any calling out, but they worked so well together and it was a huge honour to work with them." On What Brie and Franco Brought to Their Performances — and Shanks Being Able to Benefit From Not Just Their Relationship But Also Their Experience "Thankfully, because they were onboard as producers, I had a lot of time with them even before they arrived in Australia to do the shoot. We had lots of sessions over Zoom, really going through, going over the script and going over the character journeys, and tweaking little things here and there — even intellectually rather than performing it, just kind of speaking it out. And then in pre-production, we had a few days of rehearsal, which were just more read-throughs. And when you're on set, time is money like crazy, particularly for an independent, low-budget film like this. So thankfully when we were on set, it's kind of like — our cinematographer, Germain McMicking [Ellis Park], was amazing, and you tell him what you want and he'll do it. And then he doesn't require much direction because he's a pro. He's so good at it. And same with Dave and Alison, as they're just such pros and they understood the material so well that my job as a director, in terms of their performances, was just ever-so-slightly giving them notes just to tweak. They were always, always in the right area because of the amount of prep that we'd done and the professionalism. And that was great to lean on as well, because I've been working in this industry since I was 17, but this is by far the biggest, longest and most-dramatic thing that I've ever worked on. So having these people that have been doing it for just as long on a much grander scale really, really helped." On Always Anchoring the Film's Body-Horror Setpieces in the Story "I think it was that I just know from being a genre filmmaker. I was really confident in all the horror and all the setpieces. That's what I'm most practised as. And so when I was breaking out the script, I was breaking it out not in terms of the horror, but just in terms of an emotional journey. And just dotting out in character arcs and knowing, because of the nature of the story, that it would be so easy for me to have this journey be interrupted by or enhanced by the horror setpieces. And also, I think something that some people are being surprised by when they walk out of the movie is how much fun it is and that it's quite funny — because again, when I sat down to write it, I was thinking I was writing romantic drama/horror. Scary, you know, serious. I've got this comedy background, but as the situation gets more and more out of hand, it was just impossible to resist — 'well, this is what would actually happen in that scenario' — and lean into something that's fun. So hopefully you'll laugh, you'll cry, it will change your life." On Crafting Horror Imagery That Leaves an Imprint "Well, I get frustrated sometimes with horror films — or with any films in general — when there's not unique images that come out of it, when there's no setpieces that stick with you, when things are just a bit generic. And I also thought the specificity of this concept meant you can only do this once. And I don't know if as a filmmaker, if I'll ever make a horror film again — if I'll ever make body-horror film again. I'd like to. But I certainly could never make this premise again. So if this is the premise, I really was thinking to myself 'you've got to squeeze as much juice out of this as possible'. And so, 'if this is the premise, great, what are ten setpieces that you can only do with this premise' — and just making sure that that's the case. And just really wanting to — really wanting to — leave the audience with something memorable. I hope people, when they leave the cinema, will say that they had a good time and that they've never seen a film quite like this." Together opened in cinemas Down Under on Thursday, July 31, 2025. Images: Germain McMicking / Ben King.
Of all the things that Kristen Stewart can teach us, what it's like to shout into the void — what we expect to happen, why we do it, and the simple fact that we do it — might be the most surprising. Welcome to Personal Shopper, a ghost film haunted several times over, and haunting in just as many ways. Reuniting Stewart with her Clouds of Sils Maria director Olivier Assayas, this is a movie that takes full advantage of the actress' minimalist acting style. The former Twilight star is known, and has often been lambasted, for seeming distant and fidgety in her on-screen interactions. But in an age when most people spend hours staring at their iPhones waiting for three grey iMessage dots to turn into a connection, aren't we all guilty of the same thing? Here, Stewart is well and truly one of us – distracted and disconnected, glued to her phone, waiting and wondering what comes next. Her character Maureen, a medium who works as the assistant to a celebrity starlet, spends much of the movie texting back and forth with a mysterious unknown number, answering probing questions and slowly revealing her secrets. At the same time, she tries to reach out to her recently deceased twin, who died of a congenital heart defect that she's afflicted with as well. With everything from the not-quite-vampire flick Irma Vep, to the complex crime biopic Carlos, to the melancholy student drama After May on his extensive resume, writer-director Assayas is a master filmmaker attuned to the subtleties and ambiguities of life. Still, no matter how well shot, paced and structured his latest film may be, it'd be a shadow of itself without its lead actress. Stewart is perfectly cast in a role that Assayas wrote specifically for her. Her relatable blend of awkwardness and yearning, as she tackles the existential malaise that spooks us all, is the main reason the movie works so well. Personal Shopper is a moody, enigmatic horror flick; a spine-chiller that unfolds one text at a time. But that's not all it is. It's also a recognisable portrait of how difficult it is to stomach mundane daily tasks when you're grieving, even when you're working in a seemingly glamorous job. It shows what everyday communication is really like, without resorting to cutesy ways of throwing text messages around the screen. Finally, it contrasts physical mortality with the eternal virtual realm. Blend all that together and you're left watching an immersive, intriguing film that demonstrates how modern life has become a conversation with ghosts of the digital variety. That's what a truly contemporary scarefest is really all about. https://www.youtube.com/watch?v=dSqMpkGOW9g
There's something special about hitting up the best Sydney brewery bars where you can sip on beers right next to the very tanks they were made in. You feel a part of the process, even if you're just sitting there with a bunch of mates, watching on as the master brewers do all the hard work. And we Sydneysiders are blessed to have so many to choose from. While many of them lay in the Inner West, Sydney has brewery bars everywhere. You won't have to travel far to find long lists of creative craft beers (that you can also buy to take home) served alongside gastropub eats. But these spots tend to be hidden behind roller shutters in industrial areas. So, read on to discover where the best Sydney brewery bars can be found — and what beers you'll likely be sampling. Recommended reads: The Best Pubs in Sydney The Best Wine Bars in Sydney The Best Bottle Shops in Sydney The Best Bars in Sydney
Kick start your day in decadent fashion at Balmain's newest cafe, where booze and ricotta stuffed doughnuts are calling your name. Opening without much fanfare on Darling Street late January 2017, the 40-seat Mr. is open from 7am to 4pm, seven days a week. Caffeine fiends can get their hit courtesy of Will and Co. coffee, before the liquor license kicks in at 10am. Alcoholic affogatos and traditional lemonade with vodka or gin both sound perfect for a boozy weekend brunch… or a boozy Friday arvo… or a boozy Wednesday breakfast. Who are we to judge? Speaking of breakfast, standout dishes on the early morning menu include avocado, cumin salt, lime and radish on activated charcoal quinoa toast, and the aforementioned doughnut sprinkled with cinnamon and served with grilled peach, honey and ginger crumb. Lunch options, meanwhile, include a poached chicken sandwich with lime kewpie mayo, and the requisite Sydney eatery staple: a cheeseburger with house tomato ketchup and pickles. The cafe also boasts a distinctly local flavour, with jams and preserves bought at local markets, and bread baked by the artisan bakers at the Bread and Butter Project, a social enterprise where profits are invested in employment pathways for asylum seekers and refugees.
Before the opening credits roll on the first of its eight season-one episodes, Binge's new Australian sitcom Colin From Accounts explores some of life's big questions. When two strangers cross paths and literally come to an impasse, who should proceed off into their regular lives to begin with — and who should hang back out of their way till they're gone? Also, what's the appropriate way to interact? Are smiles, nods, waves, and mouthing "you go" or "after you" acceptable? And, if you're the person who scores right of way, how do you show your gratitude as you're merrily venturing forward? These may seem like trivial matters, as everyday and relatable as they clearly are, but the right moves might just inspire a life-changing meeting. They could also have serious consequences, and bond you in a complicated situation for around 12 years with someone you wouldn't have otherwise met. Or, both could occur. That's how it pans out in Colin From Accounts, with the rom-com spying the familiarity, comedy and chaos in bumping into another person on the street. Medical student Ashley (Harriet Dyer, The Invisible Man) and microbrewery owner Gordon (Patrick Brammall, Evil) do just that one otherwise standard Sydney morning. He lets her go first, she flashes her nipple as thanks, then he's so distracted that he hits a stray dog with his car. A girl, a guy and a meet-cute over an adorable animal: that's this delightful and very funny series' straightforward underlying formula. But as the circumstances surrounding Ash and Gordon's initial run-in demonstrate, Colin From Accounts isn't afraid to get awkward, much to the benefit of audiences. There's a syrupy way to proceed from the show's debut moments, intertwining sparks flying with idyllic dates, plus zero doubts of a happy ending for humans and pooches alike. If this was a movie, that's how it'd happen. Then there's Dyer and Brammall's way, with the duo creating and writing the series as well as starring in it, and focusing as much on ordinary existential mayhem — working out who you want to be, navigating complex relationships and learning to appreciate the simple pleasure of someone else's company, for example — as pushing its leads together. Before Ashley becomes 'Flashley', she's a 29-year-old medical student reeling from an unexpected breakup with a colleague (Tai Hara, Underbelly: Vanishing Act). Before Gordon is forced to ask his ex Yvette (Annie Maynard, Playing for Keeps), a vet, to do him a favour, he's a fortysomething who has been single for a unicycle-buying amount of time. By the time the day of their first encounter is out, they'll be sharing a hefty debt and a Sydney home — the former for the dog's treatment and the latter because pets aren't allowed at Ash's sharehouse. She's in his phone as 'Ashley $12k', the amount they're on the hook for. He's in hers as 'Dog Car Guy'. They joke about being each other's weird mate, and openly wonder if two people can be friends once exposed mammary glands get involved. Just like in the Hollywood versions of this kind of tale, romance does blossom. That Dyer and Brammall are behind Colin From Accounts, their past chemistry on fellow Aussie comedy No Activity and the fact that they're married IRL means that pairing them up as more than new pals was always going to be on the show's agenda. It's how the series fleshes out each character and their baggage — including those who-am-I questions, Ash's difficult dynamic with her attention-seeking mother Lynelle (Helen Thomson, Elvis), and the responsibility that running your own business and committing to care for other people each bring — that helps give it depth. Colin From Accounts lets Ash and Gordon unfurl their woes and wishes, and also lets them grow. Sometimes, that happens by peeing and pooping in the wrong place, because that's also the type of comedy this is. Sometimes, it's because the show's central couple have taken a risk, or faced their struggles, or genuinely found solace in each other. There's more than a touch of Catastrophe to Colin From Accounts, in its thrusting of two strangers together by a twist of fate that sees them sharing caring duties — for a dog rather than children, however. In lesser hands, there'd be an initial dose of New Girl as well, but Ash is no manic pixie dream girl singing her way through Gordon's life or unleashing a big bag of quirkiness. Credited with penning four episodes apiece, Dyer and Brammall bring sharpness and authenticity to their scripts, especially when confronting the truth that neither Ash nor Gordon know what they truly want. There's a clear-eyed feel to Colin From Accounts' still-light embrace of one of life's immutable realities: that we're all just moseying forward, being spontaneous, coping with the fallout, colliding with other people — and critters — and hoping for a content-enough outcome. Watching Dyer and Brammall bounce off of each other, dog in tow, is easy. Even when things are at their most strained between Ash and Gordon, and even when Colin From Accounts is swinging for its broadest grabbag-style laughs, their rapport always feels grounded. The script layers in gags about the pair's age difference, and contrasts the distinctive brands of Millennial and Generation X chaos, but the series is never in laugh track-heavy sitcom territory. Neither actor's impressive work should come as a surprise, of course, and nor should their ability to find drama as well as comedy in the show's premise. See: their respective resumes, including Dyer's work in Killing Ground and Wakefield, and Brammall's on Offspring and Glitch. Colin From Accounts may focus on Ash and Gordon's ups and downs, and on Dyer and Brammall as its driving forces, but it also mines a wealth of other talent. Thomson is a scene-stealer, as part of a subplot that examines the lifelong hurt that can spring when no one actually says what they mean. As Gordon's brewery colleagues, Genevieve Hegney (Doctor Doctor) and Michael Logo (Why Are You Like This) each have their moments to shine, and the same applies to Emma Harvie (Frayed) as Ash's fellow med-student bestie. Behind the lens, directors Trent O'Donnell (another No Activity alum), Matt Moore (The Great) and Madeleine Dyer (Monster of Many Worlds) keep the series both breezy and weighty — and instantly bingeable. Check out the trailer for Colin From Accounts below: Colin From Accounts streams via Binge. Images: Lisa Tomasetti / Tony Mott.
First, the bad news: Australia's most-envied job, aka Tourism Australia's Beach Ambassador, is sadly already taken. Now, the excellent news, especially if you're keen on a beach holiday or several (or ten) throughout 2023: that lucky coast lover, beach expert Brad Farmer AM, has just named Australia's best beaches the year. Australia has 11,761 sandy spots according to Tourism Australia, so narrowing down the most stunning to a mere ten is no small feat — even if you've spent four decades focusing on the absolute best, as Farmer has. The number-one place to hit the shore this year from that hefty list? South Australia's Stokes Bay, which is located on Kangaroo Island. Being named Australia's best beach is the second huge piece of praise that Kangaroo Island has received already in 2023, after The New York Times included the entire landmass among its 52 places to visit this year. Farmer has gotten more specific, however, singling out Stokes Bay for a number of reasons — its location, safe swimming options, overall atmosphere and clandestine entrance among them. [caption id="attachment_886634" align="alignnone" width="1920"] South Australian Tourism Commission[/caption] "Most of the island's 50 or so glorious beaches are all relatively secluded, yet accessible, so visitors are much more likely to encounter paw prints of the many furry lounging locals than footprints of the work weary human," notes Farmer of Kangaroo Island, announcing his picks for Australia's best beaches for the year. "Stokes Bay Beach on the gentler north coast, with its long 500-metre sandy sweep of low impact waves, features a generous and safe tidal swimming pool for wading or snorkelling with its aquarium like atmosphere. There's a timeless hint of mystique about this hidden treasure with a shimmering reward when the curtains lift. From the western entry carpark and seasonal cafe, this veiled beach is reached through a 'secret tunnel' — a hand-hewn cavernous carved trail finally revealing a stunning scene as if rewarding the adventurer. Stokes Bay is long overdue to be recognised as Australia's Best Beach in 2023," he continues. [caption id="attachment_886635" align="alignnone" width="1920"] East Coast Photography[/caption] Stokes Bay claimed top position after Misery Beach in Western Australia scored the honours in 2022, Cabarita Beach in New South Wales did the same in 2020, Nudey Beach on Fitzroy island in Far North Queensland achieved the feat in 2018, and Cossies Beach in the Cocos (Keeling) Islands, in the Indian Ocean, earned the title in 2017. This is the first time that a South Australian beach has earned the honours. Still, among the 2023 list's highest-ranked spots, Stokes Bay is joined by beaches in every Australian state and territory, including Christmas Island in the Indian Ocean Territories. [caption id="attachment_886636" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] Coming in second in Australia's best beaches for this year: Boomerang Beach on New South Wales' mid-north coast. NSW is the one of only two states to take two places in the top ten, too, with Balmoral Beach on Sydney Harbour in tenth position. Elsewhere, Rainbow Beach on Queensland's Cooloola Coast ranked third, Apollo Bay on Great Ocean Road in Victoria slotted in fourth, Adventure Bay on Bruny Island in Tasmania came fifth and Hamelin Bay in Western Australia's southwest notched up sixth position. Then came Little Bondi Beach in East Arnhem Land in the Northern Territory at seventh, British Admiralty Beach on King Island in the Bass Strait in Tasmania at eighth and Flying Fish Cove on Christmas Island in ninth spot. [caption id="attachment_886637" align="alignnone" width="1920"] Visit Great Ocean Road[/caption] Wondering how Farmer makes his picks? This year, he was particularly interested in beaches with a unique cultural connection to First Nations Country, as well as outstanding locations that don't always come up when folks are searching for Australia's best beaches online. "Australia really is just one big beach and there are simply so many surprises to be discovered in our own sandy backyard," Farmer says. So pack your togs, round up some mates and start ticking these off. We see many road trips in your future — not that anyone ever needs a new excuse to head to the beach, whether they're one of Australia's best or not. THE TOP TEN BEST AUSTRALIAN BEACHES FOR 2023: 1. Stokes Bay, Kangaroo Island, South Australia 2. Boomerang Beach, Mid North Coast, New South Wales 3. Rainbow Beach, Cooloola Coast, Queensland 4. Apollo Bay, Great Ocean Road, Victoria 5. Adventure Bay, Bruny Island, Tasmania 6. Hamelin Bay, South-West, Western Australia 7. Little Bondi Beach, East Arnhem Land, Northern Territory 8. British Admiralty Beach, King Island, Bass Strait, Tasmania 9. Flying Fish Cove, Christmas Island 10. Balmoral Beach, Sydney Harbour, New South Wales For more of Brad Farmer's beach tips, head to his Best Australian Beaches website. Top images: Tourism Australia / @ihaig72. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world — including Kangaroo Island.
It is no surprise that flamenco dancing has a bit of a following. The stomping feet and intense stares that epitomise the style are a great channel to release those daily frustrations. Of course, it is equally enjoyable if you're just up for a good time or wanting to relive the memories of your Spanish holiday. Diana Reyes, who studied flamenco in Madrid and danced her way across Europe, set up her Newtown studio in 1992. The studio provides flamenco classes for amateurs and aspiring professionals alike. The classes are offered on a term-by-term package basis, although private tuition and intensive two-day workshops are also regularly on offer.
UPDATE, December 16, 2020: Richard Jewell is available to stream via Netflix, Binge, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. All it took was a concert and a backpack for Richard Jewell's (Paul Walter Hauser) life to change forever. It's the summer of 1996, and the aspiring cop is thrilled to be working as a security guard at a gig during the Atlanta Summer Olympic Games. But as songs like the Staple Singers' 'I'll Take You There' fill the city's Centennial Park, Jewell spots an unattended bag under a bench. He swiftly informs the police on duty, who figure he's overreacting but evacuate the area anyway. As the crowd begins to disperse, the bomb explodes. While one person is killed, another suffers a fatal heart attack and 111 others are wounded, the toll would've been much higher if Jewell hadn't sounded the alarm. That's the real-life story that monopolised news headlines 24 years ago. It's also the tale that Jewell, with his desperate desire to work in law enforcement, was overjoyed to have attached to his name. And, it's the narrative that Richard Jewell tells, although Clint Eastwood's involvement should make it obvious that it doesn't end there. As demonstrated with gusto in the latter years of his five-decade directorial career, Eastwood is drawn to heroes. He's not just fascinated by people acting bravely, but by true tales of fortitude in the face of pressure, scrutiny, admonishment and even contempt by society, authorities and bureaucracy. American Sniper's flag-waving tribute to the deadliest marksman in US military history, Sully's recreation of the Miracle on the Hudson and subsequent investigation, and The Mule's account of an octogenarian forced to become a drug courier to make ends meet — they all fit the profile, as does Jewell's swift slide from saviour to suspect. Played with equal parts zealousness, assertiveness, awkwardness and friendliness by I, Tonya and BlacKkKlansman's Hauser, Jewell fit the FBI's profile, too. With no other real leads to chase, agent Tom Shaw (Jon Hamm) becomes certain that the security guard's demeanour, portly physique and obsession with cops makes him the culprit. That Jewell lives with his mother (Oscar-nominee Kathy Bates) doesn't help. Nor does the arsenal of guns in his bedroom ("it's Georgia," Jewell notes). So when Shaw slips his theory to The Atlanta Journal-Constitution reporter Kathy Scruggs (Olivia Wilde) — a woman happy to trade sex for tips and just as dubious in her ethics in general, the movie intimates, a perspective that's been refuted by those who knew her — Jewell's transformation from hero to accused perpetrator becomes official. With Jewell, his devoted mum and no-nonsense attorney Watson Bryant (Sam Rockwell) on one side and Shaw, Scruggs and the institutions they represent on the other, Richard Jewell becomes an us-versus-them battle — between an ordinary guy vilified instead of celebrated for doing an extraordinary thing, and the forces conspiring against him. With his threshold for subtlety waning over his past few films, Eastwood's feature is that blunt, as is the worldview that comes with it. His conservative politics are well-known, so lambasting the over-reaching government and decrying fake news should come as no surprise. Still, the lack of nuance with which Eastwood tells this tale — working with a script by Billy Ray (The Hunger Games, Captain Phillips and Gemini Man), and adapting a 1997 Vanity Fair article by Marie Brenner — casts a shadow over the movie. Jewell went through something that no one should have to endure. Eastwood doesn't downplay that ordeal, including the fact that Jewell's status as a suspect was widely publicised — even though he was never charged — but the clearing of his name wasn't. And yet, when it comes to portraying the FBI and media, Eastwood does exactly what they both did to his protagonist. Law enforcement and the press are treated so simplistically in Richard Jewell, especially Scruggs, that Eastwood slants the film in one direction and doesn't care to look elsewhere. You could read the filmmaker's version of Scruggs as another of his celebrated working-class characters doing whatever it takes to get by. Wilde's brash, committed portrayal of the now-deceased journalist certainly aims for that interpretation. But there's just not enough depth, balance and empathy on Eastwood's part to support it. Scruggs is a clear villain here — so much so that Eric Rudolph, the actual perpetrator of the attack, barely rates a mention. If Richard Jewell proved bombastic across the board, then its treatment of Scruggs mightn't stand out as much as it does. But Eastwood takes great care to show the complexity of Jewell's situation, laying out the details in a manner befitting any weighty police procedural or 'wrong man' thriller. His staging of the bombing is as tense, gripping and superbly crafted as anything in his 38 films behind the lens — and he smartly anchors the movie around Hauser's multifaceted performance as a man teeming with contrasts. What lingers, though, is the glaring contradiction at the heart of the feature. Richard Jewell advocates against one-note judgements while flaunting its own. It champions the truth about someone unfairly pilloried by the media, yet spins its own questionable story about a real-life figure. Yes, this is a film about a hero, but it didn't need to be a movie about a cartoonish villain as well. https://www.youtube.com/watch?v=bpbKh4FqR2g
Slightly patchier than last year's lineup, Days Like This Festival returns to the Entertainment Quarter (yes, it used to be called Fox Studios, and yes the new name is stupid). Once you get over the fact that you are hanging out in a car park between cement buildings behind the cricket ground, you will probably have some fun. I went last year and it seemed like it catered to people avoiding both the neon and Southern Cross tattoos that are often prevalent at festivals. More than amazing headliners, this year the attractions are some slightly more obscure gems. Micachu & The Shapes pricked my ears a while back with their lo-fi folky electronics and cut and paste sounds, complimented by 21 year old front woman Mica's obscure lyrics and vacuum samples. Another example is Mayer Hawthorne, a hip hop MC and producer who made an old school soul record in his bedroom and is now riding it around the world. Having pointed those out, there are some bigger acts that are worth seeing too. Roots Manuva is somewhat of a legend these days with his dubbed out grimey hip hop, and skip the Cat Empire for the other feline feature Cat Power, who is still sober and still playing soul tunes. It is a lineup for dancing, and with funky cats like The Bamboos and hip hop greats Method Man and Redman, it should be another fun festival to start the year. Check the website for the full lineup because we couldn't squeeze it in here.https://youtube.com/watch?v=8TRkZpFgJcI
Until now, Pick 'N' Mix has been restricted to the sugary realms of confectionery; Jaffas, Gummy Bears, sour worms all tossed together in a salad of teeth-rotting goodness. But celebrated Sydney father and son butchers, Victor and Anthony Puharich, from the renowned Vic’s Premium Quality Meat see more opportunity for meatier, saltier nibbles. The team have extended their wholesale business to an entire marketplace, Vic's Meat Market, set to open at Sydney Fish Market on Saturday, September 27. And yep, there's a meaty, meaty Pick 'N' Mix in store. Structured as a raw open counter, the specialty meat market is the newest resident of the Sydney Fish Market. Vic's is separated into sections, from organic and grass fed (Lean and Green) to the specialty wild meat section (a seasonal selection of game from kangaroo to wild boar and venison). You can stroll into the custom-built coolroom if you're rugged up, there's an appointment-only wagyu counter, where you can match your meat with Penfolds Grange, or you can tuck into a cheeky $10 smoked pulled pork roll with zesty coleslaw and housemade barbecue sauce — the pork is slow cooked over ten hours in in the purpose-built Yoder smoker affectionately dubbed 'Kong'. But the most novelty addition to the market is the Meat Candy Bar. Vic's is operating under the same principleas your regular cinematic endeavour, stocking six different types of biltong and ten different bite size salamis crafted by Sydney providores. Just scoop your preferred meaty bites into a baggie and pay by weight. Popcorn? Consider yourself replaced as a salty, salty movie snack. Vic's Meat Market is open from Saturday, September 27 at Sydney Fish Market. The butcher market is open 9am till 5pm, while the Smoker takeaway runs from 11am till sold out, both seven days (except Christmas Day).
First Nations cultural currents run deep across Australia, marking the landscape with diverse history and meaning from its glistening coastlines, across the mountains and out to the expansive desert plains. With more than 60,000 years of human experience to contemplate, the best way to learn about this living history is by seeking guidance from the Traditional Custodians of the lands. Join First Nations tour operators and guides on these nine experiences that will take you across New South Wales on knowledge-seeking journeys.
It's time to fasten your seatbelt for another Southeast Asian adventure, as Cambodian street food pop-up Kingdom of Rice gears up to open its doors this Friday, October 12. Taking over the space at the Tennyson Hotel drive-through bottle-o, most recently home to Mr Liquor's Dirty Italian Disco, the temporary eatery is a collaboration between the crew from ACME and Merivale — the latter being new owners of the hotel. Kingdom of Rice will set up shop here for a lively six-month stint, dishing up a fun, colourful menu loaded with classic Khmer flavours and culinary techniques. And of course, plenty of that signature ACME creative streak. It's fare that promises to pack a punch to all the senses, with a share-friendly offering of snacks, skewers, grilled delights, wok dishes, noodles and — of course — rice. ACME co-owner Mitch Orr will be working in the kitchen with head chef Lillia McCabe, who has just returned from a stint at Singapore's Blackwattle. They'll be joined on the floor by another ACME co-owner Cam Fairbairn and head of front-of-house Sophia Thach. Thach is of Cambodian descent and spent time living in working in Phnom Penh, and will be bringing her first-hand experience of the region to the pop-up. On the menu, expect starters like trey neet alek (dried fish and watermelon) and svay kchey (green mango with chilli and salt), and skewers featuring the likes of shiitake mushroom and lemongrass beef, each served with baguette and a pickled green papaya salad. The heftier end of the lineup sees plates like chicken wings stuffed with a traditional Cambodian spice paste, pipis with lime and kampot pepper, whole fish with coconut and lemongrass served hot from the grill, and pandan coconut waffles teamed with coconut sorbet. The self-serve bottle shop set-up remains as it was for Mr Liquor's, though this time the walk-in fridge is stocked with easy-drinking Asian brews and natural wines sourced from across the country. Cocktails share the menu's Cambodian leanings, with sips including the Pandan Piña Colada and a Hennessy and Jasmine Tea. Head in, nab a plastic market stool and dive into some gutsy fare, while old-school Cambodian movies flicker on the colourful walls. Find Kingdom of Rice at the Tennyson Hotel, 952 Botany Rd, Mascot, from this Friday, October 12. It'll open Wednesday through Sunday each week, for the next six months. Images: Nikki To
Alejandro G. Inarritu follows his Oscar-winning Birdman with a down-and-dirty western inspired by true events. Starring Leonardo DiCaprio in the role that many believe will finally win him his Oscar, The Revenant is a violent, unrelenting slog through the mud and snow of the untamed American frontier. It's raw and elemental and masterfully shot, capturing bloody, frenzied action with astounding fluidity and grace. Sounds incredible, right? Actually, that's where you'd be wrong. For all its viscera, and despite its technical merits, this over-hyped backwoods adventure left us feeling bored. Now admittedly, that boredom took a while to set in. For much of the first hour of the film's two and a half hour running time, it's hard not to be floored by what Inarritu and his long-time cinematographer Emmanuel Lubezki have achieved. When a hunting party comes under attack by a Native American tribe, the camera weaves and pivots in and out of the action, dodging extras and arrows in a series of long, unbroken takes. Later, DiCaprio's character Hugh Glass is almost mauled to death by a grizzly bear, in another bravura one-shot sequence that will leave audiences wondering how Innaritu pulled it off. Like Birdman, this is bold, ambitious filmmaking, and we'd be lying if we said we weren't initially impressed. But the comparison to Inarritu's previous film is an importance one to make, for the reason that Birdman feels like more than just a technical exercise. Strip away the showy camerawork, and you still have characters and ideas that are actually worth caring about. The Revenant, on the other hand, has neither. With Glass on the edge of death, Captain Henry (Domhnall Gleeson) has the villainous Fitzgerald (Tom Hardy) stay behind so that the dying man might receive a proper burial. Fitzgerald promptly buries Glass alive, and murders his teenage son Hawk (Forrest Goodluck) for good measure. But of course Glass doesn't die, and instead hauls his wounded backside through the unforgiving wilderness so he might get his chance at revenge. As you might have gathered, the narrative is pretty thin – but that wouldn't be an issue if we could get behind the characters. DiCaprio, to his credit, gives it everything he's got, wheezing, snarling, screaming and putting his body through the ringer. It's exactly the kind of performance that Academy voters love, and to a certain extent it's easy to see why. But again, there's a difference between what's bold and what's actually interesting. As hard as DiCaprio tries, he never succeeds in making Glass anything other than a one-dimensional protagonist, who we're meant to root for simply because the screenwriters put him through hell. The borderline insane Fitzgerald proves a little more interesting – and like DiCaprio, Hardy commits fully to the role, reaching yet again into his seemingly bottomless bag of absolutely baffling accents. In the end though, Glass and Fitzgerald are just archetypes – a goody and a baddy destined to hack one another to pieces. Because the duality of man. Or something. There are times when style alone is enough to carry a movie. Unfortunately, this isn't one of them. Without characters to latch on to, or much in the way of deeper thematic content, the novelty of Inarritu's formal work eventually begins to wear off. Strange as it may seem given their disparate settings, but the recent film to which The Revenant suffers most by comparison is Mad Max: Fury Road. Both movies deliver immersive action and stylish cinematography, but only one manages to couple it with awesome characters and a modicum of brains. Plus, y'know, Mad Max had female characters with actual lines of dialogue. So there's that. https://www.youtube.com/watch?v=QRfj1VCg16Y
Androids may dream of electric sheep, or they may not, but that isn't the only metaphysical question that cinema likes to contemplate. Do souls yearn and strive for — and fret and stress over — their chance to shuffle onto this mortal coil? That's the query that Pixar's Soul pondered so thoughtfully and enchantingly, and it's one that Nine Days, which actually predates its animated counterpart but is only reaching Australian cinemas now, masterfully explores as well. "You are being considered for the amazing opportunity of life," a bespectacled, suspender-wearing, serious-faced Will (Winston Duke, Us) tells the candidates hoping to soon live and breathe. They're far more enthusiastic about the process than he is, although he values their prospective existence much more than they can fathom in their wide-eyed eagerness and excitement. Will has seen what can happen next, because it's his job not only to select the best souls to embark upon this thing called life, but to monitor their progress in all the days, months and years afterwards. He's observed the success stories; however, he's also witnessed the heartbreaks as well. In this stirring and fittingly soulful debut feature from writer/director Edson Oda — a movie that won the dramatic screenwriting award at the 2020 Sundance Film Festival — Will surveys his next troupe of contenders fresh from viewing the unhappy end that met one of his previous favourites. He's already adrift from existence as we know it, and from almost everyone else who resides in the picture's ethereal yet also earthy pre-life realm, but he's now burdened with a renewed sense of solemnity. His colleague Kyo (Benedict Wong, The Personal History of David Copperfield) tries to get him to see the lighter side — the more human side — of the path his next chosen candidate will take. He emphasises the ebbs and flows that Will, who has become more rigid in his thinking and feelings the longer he's in the role, now fervently discounts. But among a roster of new applicants that includes Kane (Bill Skarsgård, IT Chapter Two), Alex (Tony Hale, Veep), Mike (David Rysdahl, Dead Pigs) and Maria (Arianna Ortiz, Rattlesnake), all of which are given nine days to demonstrate why they should be born next, it's actually the calm, passionate and inquisitive Emma (Zazie Beetz, Atlanta) that challenges the way Will perceives his work and what it means to be alive. Nine Days could've been reductive and generic. Perhaps, statistically, it should've turned out that way. Tales of men who learn what's important in their limited period of consciousness via their interactions with spirited women are far too common — and not just on the big screen, but everywhere that tales are told. Many of Nine Days' other elements echo from other films and stories, too, strongly recalling Hirokazu Kore-eda's 1998 film After Life, bringing The Truman Show to mind in Will's voyeurism, clearly sharing thematic threads with Blade Runner and its sequel, and also skirting around similar terrain as Wim Wenders' haunting Wings of Desire. But, thankfully, Oda isn't bogged down by his influences. Just as his protagonist has clear notions of what life should be, at least when Nine Days begins, the first-time filmmaker has a distinct vision for this beautiful and rousing movie. Unlike Will, Oda doesn't waver, reassess or have his ideas probed, however. Instead, he crafts a film that's certain in its message about valuing and seizing life, and just as assured and confident about conveying that concept quietly, patiently, affectingly and with grounded sincerity — and about earning every step in its emotional journey, rather than relying on platitudes. With nuance and layers, that's how Nine Days can celebrate the simple act of appreciating the small things, and yet never comes across as if it's preaching a statement that's stitched onto a throw pillow. It's how Emma can introduce Will to a new perspective, and one he definitely needs, but never play like yet another manic pixie dream girl. It's also how the feature can wade into recognisable territory but avoid falling victim to all of the obvious cliches. That its central character lives and conducts his interviews in an ordinary-looking house that's surrounded by nothing but desert as far as the eye can see aptly reflects how the film itself appears familiar but always stands apart. Another key factor that makes Nine Days the movie it is: its detail. That's a product of Oda's commitment, too. His on-screen realm looks and feels fleshed out and lived in, and so do his characters (yes, even given the premise). Visually, that approach delivers sights that slip onto the screen like favourite possessions, such as walls of old-school TVs, deep stares at both hopeful and pensive faces, and lingering gazes at the sandy expanse surrounding Will's house. Cinematographer Wyatt Garfield's (Beatriz at Dinner) striking shots are also measured, like they're genuinely taking the time to soak in every iota — and the production design he's peering at, including in a room used to give unsuccessful souls one happy memory to hold on to, is a Michel Gondry (Eternal Sunshine of the Spotless Mind, The Science of Sleep, Be Kind Rewind)-like treasure trove. The same care and attention is afforded Will, Emma, Kyo and their fellow pre-life inhabitants as well, as shines through in the movie's fine-tuned performances. Nine Days is yet another movie that's filled with actors with recent comic book franchise credits; most films are these days. But Duke, Beetz and Wong are hardly talents shackled to their respective parts in Black Panther, Deadpool 2, Joker and Doctor Strange, or to any sprawling universes such titles connect to. They're all performers who bring humanity and vulnerability to their roles here, and in different ways. There's a guarded air of woundedness to Duke's phenomenal internalised portrayal — he's basically a traumatised guardian angel — and a lively curiosity and appreciation to Beetz's work, while Wong radiates empathy. Each of these three key players, and their fellow co-stars, also bake ambiguity into their performances. No person is just one thing, or can ever be solved, after all. That's truly what this evocative and memorable film is all about: the texture, experiences, feelings and enigmas that comprise every soul, and every life.
You could easily be mistaken for thinking you'd walked into a wine bar at Izakaya Fujiyama, Kenji Maenaka's (ex-Bodega) newest Japanese venture. Rows of sake line the wall above the long wooden bar, where patrons propped up on bar stools get a front row view of the bustling open kitchen. All the usual suspects appear on the menu here – sushi, nigiri and sashimi – and they're done exceptionally well. But the real highlights are to be found on their tapas menu. The Kingfish Nuta with fried tortilla chips makes for an ideal precursor to Kenji's Fried Chicken, best enjoyed with a generous dollop of wasabi mayo. The Teriyaki Beef Rib is also a must-try. Rich, glazed and marbled with fat, I'd be surprised if the staff have yet to see anything other than raw left-over bones. Vegos need not despair: one of the best dishes is their delectable Three-Bean Salad with sesame dressing. If you can get through all of this without recourse to a defibrillator, then the gluttonous condensed milk ice-cream with chocolate cake and poached quince will surely finish you off. Dominating the drinks list are twenty-odd different sakes available by a generous 90ml pour. The wine list is concise and features some pleasant French drops but it's overshadowed by the beer selection, which includes some fantastic rarities like Hitachino Nest ales and more well-known favourites like Sapporo. And if Charlie Ainsbury's (ex-Duke Bistro) 'Fuji-Mama' is anything to go by, the cocktail list is also worth a nod. Indeed any bartender who can seamlessly blend Midori into a dry and delicious martini - without reminding me of those first few months of being eighteen - has my complete and utter confidence! Izayaka has a lot of ticks next to its name, so it's shame that it's let down by the uninspiring fit-out. Everything apart from the bar area seems somewhat carelessly thrown together and lacks that element of 'cool' that the people behind Bodega have down to a tee. Inject a little more love into the space, and Izakaya has the potential to become a Surry cult-favourite. [nggallery id=89]
Presented in a year like no other in modern history, the 2020 Emmy Awards were always going to look and feel vastly different to previous ceremonies. Unlike last year, the proceedings had a host, with Jimmy Kimmel doing the honours. But, due to the COVID-19 pandemic, there was no red carpet — and no packed theatre full of Hollywood's most famous TV faces either. Prior to the chaos of 2020, you'd probably never wondered what an awards ceremony without all the celebrities and hoopla would look like. Now, however, you definitely have the answer. Kimmel rightly pointed out that these things are frivolous and unnecessary whether there's a virus spreading around the globe or not, and this year's virtual event was never going to dispel that reality. Still, amidst some understandable awkwardness — including countless gags about social distancing and an overextended opening joke that spliced old audience footage with Kimmel's monologue to make it look like he was talking to a full room — the awards gave a heap of talented folks shiny trophies for their hard work. Some, like the big winners from Schitt's Creek crew, beamed in from their own socially distanced party in Canada. Others, such as Watchmen's Regina King and I Know This Much Is True's Mark Ruffalo, streamed in from their homes. A select few stars did join Kimmel in-person for skits and to act as presenters, including Jennifer Aniston, Jason Bateman, Zendaya, Laverne Cox, Sterling K Brown and Barry's Anthony Carrigan. But these events are always about the people receiving the prizes — and the great shows that, if you haven't watched them already, you should immediately add to your must-watch list. https://www.youtube.com/watch?v=W0uWS6CnC2o SCHITT'S CREEK What it's about: The idea behind Schitt's Creek is immensely straightforward, and also incredibly obvious: if one of those obscenely wealthy families who monopolise all those trashy reality TV shows was suddenly forced to live without their money, like the rest of us, how would they cope? As envisaged by father-son duo — and the program's stars — Eugene and Daniel Levy, that's the scenario the Rose crew finds itself in, including moving to the titular town that it happens to own as a last resort. Yes, as the name gives away, they're in a sticky situation. The adjustment process isn't easy, but it is very, very funny. And, although plenty of other credits on her resume have made this plain (such as Best in Show, A Mighty Wind, Waiting for Guffman and For Your Consideration, all also with Eugene Levy), the great Catherine O'Hara is an absolute comedy powerhouse as the Rose family matriarch. Won: Outstanding Comedy Series, Lead Actress in a Comedy Series (Catherine O'Hara), Lead Actor in a Comedy Series (Eugene Levy), Outstanding Supporting Actor in a Comedy Series (Daniel Levy), Outstanding Supporting Actress in a Comedy Series (Annie Murphy), Outstanding Writing for a Comedy Series (Daniel Levy), Outstanding Directing for a Comedy Series (Andrew Cividino and Daniel Levy). Where to watch it: Netflix and iTunes. https://www.youtube.com/watch?v=zymgtV99Rko WATCHMEN What it's about: If the current spate of seemingly non-stop superhero movies and TV shows has taught us anything, it's that any story can hit the screen multiple times. Viewers have watched oh-so-many versions of Batman, multiple Hulks and many a Spider-Man, after all, so 2019's version of Watchmen — following the 2009 film of the same name — really didn't come as a surprise. The series takes place 34 years after the events of Alan Moore and Dave Gibbons-penned comic books of the same name, so it's a sequel, in a way. This is a particularly textured, timely and powerful take on the vigilante tale, however, even though that description has always applied to the underlying material. Starring Oscar-winner Regina King alongside Jeremy Irons, Hong Chau, Don Johnson, Tim Blake Nelson, Yahya Abdul-Mateen II, Jean Smart and Louis Gossett Jr, and created by The Leftovers' Damon Lindelof, this iteration of Watchmen once again explores an alternative history — with a particular (and often chilling) focus on the impact of racist violence and racial injustice. Won: Outstanding Limited Series, Outstanding Lead Actress in a Limited Series or Movie (Regina King), Outstanding Supporting Actor in a Limited Series or Movie (Yahya Abdul-Mateen II), Outstanding Writing for a Limited Series, Movie or Dramatic Special (Damon Lindelof and Cord Jefferson). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=OzYxJV_rmE8 SUCCESSION What it's about: For more than a decade, screenwriter Jesse Armstrong helped give the world one of the best British sitcoms of the 21st century, aka Peep Show. As fans will know, there's a sharp, dark edge to the hit comedy about two flatmates — and while a US drama about a wealthy family of constantly bickering media moguls mightn't necessarily seem like the obvious next step, Succession definitely possesses the same bite. The premise: with patriarch Logan Roy (Brian Cox) suffering from health issues, his children Siobhan (Aussie actor Sarah Snook), Roman (Kieran Culkin), Kendall (Jeremy Strong) and Connor (Alan Ruck) all fight to step into his shoes. Brought to the screen with stellar writing, the resulting series is as compelling and clever as it is entertaining. Across its two seasons to date (with a third set to come), it's also filled with such ferocious performances from its top-notch cast — and such exceptionally witty dialogue for them to snipe and spit at each other — that you'll wish every season ran for twice as long. Won: Outstanding Drama Series, Outstanding Lead Actor in a Drama Series (Jeremy Strong), Outstanding Writing for a Drama Series (Jesse Armstrong), Outstanding Directing for a Drama Series (Andrij Parekh). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=JjcfL8fbs7k EUPHORIA What it's about: It'd be easy to think that if you've seen one TV show about angsty teenagers and their antics, you've seen them all. But every now and then — more frequently than you might think, in fact — a new program pops up that demonstrates why that thinking will never ever prove true. Premiering in 2019 and instantly announcing itself as a must-watch addition to its genre, Euphoria is the latest, with Zendaya leading the series as recovering teen drug addict Rue Bennett. The show kicks off when Rue returns from rehab and immediately endeavours to settle back into the lifestyle she prefers. Expect illicit substances, boozy parties, sex, tested friendships, the ups and downs of love, and the quest to feel comfortable in one's shoes, because they all follow. A series that isn't just evocatively shot, but matches its style to the raw emotions on offer, Euphoria serves up one helluva ride. Won: Outstanding Lead Actress in a Drama Series (Zendaya). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=U4KBGydqlVk I KNOW THIS MUCH IS TRUE What it's about: There's no such thing as too much Mark Ruffalo, so six-part HBO series I Know This Much Is True obliges by casting the Avengers and Dark Waters star as identical twin brothers. In an adaptation of Wally Lamb's book of the same name, Ruffalo plays Dominick and Thomas Birdsey — with the latter struggling with paranoid schizophrenia, and the former's life often defined by his sibling. Set in the fictional small town of Three Rivers, Connecticut, and hopping between the present and the 90s, this is a thematically sprawling yet emotionally intimate drama that tracks the twins' parallel paths, while also spinning a story of betrayal, sacrifice and forgiveness. Although the cast also spans Melissa Leo, Kathryn Hahn, Archie Panjabi, Imogen Poots, Rob Huebel and Aisling Franciosi, Ruffalo unsurprisingly turns in two exceptional performances that steal the show. Prepare to be in particularly, unshakeably grim territory, though, with Blue Valentine filmmaker Derek Cianfrance directing every episode. Won: Outstanding Lead Actor in a Limited Series or Movie (Mark Ruffalo). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=-zVhRId0BTw UNORTHODOX What it's about: Deborah Feldman's best-selling 2012 autobiography Unorthodox: The Scandalous Rejection of My Hasidic Roots has made the leap to Netflix as a four-part mini-series. And, as the book's title makes plain, both explore her decision to leave her ultra-Orthodox Jewish community in Williamsburg, New York, flee her arranged marriage and everyone she's ever known, and escape to Berlin to start a brand new life. Names and details have been changed, as tends to be the case with dramas based on real-life stories; however, Unorthodox still follows the same overall path. In a tense but instantly commanding opening to the show's first episode, 19-year-old Esther 'Esty' Shapiro (Shira Haas) slips out of the apartment she shares with her husband Yanky (Amit Rahav), picks up a passport from her piano teacher and nervously heads to the airport. The end result proves a unique and intriguing coming-of-age tale, a thoughtful thriller, and an eye-opening but always careful and respectful look at a culture that's rarely depicted on-screen in such depth. Israeli actress Haas (The Zookeeper's Wife, Foxtrot, Mary Magdalene) turns in a nuanced, weighty and gripping performance as Esty, too — which is pivotal in making Unorthodox so compelling to watch. Won: Outstanding Directing for a Limited Series, Movie or Dramatic Special (Maria Schrader). Where to watch it: Netflix. Further reading: our full review. https://www.youtube.com/watch?v=CMBhxOW5fYo MRS AMERICA What it's about: From Aussie music biopic I Am Woman to US documentary 9to5: The Story of a Movement, the quest to have equal rights for women enshrined in American law has received ample on-screen attention of late. And that should firmly be the case, especially given that the proposed amendment to the US Constitution on that very matter — the Equal Rights Amendment — has yet to be adopted across the entire country. Joining the list of content on the topic, Mrs America explores the subject on the small screen, focusing on the heated fight in the 1970s across a blisteringly potent nine-episode series. As well as a fierce look at a still very relevant chapter of recent history, the series serves up the ever-impressive Cate Blanchett as real-life high-profile conservative activist Phyllis Schlafly, fellow Australian Rose Byrne as famed feminist journalist Gloria Steinem, and a lineup of talent that also includes Elizabeth Banks, Uzo Aduba, Sarah Paulson, John Slattery, Margo Martindale, Tracey Ullman and Melanie Lynskey. Won: Outstanding Supporting Actress in a Limited Series or Movie (Uzo Aduba). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=5hAXVqrljbs OZARK What it's about: In 2019, when the final batch of episodes from Arrested Development's fifth season dropped, no one really cared. That might sound harsh; however, it's a case of sad but true. Don't worry — star Jason Bateman certainly has enough to keep him busy elsewhere, particularly in the dramatic realm. As well as playing a part both in front of and behind the lens on this year's Stephen King adaptation The Outsider, since 2017 he's been leading, executive producing and sometimes even directing Netflix crime drama Ozark. Following a financial advisor who moves his family from Chicago to a quiet Missouri town after a money-laundering scheme goes wrong in a big way, this is one of Netflix's quiet achievers. That it also features the always-exceptional Laura Linney, as well as now two-time Outstanding Supporting Actress in a Drama Series winner Julia Garner — a standout on the big screen in The Assistant, too — also helps. Won: Outstanding Supporting Actress in a Drama Series (Julia Garner). Where to watch it: Netflix. https://www.youtube.com/watch?v=4dQI67eYz_0 MORNING WARS What it's about: Called The Morning Show overseas and Morning Wars in Australia, this star-studded series takes a straight-from-the-headlines approach. Immersed within one of America's popular morning television shows, it follows the fallout after one of its hosts is fired after reports of sexual misconduct (something that did indeed happen on the US version of Today a couple of years back). Steve Carell plays the anchor newly joining the unemployment line, Jennifer Aniston returns to TV for her first regular role post-Friends as his shell-shocked but fiercely ambitious co-host and Reese Witherspoon is the opinionated upstart who starts making a splash — with the latter happening after a video of her passionate tirade at an uninformed protestor goes viral. Billy Crudup, Mark Duplass and Gugu Mbatha-Raw also feature (we said this was star-studded) in a series that doesn't always hit as hard as it wants to, but remains highly involving. Won: Outstanding Supporting Actor in a Drama Series (Billy Crudup). Where to watch it: Apple TV+. Images: Watchmen via Mark Hill/HBO, Succession via Graeme Hunter/HBO. I Know This Much Is True via Atsushi Nishijima/HBO, Ozark via Jessica Miglio/Netflix.
If Felix was in a Paris arrondissement rather than the Sydney CBD, no one would blink a perfectly curled eyelash. Yes, it's a little piece of Paris and no one's complaining. From the (sometimes) French waiters bustling around the tiled floors to the decadent crustacean bar and elaborate murals on the ceiling, Felix is the bistro the city has been waiting for - and we can't get enough of the Steak Frites. It's a humming, buzzing, people-watchers delight in here: all beautiful wooden finishes, crisp white table cloths and intricate tiling. Energetic chef Lauren Murdoch, a Merivale star from Lotus and Ash Street, delivers food of the same exceptional quality. All the classic French cues are here: the ever-changing 'Plat du Jour', the rotisserie section and that incredible oyster bar. You can lounge at the noisy bar and nibble some chicken liver pate with your champagne, or slide straight onto a banquette and begin with something raw and delicious. Ocean Trout Terrine ($20) or the classic Prawn Cocktail ($18) are a good place to start before you move on to something a little more serious, like Steak Frites, Lamb Pie ($32) or newly trendy Skate ($28), with brown butter sauce, capers and caramelised witlof. If you swing by for a light lunch, there are salads that take the leaf to another level. Grilled Rainbow Trout ($20), with pickled vegetables and radicchio, is the perfect mix of sweet and slightly sour, while a classic Reuben Sandwich ($18) brings a little bit of New York to the table. After a lighter than light Passionfruit Soufflé ($18) to complete the ultimate bistro experience, I'd be surprised if you don't leave saying 'Tres Bon'. [nggallery id=75]
This year has seen an explosion of dining precincts open within Sydney's major developments. In 2019 alone, our city has welcomed the Barrack Place laneway and the Green Square dining precinct in the Infinity Building, as well as Darling Square's final retailers within Electric Treat Street and the Exchange Building's Maker's Dozen food hall. Not to mention two major announcements for 2020 openings within the South Eveleigh precinct. Next up is Quay Quarter Lanes, which will open as part of the massive new Quay Quarter Sydney precinct in late 2020. It'll be located on Loftus Lane — between Young and Loftus streets behind Customs House — in Circular Quay, and will span specialty cafes, all-day restaurants and late-night bars, plus boutique shops and 106 luxury apartments up top. Once completed, it will boast 20 retailers all up. The only restaurant to be announced so far is by New Zealand restaurateur Scott Brown — he's responsible for Auckland's much loved Italian restaurant Amano. Brown's new sustainable and seasonal concept will open within the heritage-listed Hinchcliff House on Young Street. The sizeable four-storey old wool store covers 1000 square metres will be restored as part of the project — as will Circular Quay's second remaining wool store, Gallipoli Club. Sydney-based Wiradjuri-Kamilaroi artist Jonathan Jones has been commissioned to create a site-specific installation for the laneway — his work aims to draw attention to issues including climate change, land management and the disappearance of unique Aboriginal languages and cultures. The food-filled space is set just across from the Quay Quarter Tower, the precinct's 50-storey glass skyscraper, which is slated for a late 2022 opening. It's all part of a $2.7 billion development by AMP Capital — which is also looking after the $140-million Marrickville Metro upgrade and its own massive dining precinct. Once finished, the Quarter Quay Sydney precinct will span 11,000-square-metres (or over two city blocks) of prime Circular Quay real estate. By its 2022 completion date, over 50 retail tenancies will be included in the precinct. Quay Quarter Lanes is set to open to the public in late 2020, and the full Quarter Quay Sydney precinct will open by late 2022.
Only watching a single scene, merely a few minutes or just a sole episode of Such Brave Girls is impossible. With its blisteringly frank and hilarious first season in 2023, and now with its equally raw, authentic and side-splitting second run in 2025 — both streaming in Australia via Stan — letting instalment after instalment roll while binge-viewing is the natural response to pressing play on this British sitcom about three adult women in a dysfunctional family. That said, there's a line in the show's second season that couldn't sum it up better, even if you were to only ever hear one piece of dialogue from the Kat Sadler-created series. "Your mouth's doing the right thing, but your eyes are trying to call the Samaritans," Josie, her on-screen alter ego, is told when she cracks a smile. Sadler also writes Such Brave Girls, with its first season winning Best Scripted Comedy and earning her the Best Emerging Talent: Fiction award at the 2024 BAFTAs. She's drawn much within its frames from her own experiences, as well as those of her sister Lizzie Davidson, who plays Josie's sibling Billie. Across its 12 episodes to date, there isn't a second of the end result that isn't deeply perceptive, including about depression, trauma, love, financial stress and the unshakeably intertwined relationship between the latter two, to name just some of its focuses. But that Samaritans line is such an astute statement about trying and pretending — however wholeheartedly or convincingly, or willingly or not — to put on a content and settled face to the world, an idea that's at the core of Such Brave Girls again and again. As she keeps exploring the lives of not just chalk-and-cheese sisters Josie and Billie, but also of their mother Deb (Louise Brealey, Lockwood & Co) — and of Dev, (Paul Bazely, Miss Scarlet and the Duke), a quiet widower with a big house, who the family matriarch is keen on marrying; Seb (Freddie Meredith, Andor), the keen-to-wed boyfriend that the queer Josie wishes that she didn't have; and Nicky (Sam Buchanan, Just Act Normal), the womaniser that Billie refuses to see anything but good in — how does Sadler find new ways to dig into the ever-relatable concept of constantly putting on brave faces? "It is capturing the MO of the show, and that's a really interesting way to look at it," Sadler tells Concrete Playground, "because I think every character is an emblem of this fine line of dancing through this desperation going on in the family home, and capturing that through keeping up appearances." "You've got Deb, who deals with it more superficially. Similarly with Billie, who's looking for someone to love her. And then it's Josie sort of constantly weaponising her mental health as a way of trying to experience love. Every character is on the quest for it. So I think when I go about writing, I often just have my characters on the wall, and I have this theme of love that I'm always trying to dig into, and then it's about finding different ways to have that come out." When season one introduced its main figures, it plunged into Josie's mental-health struggles, the mountain of debt that Deb can't escape, and the impact of her ex-husband going out for teabags ten years earlier and never returning home — as well as Josie's sexual identity, and the need for the series' three women to discover ways to try to keep fiscally afloat. Sadler's own attempts on her life and the £20,000 that Davidson owed at the same time were firm inspirations. Another motivation for the show: making the type of no-holds-barred sitcom about these situations and themes that didn't already exist but Sadler wanted to see. "That's exactly what I wanted to do," she explains. "I wanted to capture the uniqueness in the way that we talk, and the way that I talk to my friends, and show that, because I hadn't seen that before. And I wanted to lift up a rock into our world and try to capture as much of that in as much detail with as much authenticity as possible, to open people's eyes to the way that we see the world. And show that perspective, because there wasn't a lot of that that I was seeing on-screen — and it made me sad that we didn't have a lot of that. It made me lonely." "So I was trying to capture that — and help other people feel more normal by saying that the way that they talk is the maybe the way that they talk in their family." Life brightening up isn't Such Brave Girls' journey, though. That wouldn't fit its tone, or its aim to both subvert and satirise. Most sitcoms don't have the origin story that this one does, clearly — and also don't sport the commitment not to shy away from complicated characters, from daily woes, from mental illness, and from a range of topics that many dramas don't even dig into, let alone comedies. The again-exceptional season two begins with Josie chasing a crush, then swiftly being trapped in her worst nightmare: marrying Seb. Deb is endeavouring to use the nuptials to show to Dev that the family's women are worth getting hitched to, while Billie is intent on locking in a sugar-daddy relationship with the much-older — and already-wed — Graham (Daniel Ryan, The Bay). Most sitcoms also don't ensure, no matter what else Josie, Billie and Deb are navigating — be it weddings, infatuations, affairs, boat trips, potential pregnancies, rivals and so much more — that worrying about money isn't something that dissipates. That's another of Such Brave Girls' profoundly relatable touches. Interrogating the connection between love and finances is not the status quo for the bulk of television comedies, either. The feeling of catharsis for its creator, whether in processing her own experiences into something where Josie can make different choices, turning pain into laughs or seeing a show built with such a commitment to authenticity in such a range of ways resonating with audiences, stands out for Such Brave Girls, too. Alongside those themes of romance and money, as well as her own emotional journey with the show, we also spoke with Sadler about discovering the tone and feel for the series, and how season one's BAFTA success empowered her for season two. Among our topics as well: finding new scenarios to put Josie, Bille and Deb in the second time around, plus standing in Josie's shoes for 12 episodes now. On Financial Stress as a Daily Reality Always Sitting at the Heart of the Series — and How Love and Money Intersect "I love having a theme. And I think when you keep it on theme, the whole series will feel unified and keep the characters together — and that's the rubber dinghy that these characters are all stranded in and the ocean: financial stress. And if anything grows or moves or changes the way they're dealing with it, then the whole boat goes over. So it's all about keeping the characters on track and having that be the theme that we're constantly exploring. Like, when I start writing, I have love and money, that's my really strong theme of this year — and last year, too. I think that's what makes the characters feel relatable, and what is exciting to me as a writer is that it is fundamentally about love at its core. Even though the characters are horrible to each other and narcissists and all these things, their quest is fundamentally to be loved — but it's just these toxic ways they go about it. That was what was interesting to me as a writer in series two, was the kind of way that money relates to that. And Deb's quest for that, quest for money, is really about showing her love to the girls by keeping the house there, and keeping everyone safe and surviving. But we deal with it in these kind of toxic ways. So I do want to show that love and money really intersect in lots of ways that you might not be expecting." On Finding the Tone and Feel of the Show From Its Personal Origins for Both Sadler and Her Sister, and with Its Range of Topics That Not Even Dramas Always Cover "I think it went through lots of different versions. There was a while in which I suddenly thought 'oh gosh, am I writing a comedy-drama? Am I writing a drama?' in some of the stuff I dealt with. And then I think I had to stop and reassess and decide what I wanted to make — and fundamentally all I ever wanted to make is a sitcom that shows that you can deal with these issues, and not shy away from it and be hamstrung by the format of a sitcom. You can put anything in there, as long as you understand why characters are the way they are and act the way they do. So I think that was what I really decided on, and then I think once I decided that, it was all systems ago. I remember it went through lots of different drafts. That whole series went through loads of different drafts of versions, and then when I stripped all that back and showed it to my sister, it was then like 'this is what it is'. I think when it became like it was just jokes, that was then, I think, this is what makes me feel excited. Like, this is what gets me feeling a bit nervous, which is the best feeling — when you get a bit of fear." On If the Success of Season One, Including Its BAFTA Wins, Set Sadler a Challenge to Push Even Further in Season Two "Exactly. And it was an incredible vote of confidence in the show, and just gave us the feeling of 'people are behind us on this' — like they get it. Because it is a big ask, because it is challenging in different ways. So the fact that we had that mark of kudos of 'we back you' was huge, and so rewarding. And has been amazing, and totally made me feel like I can be more brave and confident, and like people give me the benefit of the doubt now. But it also comes with 'oh my god, how do you follow that up?'. We won the most-incredible prize — the list of shows on that list of BAFTA-winners for Best Scripted Comedy is unparalleled. It's incredible. So to try to compete with that or to be like 'okay, what's series two?' was terrifying. So we're working out 'how do you follow it up and not just try to be outrageous for outrageous' sake'. But it was a huge mark of confidence that has made me feel much more confident as a writer, which I struggle with." On Finding New Scenarios to Push the Characters Into in a Series About a World Where Nobody Is Right "My favourite thing is the twisted logic of the characters. That's what I love to write. I love twisted logic, like something that makes complete sense to the character, but as the viewer, you're like 'why on earth have you done that?'. So that's always my challenge. So I love to get a situation up on the board and be like 'what is the funny way that my characters would be front-footed and decide how to' — because we're all spin doctors, that comes from my family experience, like how we always just turn everything into something positive. You rewrite it. You work out how you win. And so it was about being like 'okay, how do I spin these situations so that the characters leave it feeling powerful, or leave it feeling like this is actually what they wanted?'. So that is the fun bit of the job, is working out 'what would be the most cathartic way to deal with this?' and 'how do these characters manipulate the situation?'. That's the bit which comes from just sitting and writing it, rather than reality, because a lot of reality didn't happen like that." On Whether There's a Feeling of Catharsis That Comes with Processing Sadler's Own Experiences Via the Series and Seeing Audiences Relate "Yeah, that has been an incredible experience. Having people relate or connect or say 'oh my god, I did that' or 'oh my god, that happened to me', that is actually, it's the best feeling. It's such a mark of confidence in the writing that it is truly the most rewarding bit. It truly is. Getting messages on Instagram being like 'oh my god, I can't believe you talked about that' or 'I thought only we did that' or something — those are the best messages." On How Sadler Feels About Josie After 12 Episodes of Standing in Her Shoes "I find her the hardest one to write for, because she's me. So I do find her difficult, because I haven't got that level of separation like I do with the other characters. So it's sort of about working out how to keep her — because Josie is also quite a passive character. She lets things happen to her. She's obsessed with her own trauma. She's lives in her head. And so it's hard to — thinking of plots for her to do where she is active is hard. Because I'm someone that usually just like — I think there's a line series one that's 'you're a deer in headlights, you just wait for the car to hit you' and that's me. So how on earth do you explore that in writing a series? She is the most fun, though, when she is front-footed about something. So it's just working out how to make her go for that. So that has been my challenge, just to make sure there's a degree of separation there between the two." Such Brave Girls streams via Stan. Read our review of season one.
That gloom-less Sunday afternoon vibe, that triple-header sleep-in, that victorious pyjamas-only Monday. The long weekend is upon us and if you think you're going to spend it catching up on understandably excellent episodes of BoJack Horseman, there's too much balmy air and tasty events in Sydney to even consider bunking in. Dig into the hearty, hearty deliciousness that is Good Food Month, then there's two free carpark gigs, entire festivals dedicated to cider and chocolate and one heck of a sharply dressed birthday party. Perhaps you're making the roadie to Newcastle for the National Young Writers Festival to fill your brain with sweet knowledge and creativity. Newcastle's underrated, you should visit One Penny Black for pourovers or The Edwards for cheesy fries. Just do it. We've broken it down for you, the best things to do in Sydney over the long weekend. Take your pick of Saturday, Sunday and Monday's best around-town nosh pop-ups, parties and live gigs — you've plenty of time to nurse that fuzzy bear head in time to drift back to work on Tuesday. Get amongst it. SATURDAY Junkyard Festival at the Vic It's starting to feel like every weekend one of our favourite inner-west music havens, Vic on the Park, is hosting one must-attend event or another. Not that we're complaining. On Saturday, October 4 it's the Junkyard Festival at the Vic. The Junkyard Festival is held bimonthly in Sydney's inner west, showcasing some pretty sweet local music. The lineup sees a string of local favourites such as Deep Sea Arcade, Chicks Who Love Guns, The Upskirts, Doc Holiday Takes the Shotgun and Grease Arrestor playing in the Vic's beloved carpark. Supplementing all this live music goodness, the crew have also got some solid DJ action going on in the form of Palms, Tsars, Zero Likes, Ok Cocaine, Bachelor Pad, Bust Lip and Simbles. Entry is completely free, however RSVPs are encouraged. Drinks are recommended. Saturday, The Vic on the Park. The Festival of Chocolate How has this not been done before? Over Saturday and Sunday, you'll feel like a kid in a candy store. The two-day Festival of Chocolate will see The Rocks transformed into a sea of market stalls, as dessert chefs from all over the country try to win you over with an array of chocolate-inspired concoctions in every mouth-watering form possible. 2014 is the debut of this festival, featuring as part of Good Food Month. Though some of what we might think of as the big guns of Australian dessert are staying home for this one, Rocks residents Ananas Brasserie, Baroque Patisserie, Bar 100 and La Renaissance will be spruiking their tasty, melty wares, alongside wider NSW choco-talent Sweetness the Patisserie, Chocolarts, Le Pain Quotidien, Adora Handmade Chocolates and Danieli's Fine Foods. Watch the people who have dedicated their life's work to making chocolate — heroes, really — demonstrate on the Chocolate HQ stage. Saturday and Sunday, The Rocks. Louder than Words - Sydney Dance Company Expect to see the human body pushed to its absolute limits, choreography that seems almost miraculous and a potent blending of music, poetry, costuming and design.This exclusive Sydney season, Louder Than Words, is bringing two of the most awe-inspiring dance works (ever!) to the Sydney Dance Company stage. And they're both world premieres. From SDC artistic director, Rafael Bonachela, there's Scattered Rhymes, which is a collaboration with Australian composer Nick Wales and Grammy-nominated British composer Tarik O'Regan. Then, from Greek choreographer Andonis Foniadakis, there's Parenthesis, which features an original score written by French composer Julien Tarride and costumes created by fashion designer-photographer Tassos Sofroniou. Kicks off Saturday, Sydney Theatre, Walsh Bay. National Young Writers Festival National Young Writers' Festival (NYWF) is the four-day writerly celebration that takes over the imaginations of young writers around the country. Directors Alexandra Neill, Jessica Alice and Lex Hirst's colourful program features familiar names like Benjamin Law, Yassmin Abdel-Magied, Clementine Ford, Lawrence Leung, Genevieve Fricker, Steph Harmon, James Colley, Patrick Lenton and more (including some other names you might not recognise now but definitely will in the next five years). Blowing out 17 candles this year in Newcastle, NYWF is growing bigger and wiser by the year. But a festival is never too old for an intergalactic-themed ball and a spelling bee-cross-Hunger Games-style battle of the brains, right? Thursday to Sunday, Newcastle. The Shiny, Newly-Reopened Manly Wine Seaside wine is pure textbook How to Long Weekend stuff. Reopening its doors following the first renovation since opening in 2009, Manly Wine is back with a clean slate ripe for the long weekending. Unveiling a brand new set of threads for summer, The Keystone Group's outdoor, beachside wine bar is perfect for barefoot, post-swim weekend wines. Pair rose spritzers with Manly Wine's signature prawn and chorizo gumbo, wagyu burgers or a Northern Rivers 150 day grain fed rib on the bone, or perhaps the raw seafood bar is on the cards post-dip — steered by head chef Joel Robinson. They're open for brekkie if you're up that early seizing the day, unless you're more beers and sunsets inclined. From Saturday, South Steyne Road, Manly. SUNDAY Watsons Bay Cider Festival Summer is nearly upon us. Days are getting longer and the sun is shining near unwaveringly. To celebrate, the good folks at the Watson's Bay Boutique Hotel are throwing a festival dedicated to our favourite crisp fruit beverage — cider. Perched on the Watsons Bay foreshore, this establishment knows a thing or two about hosting chilled summer events, even in spring. Their Cider Festival will span the long weekend October 4-6 and feature a variety of local and imported ciders. Making good use of the fact that cider rhymes with slider, snacks in slider form will be available all day (as will non-rhyming paella). Live music will be plentiful, and for the go-getters among us, there's an apple bobbing competition and a 'cider trail' along Military Road. Saturday to Monday, Watsons Bay Boutique Hotel. The Vines Free Carpark Gig The Vines are a long way from their Rishikesh days. The reformed, Craig Nicholls-run, Sydney staple is back with a new double album Wicked Nature — their sixth studio album — and two new members. Drummer Lachlan West and bassist Tim John have joined Nicholls for the latest reincarnation of The Vines, a band that quite simply refuses to surrender. After a three year hiatus from any touring The Vines will return to the stage for an exclusive one off show to perform their new material — in the carpark of Enmore's Vic on the Park. Creating a bonafide ruckus over the October long weekend, The Vines will play a free show on Sunday, October 5 from 1–6pm. Sunday, The Vic on the Park, Marrickville. Ruby's BBQ Nothing like 16-hour slow smoked brisket and crunchy burgers on a long weekend Sunday. IconPark season two residents, Rupert & Ruby are holding a Ruby’s BBQ event at the Stanley Street location from 11am-3pm on Sunday, with executive Chef, Eli Challenger cooking up specialties for your meat-loving self. Nom on Challenger's Carolina pulled pork and Kentucky fried chicken — which saw Ruby’s BBQ win the coveted People’s Choice Award at Taste of Sydney. Be sure to book for this one, as these melt-in-your-mouth meats are hot property in this town. To make a booking (and you'll need to) visit IconPark. Sunday, Rupert & Ruby at IconPark, Darlinghurst. The Glass Menagerie — Belvoir In the opening monologue of The Glass Menagerie, Tom Wingfield (Luke Mullins), a thinly veiled portrait of Tennessee Williams, informs the audience that he intends to give them "truth in the pleasant disguise of illusion". Soon after, he casually remarks that "The play is memory … it is sentimental, it is not realistic." So which is it to be? Truth or sentiment? Belvoir’s latest production grapples not only with Williams’ text but also his disdain for the theatrical conventions of his time. The Glass Menagerie is not only compelling theatre, it is proof that you needn’t take a hatchet to the classics if you want to make them say something new. Saturday and Sunday, Belvoir, Surry Hills. Goodgod Small Club Fourth Birthday It's hard to believe, but it's four years now that Goodgod Small Club first started bringing its much-needed, eccentric, eclectic good times to the CBD. To celebrate their fourth birthday, they're putting on an epic shindig — as only Goodgod know how. That means, of course, a venue-consuming, all-night-long, convention-obliterating party — this time around themed 'Taking Care of Business'. At the centre of the action will be the Goodgod 'house band' presented by Siberia Records, and Alex Cameron (one-half of Seekae). You can also expect a parade of special guests including Ariane, Astral DJs, Champain Lyf, Drongo, Mike Who, Nacho Pop, Power Suit, Shantan Wantan Ichiban and Tyson Koh. And the dress code? Under the suave 'Taking Care of Business' theme, Goodgod wants to see you looking your public holiday schmickest, so they're asking for suits. Yep, suits. Sharpen up. Sunday, Goodgod Small Club, Chinatown. MONDAY Sydney's Best Coastal Walks You can walk to the shops. You can walk to work. But no walk will feed your soul like a walk by the water. And if you live in Sydney, your soul should be pizza-party-level full. These ten coastal walks have it all — wild scrub, picturesque paths, yacht clubs and war ruins. Bar stops right where you need them. Parts of the Bondi to Coogee you can blitz in an hour, while the Bundeena to Otford track is an overnighter. Here's your next ten weekends' worth of active leisure. All weekend, all summer long. Check out our whole test-walked list here. Foe, Like The Enemy Pop-Up Store The acquisition of good vintage clothing can be a difficult feat. Much like the metaphoric fog, sometimes you have to sort through a whole bunch of crap until you find something good. Fortunately for us, the guys behind Foe, Like The Enemy have trawled through Asia and the Americas to source the best vintage clothing they could get their hands on. After a wildly successful first pop-up instalment, Foe are holding their second pop-up store in Regent Street, Redfern from September 24 — October 8. For a limited time you can walk into a real-live shop and try on vintage clothes in an actual changeroom — we're talking Jurassic Park denim details, well-worn flannos, as many retro sunglasses as you can predict to lose at a music festival. Saturday to Monday, Regent Street, Redfern. Pinot Palooza Master sommelier Madeline Triffon describes Pinot Noir as 'sex in a glass', while winemaker Randy Ullom calls it 'the ultimate nirvana'. One of the most challenging grapes in the world of vinification, it's also one of the most surprising and rewarding. No wonder Bottle Shop Concepts — the good folk who brought Game of Rhones our way in June — are coming back to town with Pinot Palooza, an epic travelling wine festival celebrating all things Pinot Noir. For just one day, wine connoisseurs in Sydney, Melbourne and Brisbane will have the chance to sample more than 150 drops, direct from the Southern Hemisphere’s best producers. Think Ata Rangi, Yabby Lake, Bay of Fires, Rippon, Kooyong, Mount Difficulty — and that’s just the first few leaves on the vine. Pinot Palooza will hit Sydney on Monday, October 6 at Carriageworks, you can buy tickets right here. Monday, Carriageworks, Eveleigh. The Clock Salumeria Nibble on a piece of Italy this weekend; we're talking meats, cheeses, wines, All the Molto Bene Things. The perfect afternoon or pre-dinner plan, Surry Hills' Clock Hotel is hosting their very own Salumeria, a pop-up bar just for the long weekend. Paying homage to traditional Italian delicatessens (salumeria), mixed boards will feature a range of meats including prosciutto, hot sopressata and capicola alongside cheeses such as gorgonzola, pecorino and taleggio; all complemented by gardiniera, pane de casa and green tomato marmellata. You'll only fork out $20 for two meats one cheese, $30 for four and three, so if you rock up with a small crew it'll cost next to nothing to nibble. And anything involving carafes of Prosecco and Chianti sounds pretty perfect to us. Check out the new Whisky Room while you're at it. Saturday, Sunday and Monday, The Clock Hotel, Surry Hills. Gone Girl The director of Seven, Fight Club and The Girl with the Dragon Tattoo, David Fincher has made a career out of stylish, devilishly entertaining pulp. His latest film, Gone Girl, is absolutely no exception. Adapted from Gillian Flynn's bestselling novel of the same name, it's a dark and twisting tale that presents itself as both a biting commentary on relationships and media frenzy, and a subversion of procedural film conventions. And at the same time, it fully embraces the sleaze and exploitation of that which it critiques. The film is very much double-edged sword. It condemns us for our obsession with violence while funnelling it down our throats. Once again, Fincher is dressing up trash as serious art, wanting to have his cake and eat it too. And frankly, we wouldn't take it any other way. All weekend, various cinemas around Sydney. Words by the Concrete Playground team.
If you're someone who loves chocolate and hazelnuts, and doesn't have an allergy to either, the odds are that you're rather fond of Nutella. Most folks fall into that category, which is why the world has seen everything from Nutella food trucks and dessert bars to Nutella hotels and festivals pop up — and plenty of eateries slathering the spread on and in other food stuffs, too. Your new way to get your Nutella fix? In bar form. Until now, you might've thought of Nutella bars as places that you can visit — because, as outlined above, they have definitely existed over the years. From Monday, January 4 at Australian supermarkets and convenience stores, however, Nutella bars are also something that you can buy and eat (and carry around with you in multi-packs for a Nutella-on-the-go situation). Nutella's new product is called B-ready, and it squeezes the spread into a wafer shell — with some wheat puffs as well. So, when you bite into one, you'll taste some Nutella, and get quite a crunch in the process. The Nutella B-ready bars are now available either individually, or in packs of six — if you can never seem to stop yourself when it comes to the choc-hazelnut spread. They'll cost you $2 for one, or $4.99 for a six-pack. Nutella B-ready bars are now on sale at Australian supermarkets and convenience stores.
Direct flights from Australia's east coast to New York — and London, too — are on their way, with Qantas committing to make the massive trips from 2025. But first, the Aussie airline is heading non-stop from Auckland to the Big Apple. The carrier has announced two pieces of exciting news for travellers Down Under, both of which might change your holiday plans from 2023 onwards. Firstly, it's starting those direct Auckland–New York routes, kicking off on June 14. Secondly, it's recommencing flying to NY in general, including a new Sydney–Auckland–New York flight. Initially, the new service will run three days a week, starting in Sydney before soaring non-stop from NZ to NY. The latter part will take a whopping 16 hours, which is slightly shorter than the 17-hour direct Perth–London route that first hit the air back in 2018, but will still be a mammoth undertaking. Yes, time feels like it means nothing when you're on one plane for that long. Yes, if you're keen on as few stopovers as possible whenever you're jetting around the world, that hefty non-stop leg is worth it. When Qantas returns to NY for the first time in three years due to the pandemic, travellers will be flying on Boeing 787 Dreamliners, with the airline taking delivery of three new aircraft in 2023. If you now know what you're doing next winter — enjoying a hot NY summer, obviously — the Sydney–Auckland–New York flights have just gone on sale today, Thursday, August 25. The airline will also increase its daily services from Sydney, Brisbane and Melbourne to Auckland from six to 11 when the new route commences, to help Aussies can take advantage of it. In flying direct from NZ to NYC, Qantas follows in the footsteps of Air New Zealand, which announced its plans back in 2019 and will start the route in September 2022. Qantas will restart flying to New York via its new Sydney–Auckland–New York route from June 14, 2023. For more information or to make a booking, head to the airline's website.
Tucked away between Topshop and Sydney's iconic State Theatre is Gilt Lounge. As QT Hotel's sultry grown up cocktail lounge, Gilt takes things to a whole new mixology level. And this place is tops, quite literally. Walk past Parlour Lane Roasters, up the elevators, through Gowings Bar & Grill and up another flights of stairs. Welcome to Gilt. Gilt is the femme fatale of Sydney's bar scene: smoldering, secretive and sophisticated. Think eclectic, industrial chic for the interior; the large space is broken up into clusters of soft couches and dim mood lighting. As the name suggests, the venue is a place to linger and lounge. It's a destination, rather than a stopover, for conversation and cocktails. The steady stream after-workers passing in and out of the bar gives it an upbeat buzz without feeling over crowded. And what you're really here for are the expert cocktails. Shakers will be tossed in the air and drinks finished with a flourish. A must-try is the Applewood Bacon Old Fashioned ($19), a wild combination of Applewood bacon-infused buffalo trace bourbon, black peppercorn-infused demerara sugar, creole bitters chocolate covered bacon and flamed orange. Yes, you read right. Chocolate. Covered. Bacon. It's a flavour fusion gamble that definitely pays off. Another hit is the Sweet Lady ($18) — ciroc vodka, lemon balm, sugar, fresh lime, egg white, mint bitters — a twist on the classic One Lady cocktail. This is a great option to accompany food; the lemon balm provides a palette cleansing burst while avoiding that minty aftertaste that stops you from enjoying following flavours. A good match is the Bringing Back The Vol-Au-Vent ($15) that is filled with house-made ocean trout tartare, sterling caviar and quail eggs. The bar menu is considered. Choose from sub-categories such as snacks, bite-size nibbles, sliders and more substantial. And we reckon after cocktail number two, three and four you're going to need to indulge some of Gilt's tasty bites. Gilt is Sydney's newest CBD hidey hole perfectly suited to sneaky after work drinks for couples, small groups and bona fide cocktail aficionados. The only kind of guilt you'll experience here is that of not having come earlier.
Darlinghurst's Sunday roast and craft beer specialist The Taphouse is expanding — upwards. The heritage-listed pub known for its expansive list of brews, sunny courtyard and hearty food offering has opened a new rooftop bar with a focus on inventive cocktails to complement the city views. Located two storeys above The Taphouse, Elm Rooftop Bar overlooks the bustling streets of Darlinghurst. The space embodies the classic alfresco setting with an abundance of leafy vines and hanging plants soaking up the sun beside you. The retractable awning also promises shelter from the elements on less favourable days, meaning Elm is open rain, hail or shine. Unlike the bar's beer-loving downstairs counterpart, Elm's drinks menu is all about variety. Owner Joshua Thorpe even goes as far as to describe the rooftop as "an outdoor cocktail and seltzer oasis". On the cocktail list you can find a variety of juice-based cocktails including the High Passion, a gin and passionfruit liqueur creation topped with freshly squeezed cucumber juice, or Elm's take on the bloody mary made with basil-infused vodka. [caption id="attachment_802633" align="alignnone" width="1920"] Jess Brown[/caption] If you haven't jumped fully on board the hard seltzer craze quite yet, Elm is a great place to start, with a wide-reaching selection of the buzzed-about drink on offer. Alongside the cocktails and seltzers, quality selections from The Taphouse's beer list will also be brought upstairs, with over 20 local craft beers available on tap, as well as a range of wines including orange drops poured by the glass. For those on the hunt for an afternoon snack in the sun, a variety of share plates can be ordered, from fish tacos with spicy tartare and southern-fried cauliflower bites, to selections of cured meats and cheeses – although there's nothing stopping you from making a cameo on the rooftop for a drink before heading back downstairs for a beloved Taphouse roast. Find Elm Rooftop Bar at Level 2, 122 Flinders Street, Darlinghurst from 5pm–10pm Thursday, 12pm–10pm Friday and Saturday and 12pm–9pm Sunday. Images: Jess Brown
Come 2026, almost a decade will have passed since Qantas proposed changing the way that Australians travel to two of the world's biggest cities — and most-popular holiday destinations — from the east coast. That plan: Project Sunrise, the initiative that's making non-stop flights from Sydney to London and New York a reality. It was first announced in 2017, ran trial flights in 2019 and has undergone delays since, including moving a 2025 start date to mid-2026. With its launch date now just two years away, Qantas is speeding ahead with the lengthy journeys, which'll join the Perth-to-London flights that began in 2018. (From Western Australia, the carrier also boasts straight-to-Rome routes, and just implemented Perth-to-Paris legs as well.) If spending all of that time on a plane sounds like it'll be an experience — the aircrafts are capable of staying in the air for up to 22 hours — the airline understands. Indeed, part of the Project Sunrise development process has been dedicated to ensuring that passenger wellbeing doesn't suffer, and also working out how to combat jetlag. Here's one solution, or at least a tactic to help: Qantas has revealed that its 238-person Project Sunrise A350-1000 planes will feature cabin lighting inspired by the Australian landscape, which will cycle through phases to help travellers adapt to the ultra long-haul voyage — and to the time zone when they disembark. The airline has been making the most of Hamburg's Airbus Customer Definition Centre, using a mockup of the A350 cabin to test lighting patterns and sequences, after the University of Sydney's Charles Perkins Centre conducted research during the Project Sunrise test runs on the inflight experience and reducing jetlag. Those learnings noted that some light spectrums work better to get circadian rhythms adapting. Cue plenty more testing, resulting in 12 lighting scenes for Project Sunrise's trips. Among them: using a broad-spectrum glow enriched with blue hues as an awake setting, which can also be softened; cycling through the tones of the sunset as it turns into a moonlit night, complete with clouds, to get travellers ready to go to sleep; and replicating an Aussie sunrise, starting at the front of the aircraft and rolling out to the back, when it's time to greet either London or NYC. Boarding, taxiing, take-off, sleep, landing and disembarking also have their own lighting modes. The planes will feature wellbeing zones that'll sport the colours of a daytime sky, clouds and all, when the flight is in its daytime setting. The same space will move to moonlight and water rippling during the journey's evening phase. And for those flush with cash, the enclosed first-class suites will let passengers fully customise their own lighting. As advised back in 2023, those wellbeing zones on the stopover-free hauls will sit between the 140-seat economy and 40-seat premium economy cabins. Inside, stretch handles and an exercise program guided via screens will get you active, while refreshments will be on offer at the hydration station. As for the cabins themselves, every seat will have free wifi, USB-C charging ports and also wireless charging and bluetooth connectivity so that you can use your own headphones — and, they'll feature in good news for your body, Qantas' most-generous seat pitches yet, plus ergonomic leg and foot rests. Qantas' direct flights from Sydney to London and Sydney to New York are set to take to the air in mid-2026. For more information, head to the Qantas website.
The sun is dying, and only a mission to space can potentially save life on earth and all of humanity. Sound familiar? If you've watched Sunshine from 28 Years Later duo Danny Boyle and Alex Garland, then it should. This one should ring a bell, too, if you caught The Martian: an everyman character gets stranded solo well beyond the third rock from the sun. Combine elements of two excellent sci-fi films from years gone by and you have Project Hail Mary — at least based on the just-dropped first trailer for the 2026 release. It isn't by accident that The Martian pops to mind, either. American novelist Andy Weir wrote the book that 2015 feature was based on. A decade later, the same applies, this time telling a tale about a science teacher who becomes an astronaut — and the planet's only hope. Ryan Gosling (The Fall Guy) plays Ryland Grace, who usually teaches the sixth grade. In parts of the Project Hail Mary's debut sneak peek, he stresses that he's putting the "not" in "astronaut" — and he's both sceptical and reluctant about the task being asked of him. In other moments in the film's first trailer, he's 11.9 light years from home, all alone, and uncertain why after waking up with no memory about what he's doing in space. Also included: attempting to discover why the sun is dying, using his science skills in a manner far beyond what he'd ever expected and making friends while soaring through the heavens. Audiences Down Under can make a date with the end result in March 2026 — and watch Gosling tackle space again after portraying Neil Armstrong in 2018's First Man, as part of a cast that spans Sandra Hüller (Anatomy of a Fall), Lionel Boyce (The Bear), Ken Leung (Industry) and Milana Vayntrub (Going Dutch), too. Project Hail Mary also marks the first picture directed by filmmakers Phil Lord and Christopher Miller in more than a decade, when the pair had both The Lego Movie and 22 Jump Street in cinemas in 2014. In the years since, they've been busy, however — such as initially being slated to helm Solo: A Star Wars Story, then getting replaced by Ron Howard (Jim Henson Idea Man), and producing everything from Spider-Man: Into the Spider-Verse and its sequel to the very different Brigsby Bear and Cocaine Bear. Check out the first trailer for Project Hail Mary below: Project Hail Mary opens in Australian cinemas in March 2026.
UPDATE, Tuesday, June 25, 2024: Maybe Group has confirmed to Concrete Playground that the decision to close Sammy Junior was unrelated to the recent refinancing of its parent company Public Hospitality Group. Our article has been updated to reflect this. A statement provided to Concrete Playground reads: "The team behind The Maybe Group have chosen to close their cafe Sammy Junior in Sydney's CBD to concentrate on other venues within the group. The lease has been taken over by Potts Point sandwich shop Salumerie, who tested the Sammy Junior space throughout May with a pop-up sandwich offering. Salumerie is already trading in the space, the new King Street location being their second site. Vince Lombardo said, 'Sammy Junior was a fun venture, and we're really proud it led to a surge in venues that offer just as good coffee as cocktails, but we've decided to concentrate our attentions elsewhere. We're big fans of what Salumerie do and wish them the best of luck'." Coffee spot-cum-aperitivo bar Sammy Junior, the sister venue to the multi-award-winning cocktail lounge Maybe Sammy, is the latest Sydney venue to close its doors for good. The bar's Instagram account has been quietly deleted, its website deactivated and its booking links via the Maybe Group website disabled, with insiders familiar with the matter confirming to Concrete Playground that the venue had been closed with immediate effect during the week ending Friday, June 21. The premises is already back in operation, after being taken over by Potts Point Italian sandwich joint Salumerie, which staged a pop-up at Sammy Junior in May. View this post on Instagram A post shared by Annie Ren (@annie_aroundplaces) The loss of Sammy Junior is the latest in a string of closures in Sydney which has impacted hospitality businesses of every sort, including stalwarts like Tetsuya's in the CBD and Cornersmith in Annandale, and award-winning newcomers like Raja in Potts Point. Even venues backed by star talents such as seafood savant Josh Niland's Charcoal Fish in Rose Bay, hospo veteran Barry McDonald's Bar Grazie in Potts Point and Kylie Kwong's Lucky Kwong in Eveleigh, have not been immune to the economic downturns driving the unusually high number of closures across the city. Other businesses that have closed in recent months include Marrickville's Donut Papi, CBD Vietnamese diner Hey Chu, Surry Hills wine bar Bartolo, The Sunshine Inn in Redfern, CBD omakase Tempura Kuon and Lima Bar in Bondi. Darlinghurst Theatre Company also announced on Tuesday, June 18, that it was entering voluntary administration, revealing similar financial vulnerabilities within Sydney's entertainment sector. Sammy Junior closed at 66 King Street, Sydney, on Wednesday, June 19, 2024. The premises is now operated by Salumerie. Images: DS OFICINA.
Let the games begin: Squid Game: The Challenge, that is, and IRL rather than in a fictionalised thriller. When Squid Game became one of Netflix's biggest successes, a reality show that riffed on the concept was always going to happen. There's no death here, but there's still 456 players competing for a huge cash prize while wearing green tracksuits, being overseen by red-clad figures, and playing hopscotch, marbles, sugar honeycombs and tug of war. The reality competition TV show received the green light back in 2022, after the streaming platform had also confirmed that a second season of Squid Game itself was on its way. In June 2023, Netflix also announced that Squid Game: The Challenge would arrive in November. Then, it locked in Wednesday, November 22 as the spinoff's launch date, and dropped a teaser trailer. Now, a full sneak peek is here — and, sans murder, it looks exactly like its inspiration. If you're one of the hordes of viewers who watched Squid Game when it instantly became one of the best new TV programs of 2021, as we all are, then you'll understand the concept at the heart of Squid Game: The Challenge. As seen in the two glimpses at the show ahead of its arrival, the whole pesky compete-to-the-death angle is missing, obviously, but everything about the series is as everyone expects. The outfits, the games, the decor, the music and, yes, the notorious Red Light, Green Light doll: they're all accounted for. And the prize? $4.56 million, aka the biggest cash prize in reality-show history. How does it work? Again, you already know the details. Those 456 folks — all ordinary people, and not actors — will try to score the $4.56 million by playing a series of games inspired by the extremely fictional South Korean thriller, as well as a few new additions. Also, competitors will be eliminated as the games go on, and forming strategies and alliances will play a huge part. So, Squid Game: The Challenge is clearly designed to get as close to the OG Squid Game as possible, just without the body count. It's all being overseen by a Front Man, too, because of course it is. The results will unfurl over ten episodes, in what Netflix has dubbed "the biggest reality competition series ever". Well, it certainly has the biggest cast. Making a gripping and brutal TV show that satirises capitalism, then bringing its games into real life does sound like something that might happen in Squid Game itself if the show was getting meta. "This is a savage game," one of the contestants in the new trailer offers — but, again, viewers already know that. Check out the trailer for Squid Game: The Challenge: Squid Game: The Challenge will stream via Netflix in on Wednesday, November 22, 2023. Squid Game's first season is available to stream via Netflix . Images: Netflix.
There's a good chance you've witnessed a superyacht cruising across Sydney Harbour. Now you have the opportunity to climb aboard for a ride with Solaré – a lavish culinary experience redefining hospitality on the water. Boarding in late summer 2025, the ultra-luxe 150-foot vessel will serve as a glamorous venue, with each of its three levels offering an immersive hospitality event. Inspired by sun-drenched sailing trips along the Italian Riviera, Solaré allows guests to soak up that same timeless elegance and laid-back luxury, even if only for a rarified moment. With the enchanting atmosphere of the Mediterranean in mind, you can expect a similar kind of concept reflected in the cuisine, with executive chef Pablo Tordesillas delivering an indulgent dining experience. On the main deck, a sophisticated dining room invites guests to explore contemporary coastal Italian cuisine through a swanky tasting menu ($185pp). Available for either a 3-hour lunch or sunset dinner cruise, each dish evokes a dreamy seaside feast and is driven by seasonal produce and complemented by Mediterranean wines curated by Ed Loveday. Dine in style with starters like brioche and amaebi prawn, then dive into mains such as reginette with Moreton Bay bug or raw tuna with pomelo and fennel pollen. When it's time to socialise, a 'Cruise Pass' ($50pp) offers three hours access to the terrace on the middle deck. Here, guests will find a vibrant cocktail bar alongside à la carte snacks that pair with the endless sunshine and sea breeze. For those looking for an even more lavish journey, a members-only sun deck inspired by Balinese beach clubs offers custom-designed daybeds and booths. From this opulent vantage point, guests will catch panoramic harbour views while enjoying Don Julio 1942 Rosado and plates of fritto misto. "In today's fast-paced world, true luxury is having the time to slow down and enjoy amazing food and drinks with friends. Onboard Solaré, our motto for guests is 'Let's do less'. Time slows down and the sunshine, sea breeze and spectacular views provide the perfect escape from daily life," said Solaré's founder, Scott Robertson. Alongside a distinct culinary offering, Solaré's sprawling interiors have also been thoughtfully imagined by leading interior designer, Alex Zabotto-Bentley. Conjuring the warmth of the Mediterranean and stylish details from Venetian bars, hardwood teak furniture and solid green onyx are just some of the high-end materials used to blend nostalgia with contemporary lifestyle. Live a little like Slim Aarons and book your spot on Solaré this summer. Solaré will launch in late summer 2025 — we'll update you with more details when they're announced. For more information in the interim, head to the website. Images: Jason Loucas.
First, the bad news: as announced at the end of February by creator and showrunner Jesse Armstrong in an interview with The New Yorker, HBO's award-winning version of Family Feud — aka Succession — is coming to an end. Now, the good news: in the show's just-dropped full trailer for season four, the squabbles are as sharp as ever, the insults are flying thick and fast, and no one among the Roy family can trust each other. So, it's fiery business as usual for the series' farewell lap. Arriving on Monday, March 27 in Australia and New Zealand — airing week to week — Succession's fourth season will be its last, and will see business titan Logan Roy (Brian Cox, Remember Me) leave his children Shiv (Sarah Snook, Pieces of a Woman), Kendall (Jeremy Strong, Armageddon Time), Connor (Alan Ruck, The Dropout) and Roman (Kieran Culkin, No Sudden Move) with everything, nothing or something in-between. Getting to that conclusion is going to be one helluva ride, as every season of Succession always is. The latest sneak peek includes everything from double-crossing to angry confrontations, plus Shiv's husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat) and Roy-family cousin Greg (Nicholas Braun, Zola) trying to stay relevant — and gossiping to each other, as they always do. It's Greg who utters the trailer's best line, in fact: "it's like if Santa Claus was a hitman," he says of Logan. The more things change for the Roys, the more that volatile underlying dynamic stays the same. No one is happy, the future of the company is in chaos and everyone wants the top job. In season four, that involves Logan's children teaming up with the family's foes, loyal in-house legal counsel Gerri (J Smith-Cameron, Fleishman Is in Trouble) threatening lawsuits, Logan starting rounds of chanting in the office and Roman getting in the face of Lukas Matsson, the tech visionary played by Alexander Skarsgård (The Northman) who Logan wants to sell Waystar Royco to. This is the fourth glimpse at what's in store in Succession season four, following on from an initial sneak peek in a broader HBO trailer in mid-October last year, another in late 2022 when the show's autumn return was confirmed, and one in January that locked in the exact March comeback date. If you need a refresher from season three, Shiv, Kendall, Roman and Connor have banded together to form a rebel alliance against Logan over his move to offload the company — and therefore the jobs, power, and cultural and political influence they always thought they'd inherit — to Lukas. It was back in 2021 when HBO announced that Succession would return for a fourth run, after its Emmy-winning third season proved that exceptional — and popular. Viewers are clearly in for more power struggles and more savaging of the one percent, aka more of what Succession has always done best. This time, however, it's the last go-around, so truly anything can happen. "We're pirates," shouts Logan in the new trailer, after all. Check out the full trailer for Succession season four below: Succession season four starts streaming from Monday, March 27 Down Under, including via Foxtel, Binge and Foxtel On Demand in Australia and Neon in New Zealand. Check out our review of season three. Images: Claudette Barius/Macall B Polay, HBO.
The Woolpack Hotel, founded way back in 1796, is a stalwart pub in the Parramatta area — though it's been given an impressive facelift. Its many spaces make it ideal for a wide range of tastes. The main bar offers lounges and ottomans alongside a detailed wine list and cocktail menu. If you're looking for a rowdy time instead, head over to the sports bar. It boasts both indoor and outdoor plasma TVs, pool tables and a courtyard to boot. And the venue isn't offering up your standard pub food either. Instead, expect Thai favourites from in-house restaurant M&J to grace your plate. Plus, the bar is open until 4am on Saturdays and is a close walk both from Bankwest Stadium and to the train station.
Stay tuned. More info on its way. Image: @wellingtonstprojects.
If you can hold on tight for one teeny, tiny minute longer, the long weekend will be with us. We know you have all sorts of awesomeness planned, so to get you in the mood (and help you through this final, painful hour or two), we'd like to treat to you a little visual relaxation. These gorgeous, dreamy cinemagraphs (the technical word for GIFs that are partly animated but don’t qualify as video) are the creation of a Strasbourg-based photographer by the name of Julien Douvier. He’s a 24-year-old freelancer who studied design and is now making inroads into the visual world via various creative projects. On his Tumblr, Douvier says, "As you can see, I attach a great importance to quality and details in my work. I will never release something I'm not satisfied of [sic.], even if I have to spend a lot of extra time on it. The meaning is very important too; I could create a lot of personal projects, but I don’t want them to be meaningless." Douvier isn't in too much danger of that with this collection. Every carefully composed image is just begging you to take a moment out of your day and pause to meditate. And that would be Friday. Just. About. Over. Via PetaPixel. Image credit: Cinemagraphs by Julien Douvier
Fear not, there is a cure for the Monday blues — a cure that's been tried and tested by sufferers since the dawn of the five-day week. It's simple, and only requires three things: cheese, wine and a cosy setting. An excellent place to find this special cure is at The Wine Library in Woollahra, one of our favourite wine bars in Sydney. It has an intimate interior and an exquisite selection of wines, in addition to incredible cheese and charcuterie options. Wash down some spicy salami and red peppers with a selection of five cheeses, and roll into Tuesday safely knowing that you made the most of your Monday.
The internet may have delivered on its promise of infinite information, available at any point in time. But there's no substitute for sinking into the couch with a good book. There's also nothing like discovering a new read at your local bookshop. So, we've tracked down some of the best Sydney bookshops to help you find your next great read. Despite ebooks, online book companies and Netflix, these independent Sydney booksellers are still winning bundles of readers' love with their quirky collections, smart recommendations and cosy nooks. And don't worry, a heap of them are set up to deliver your next great read direct to your door.
Following several years of successful activations as part of Vivid Sydney, Aria has announced it is opening its snack bar in a long-term capacity. The Aria Snack Bar found success as part of the beloved festival as a chance for diners to taste Matt Moran's renowned fine dining in a more casual and accessible format. It is not surprising that the snack menu features lush ingredients such as caviar, truffles and artisan cheeses. Start with Sydney rock oysters, truffle tarts with smoked cheddar, and tuna tartare with white soy. Savour a glass of Krug alongside a fried quail leg with kombu cream and caviar, and K'gari spanner crab with smoked roe, lemon cream and flat bread. Fill up on a wagyu smash burger with melting cheese and beer onions, and finish the night off with an ice cream sundae dripping with sherry caramel and pecans, all as you take in your spectacular surroundings. The snack bar allows visitors to experience Aria's elegance in a more casual way, perfect for a pre-theatre pop-in or a late-night rendezvous. Reservations are available from 8pm, with walk-ins welcome at any time. Images: Supplied. Aria Snack Bar is now open. Find out more about the menu and reserve your table now.
Classic flicks just keep making the leap to the stage, turning their big-screen tales into song-filled musical adaptations in the process. From 9 to 5 and Muriel's Wedding to Moulin Rouge! and Shrek, a hefty number of beloved movies have done just that — and now Adam Sandler's smash-hit film The Wedding Singer has joined them. The Wedding Singer: The Musical Comedy was originally due to hit Sydney in July last year but, as we all know, the pandemic got in the way. Now, it's bringing its tunes to town, playing the State Theatre from Wednesday, January 5–Sunday, January 23. If you've seen the movie, then you'll know what you're in for — with The Wedding Singer: The Musical Comedy delivering an all-singing, all-dancing stage show based on the hilarious 90s flick. And it's from the same crew that propelled it to sell-out success on Broadway and across the UK, including the writer of the original movie, Tim Herlihy. This one will yank you right into The Wedding Singer's 80s world of big hair and classic wedding bangers, thanks to a toe-tapping score that's sure to prompt a few hearty crowd singalongs. It retells the story of party-loving wedding singer and wannabe rock star Robbie Hart, who's left stranded at the altar at his own nuptials. Heartbroken, he sets out to destroy every other wedding he's a part of, until a chance encounter with a waitress: Drew Barrymore's character Julia. Now, he just has to win over the girl... and somehow put a stop to her own upcoming marriage along the way.
Founded by obstetrician and fertility specialist Toby Angstmann, Canberra's Underground Spirits was brought into this world with a "life's too short" mentality. Even when you're a well-regarded doctor, life is clearly too short not to pursue your dream of making spirits. Angstmann has transported some of his medical skills to his new business, too — which is where the brand's impurity-removing cryofiltration process was born. The result: smooth tipples that go down easily, as anyone who tries Underground Spirits' caramel vodka discovers. Of course, the very concept of caramel vodka was always going to tempt tastebuds. How could it not? Think warm, sweet, creamy and buttery, and the kind of spirit you'll want several sips of. Underground Spirits' distillery is located in Kambah, in the southern outskirts of Canberra, with products available online. As well as caramel vodka, it makes cold-brew coffee vodka, shiraz and pepperberry gin, a special-edition native gin in collaboration with the Australian National Botanic Gardens in Canberra, and standard vodka and gin.
Year after year, creatives, storytellers, thinkers, and inspirational figures from around the world descend upon Sydney for one very special event. The Sydney Writers' Festival, a short but very sweet celebration of the best and brightest minds and the words they've created. It's on its way back for 2026, and now we know exactly what we can expect from the five-day program of over 200 events and 250+ participating guests. This year's theme, Show Me the Truth, is a dive into truth and trust in written and spoken media amid overwhelming uncertainty. As Sydney Writers' Festival Artistic Director Ann Mossop explains, "Writers bring the truth to life in many different ways, whether it is in a novel that transports us to another time and place or in rigorous journalism that reflects the current moment." [caption id="attachment_1081033" align="aligncenter" width="1920"] Jacquie Manning[/caption] "We'll explore important questions about the future of democracy and the impact of AI on the arts and culture, but we'll also celebrate a major anniversary for one of Australia's favourite cookbooks and the joys of Dav Pilkey's Captain Underpants. The SWF program opens up a space for writers and readers to explore books, ideas and storytelling in all of their variety and richness," Mossop adds. Headlining this year's festival are a number of notable voices. International bestsellers like R.F. Kuang (Katabasis), Mick Herron (Slow Horses) and Patrick Radden Keefe (London Falling) will unpack their latest works, while global voices of change and truth like former NZ Prime Minister Jacinda Ardern and Wikipedia founder Jimmy Wales will examine their lives and legacies live on stage. [caption id="attachment_1081031" align="aligncenter" width="1920"] Jacquie Manning[/caption] Booker Prize-winning and shortlisted authors such as David Szalay (Flesh), Susan Choi (Flashlight), Yann Martel (Life of Pi), Roddy Doyle (The Women Behind the Door), Amitav Ghosh (The Nutmeg's Curse), Tayari Jones (Kin) and S.A. Cosby (King of Ashes) will all discuss the inspirations of and truths within their latest works. On the events front, the creator of an Australian classic, Dav Pilkey (Captain Underpants, Dog Man) will draw his characters live on stage in a live and antics-filled event. Journalists Lorena Allam, Avani Dias, Lyse Doucet, Anton Enus, Kate McClymont and Patrick Radden Keefe gather for The Story That Changed My Life to discuss the stories that changed their careers forever, while Brave Conversations: When Words Offend will unite journalists and storytellers for a panel on the role of disagreements in democracy. [caption id="attachment_1081034" align="aligncenter" width="1920"] Jacquie Manning[/caption] After Bondi will see four writers and host Michaela Kalowski reflect on grief, solidarity and resilience after the Bondi terrorist attack. Big Histories will bring together Amitav Ghosh, Luke Kemp and Clare Wright to re-examine the fundamental grand narratives of human history. Great Adaptations will offer an insight into how stories move from page to screen, and The Future of Truth will pair Barbara Demick, A.C. Grayling, Jimmy Wales and Toby Walsh in a discussion on how trust can be rebuilt in the age of misinformation, AI and information overload. The full program goes on and on, from returning favourite events like the SWF Great Debate and the opening gala to Australia-wide and international authors and celebrations of First Nations and queer voices in the writing world. You can visit the SWF website to browse every event and plan your perfect festival run, with over 55 free events making it as accessible as it is insightful. [caption id="attachment_1081032" align="aligncenter" width="1920"] Jacquie Manning[/caption] Sydney Writers' Festival will take place at venues across the city from Sunday, May 17–May 24, tickets go on sale at 10am on Saturday, March 14. For the full program or more information, visit the website. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox.
Want to bunker down in Bunker Bay with easy access to the ocean, spa treatments, infinity pools – and, of course, nearby wine regions? The Pullman Bunker Bay Resort is ticking quite a lot of those boxes and others, as it serves as a mighty luxurious base for exploration of the Margaret River Wine Region. A bit of a drive from Perth, Bunker Bay is worth the petrol for the clear waters alone, and the rest of Margaret River's attributes additionally. From here, you can head out on a group tour of the region's more than 150 cellar doors — famous wineries in the area include Xanadu, Cape Mentelle, Voyager and Leeuwin Estate — or get your own car or bike and follow an itinerary of your invention. Several of the estates also boast restaurants, so you're guaranteed to be both well fed and watered. On the other side of Margaret River's rolling hills, you've got that inviting ocean and a brilliant coastal walking track that will take you past Cape Leeuwin and its Instagram-ready lighthouse. The Mediterranean climate means there's never a bad time to holiday here, but come between June and November if you've always wanted to try a spot of whale-watching. Humpback, southern right, minke and even blue whales have been known to migrate past this coastline each year. Back in the comfort of the Pullman Bunker Bay Resort, studio or bungalow-style villas house guests here, and all villas have lake or garden views and a boardwalk to the beach, so it's an easy stroll towards fulfilling your holiday hit-list. Vie Spa occupies the side of your vacation that is "lying down and utterly relaxing", with their beachfront location and couples suites a very valid option for honeymooners. Kinks in your back all worked out? You can head to the Bunker Bay Resort's restaurant – Other Side of the Moon is its name, and utilising fresh and sustainable local produce in share plates is its tasty game. Eat well but don't forget to explore the wines too – you're in the Margaret River region after all.
It came, it celebrated, and it filled Melbourne with art, music and performances. Across its official 12-day run from Wednesday, June 4–Sunday, June 15 for 2025, RISING proved another hit. Not ready to say goodbye to the winter festival's huge lineup — which featured 100-plus events from 610 participating artists, including 16 brand-new commissions — just yet? Didn't make it down from interstate to the Victorian capital? A few of its highlights are sticking around, so you can still enjoy a RISING experience in the coming days, weeks and even months. Swingers — The Art of Mini Golf was the first event announced for RISING 2025 — and the art exhibition that's also a putt-putt course will be the last to finish, too. Until Sunday, August 31, it's welcoming in audiences at Flinders Street Station to get tap, tap, tapping around greens designed by female-identifying and gender-diverse artists. Kajillionaire filmmaker and All Fours writer Miranda July is behind one of the surreal and mindbending creations, riffing on her latest book's name with an 'all fores' setup. [caption id="attachment_994702" align="alignnone" width="1920"] Eugene Hyland[/caption] Also helping to shape Swingers — The Art of Mini Golf: Soda Jerk switching from bringing TERROR NULLIUS and Hello Dankness to the big screen, plus Australian artists Kaylene Whiskey and Nabilah Nordin, Japan's Saeborg, the United Kingdom's Delaine Le Bas, Indonesia's Natasha Tontey, Atlanta rapper BKTHERULA and Hobart-based photographer Pat Brassington. If you haven't seen Hedwig and the Angry Inch before, this is your chance to redress that gap in your theatregoing, with this new Australian production of the rock musical starring Filipino Australian singer Seann Miley Moore. It's running at Athenaeum Theatre until Sunday, June 29. You've got even longer, until Saturday, July 12, to grab a seat at Fairfax Studio for The Wrong Gods — the new piece by S Shakthidharan, the playwright behind RISING 2024's Counting and Cracking. Embracing a playful stage musing on romantic woes with the appropriate soundtrack remains on the agenda at Heartbreak Hotel at Arts Centre Melbourne until Sunday, June 22, too, while Melbourne Theatre Company's Legends (of the Golden Arches) is at Southbank Theatre until Saturday, June 28. "We're thrilled and grateful that audiences have once again embraced RISING in 2025. It's a testament to Melbourne's appetite and reputation for culture that over 12 massive days and nights, people turned out in huge numbers making the city feel alive with creativity," said RISING co-Artistic Directors and co-CEOs Hannah Fox and Gideon Obarzanek. "It's exciting to see that momentum continue, with several works extending beyond the festival dates by popular demand. There's still so much to discover, whether it's artfully absurd mini golf at Flinders Street Station, or powerful new theatre and performance across Melbourne." [caption id="attachment_1009673" align="alignnone" width="1920"] Brett Boardman[/caption] RISING 2025 Extended Seasons Until Sunday, June 22 — Heartbreak Hotel at Arts Centre Melbourne Until Saturday, June 28 — Legends (of the Golden Arches), Southbank Theatre Until Sunday, June 29 — Hedwig and the Angry Inch, Athenaeum Theatre Until Saturday, July 12 — The Wrong Gods, Fairfax Studio Until Sunday, August 31 — Swingers — The Art of Mini Golf, Flinders Street Station [caption id="attachment_994694" align="alignnone" width="1920"] Andi Crown Photography[/caption] RISING 2025 ran from Wednesday, June 4–Sunday, June 15 across Melbourne, but several events and shows are still enjoying their seasons over the next days, weeks and months — head to the event's website for further information.
If you had plans to see Childish Gambino in Australia and New Zealand in 2025, you were likely paying close attention when he announced in early October that he was cancelling the remainder of his North American tour, and also his UK and European dates. A trip Down Under was meant to follow, and wasn't scrapped at the time; however, it's officially no longer going ahead. There'll be no summertime magic after all, then, after the musician that you also know as Donald Glover first announced four Australian shows for 2025, then expanded his local dates before general ticket sales even started. For the rapper, hip hop talent and Mr & Mrs Smith actor, this was set to be his first trip to these shores since 2019. Dates at Auckland's Spark Arena in January, then at the Brisbane Entertainment Centre, Sydney's Qudos Bank Arena, Melbourne's Rod Laver Arena and RAC Arena in Perth are all now cancelled. When Gambino's shows elsewhere were scraped, he advised on social media that he'd been "to the hospital in Houston to make sure of an ailment that had become apparent" after a show in New Orleans. "After being assessed, it became clear I would not perform that night, and after more tests, I could not perform the rest of the US tour in the time asked. As of now I have surgery scheduled and need time out to heal," the statement continued. "My path to recovery is something I need to confront seriously. With that said, we have made the difficult decision to cancel the remainder of the North American tour and the UK and European dates. Tickets will be refunded at point of purchase." [caption id="attachment_955315" align="alignnone" width="1920"] Eli Watson via Flickr.[/caption] This situation might sound familiar. When Gambino last headed this way — complete with a headline spot at Splendour in the Grass — it was after initially announcing a 2018 Australian tour, then cancelling it due to an ongoing injury. Before that, he performed at Falls Festival in 2016. Gambino mightn't have been on Aussie stages for a spell — and still won't be anytime soon — but Glover had the final two seasons of Atlanta, both in 2022, reach screens since he was last Down Under. Voice work on Spider-Man: Across the Spider-Verse, producing TV series Swarm, the aforementioned Mr & Mrs Smith: they've all joined his resume as well. He'll also be heard as Simba again in Mufasa: The Lion King, the prequel to 2019's photorealistic version of The Lion King, before 2024 is out. [caption id="attachment_955317" align="alignnone" width="1920"] Eli Watson via Flickr.[/caption] Childish Gambino 'The New World' Tour 2025 Australia and New Zealand Dates Tuesday, January 28 — Spark Arena, Auckland — CANCELLED Saturday, February 1 — Brisbane Entertainment Centre, Brisbane — CANCELLED Tuesday, February 4–Wednesday, February 5 — Qudos Bank Arena, Sydney — CANCELLED Friday, February 7–Saturday, February 8 — Rod Laver Arena, Melbourne — CANCELLED Tuesday, February 11 — RAC Arena, Perth — CANCELLED Childish Gambino is no longer touring Australia and New Zealand in January and February 2025. Head to the tour website for further details. Top image: The Cosmopolitan of Las Vegas via Flickr.
Bar Patron has undergone its fair share of evolution since launching in 2018. Originally opened by Neil Perry and the Rockpool Dining Group, the Mexican-inspired restaurant sat dormant for three years during COVID times before it was revamped under hospitality group Pacific Concepts, now rebranded as Hunter St. Hospitality (The Collective, El Camino Cantina, 24 York). Yet the world's only Patrón-dedicated tequila bar has decided to embrace its name, shifting away from its Mexican dining focus to become a fully-fledged tequila bar. From its airy home in Circular Quay, guests can now expect cocktails to be front and centre, while a tightened food menu complements, not overshadows, what's shaken and stirred behind the bar. The drinks list goes far beyond the basics. Led by Bar Manager Andori Sanchez (El Primo Sanchez) and Hunter St. Hospitality Beverage Director Ali Toghani, a thoughtfully assembled selection of seven signature cocktails draws from varied regions of Mexico, with each designed to showcase a specific area's standout produce and character. For instance, the El Mariachi draws inspiration from Jalisco — the birthplace of tequila — offering a zesty, tropical blend of Patrón Reposado, hibiscus, Campari, blood orange liqueur and mango. Oaxaca, the heartland of mezcal, sets the tone for La Llorona, featuring a smoky, spicy base balanced against pineapple sweetness — another regional staple. There's also El Cielo De Mayo, where the light agave flavours of Patrón El Cielo mix with fresh lime, pomegranate grenadine and apple juice to reflect Puebla's fertile farmland and citrus trees. While the new direction for Bar Patrón has reduced the focus on food, don't assume what remains lacks the same punch that came before. Overseen by Hunter St. Hospitality Culinary Director Santiago Aristizabal, each dish showcases regional Mexican touches and premium Australian produce, ensuring lunch or dinner remains a delight. Order a round of tacos to start, choosing from options like wagyu cheek, grilled prawn and pork barbacoa. Snacks like salty chicharrones and tuna tostada also won't go amiss. For something larger, favourites like Glacier 51 toothfish with adobo, and braised short rib birria are still on the menu. With long lunch specials and happy hours offered throughout the week, swing through Bar Patrón for a cocktail, a casual bite and front-row Sydney Harbour seats. Bar Patrón is open from Tuesday–Thursday from 12–10pm, Friday–Saturday from 12–11pm, and Sunday–Monday from 12–9pm at 2 Phillip Street, Sydney. Head to the website for more information. Images: Steven Woodburn.
It's this midway point of the year when many of us have travel on our minds. Whether the Euro summer Instagram dumps have you thinking about your next jaunt to the Northern hemisphere, or you want to escape the long winter for a warm Asian escape, a lot of us are plotting our next adventure. If it's been a while since you planned an international trip, here are some handy tips to keep in mind and help you travel smarter, not harder. Book Smart When deciding on a holiday destination, it's easy to get excited and book the first flight the airline presents to you. Take your time, do some research and look at off-peak tickets to save some money. These include flights on Tuesdays, Wednesdays and Saturdays. If you can, avoid flights that take off just after work and during holiday periods. Pack a 24-Hour Emergency Kit In Your Carry On Stuff happens. Flights get delayed, and luggage can be lost. While not ideal, having a backup outfit, toiletries, and any medication in your carry-on bag can help to ease your mind. Travelling can be unpredictable, but by preparing a little more, the big annoyances can become small details that you'll forget by the time your lost luggage arrives safely on your hotel doorstep. Get Your Money In Order Your holiday savings account looks nice and healthy, and your bag is packed, but how will you spend money when you get to your destination? Using the wrong card could result in some hefty international exchange fees. No one needs to pay $4 to get their own money out of an ATM in Italy. HSBC's Everyday Global Account is an everyday bank account with useful benefits for your international travels. Think instant (and seamless) fee-free* currency exchange 24/7, competitive exchange rates, and $0 HSBC ATM fees worldwide**. The HSBC Everyday Global Account also allows you to spend in multiple currencies from the one account. Organising your money before you're swept up in holiday adventures means you could save some serious cash in the long run. Plus, you can keep using your HSBC Everyday Global Account when you land back on home soil, too. With HSBC's Everyday Extras, enjoy up to $600 cashback*** a year on eligible tap and pay purchases under $100 domestically, making it the ideal everyday account for the world. Layovers As Mini Holidays As Australians, we're used to long haul flights. This doesn't mean we can't make the most of the time, though. Rather than rushing across continents as quickly as possible, consider an extra night in your layover destination. It's the perfect way to feel more rested pre-holiday and reset for reality on the way back. Singapore, Bangkok and Hong Kong are all popular layover destinations from Australia and have a wealth of culture and food to get you into the holiday zone. Make The Most of The Airport Lounge A part of getting older is learning that sometimes it's worth it to spend a little bit extra when traveling in exchange for comfort and cleanliness. If you're not going to leave the airport on your long haul layover, at least consider a pass to a lounge. Here, you can shower, eat some food (local cuisine is encouraged), and charge up your devices before landing at your destination. Utilising airport lounges can mean the difference between arriving at your first stop feeling excited and ready to explore, versus needing a day in your hotel to recover from the flight. Utilise Google Maps Is there anything worse than heading out to explore a new city's cuisine and finding yourself eating at a fast food joint? In the months and weeks leading up to your holiday, spend some time researching places you'd like to check out and save them on your Google Maps. This way, when you're wandering around, the sun is setting and hunger is rearing its head, you'll have a laundry list of local spots ready to go rather than wasting a meal on food you could get back home. Don't worry, you don't have to tick them off like a to-do list (that's part of the fun of exploring), but having them saved as a backup means that you're never left wandering around aimlessly. Don't Forget The Fine Print Travel is always a thrill, but you can give yourself some peace of mind by ensuring the admin has been triple-checked before your bag is packed. Is your passport six months within date? Do you have travel insurance? Have you read its fine print? Do you know how you'll be spending money once you're overseas? Checking this admin off before you head to the airport means peace of mind and travelling smarter, not harder. Give Yourself a Day to Reset Where once you might've driven from the airport to the office on a Monday morning, giving yourself at least one day at home before getting back into your day-to-day life can help to ease you out of holiday mode. From jet lag to a lack of clean clothes, you won't regret taking the time to reset post-travel. Yes, you might need to spend an extra day of annual leave, but reminiscing on your trip and getting a good night's sleep will help to ease the travel blues and get you gearing up for your next trip, wherever that may take you. Learn more about HSBC's Everyday Global Account here. *T&Cs apply. Other banking services fees and charges may apply, including corresponding bank fees for international transfers. Issued by HSBC Bank Australia Limited ABN 48 006 434 162 AFSL 232595. **Non-HSBC branded ATMs and some HSBC Group ATMs may charge an ATM operator fee for withdrawals or balance enquiries at their ATMs. ***HSBC Everyday Extras is a feature of the HSBC Everyday Global Account. You will be eligible for Everyday Extras if you deposit at least AUD2,000 into your HSBC Everyday Global Account before the last working business day of each calendar month. For more information, refer to the Transaction and Savings Accounts Terms (PDF).
Sydney's CBD has landed a major dose of the Tokyo-esque practical and compact, with the former Bar Century space reopening in May as The Capsule Hotel, a three-storey, luxury boutique stay. The George Street cheap drinks den, which closed in 2016, was taken over by developer Walter Guo, who invested a massive $5 million on a full interior refurb, carried out by interior design consultants Giant Design. The heritage building has somewhat retained its vintage fit-out but with more of a nod to the futuristic space-like capsules of The Fifth Element. The bar and hotel are running as separate entities, with the first two levels acting as The Century Bar, while the top three floors of the building are dedicated to the capsules. Each of the 70 capsules contains a large flatscreen TV and entertainment system, Wi-Fi, and a climate control panel. Guests can choose from single or deluxe beds with entry from either the side or the end of the capsule. The communal facilities include a kitchen space, breakfast bar, lounge area, rooftop terrace and individual bathrooms. If you're worried about security, don't be — each capsule is fitted with a secure lock and the security desk runs 24-hours. But let's set the record straight — The Century is not a hostel, and it's not aimed at overindulgent locals that can't seem to make it back home. "The accommodation, which is not quite hotel nor hostel, is aimed at solo travellers looking for something more private than a typical backpackers and those who want the designer hotel experience on a budget," says Christopher Wilks, an associate at Giant Design. It's set to sit well within your budget, with prices ranging from $50-90 a night. Which, depending on how far from the CBD you live, could be a lot cheaper than a cab home at 1am. Find The Capsule Hotel at Level 3, 640 George Street, Sydney. For bookings, head to the website or call (02) 8957 7763.
If anyone has the know-how to transform a weary suburban pub into a go-to dining destination, it's Leigh McDivett and Clayton Ries. Not only did the pair have a huge hand in the Banksia Hotel's recent bistro revamp alongside celeb chef co-owner Colin Fassnidge, they're also western Sydney locals, having spent their childhoods kicking around in Northmead and Camden, respectively. Moving on from Banksia Bistro, the pair has moved further west to helm the Monarch Group's latest project, the Macquarie Hotel. The Liverpool pub has received an aesthetic spruce and a new produce-driven food offering. Headed up by McDivett, the kitchen's taking contemporary bistro dining up a few notches, across a menu of rejuvenated pub classics, crafty seasonal specials and desserts to drool over. Get excited for the likes of watermelon, chorizo, and Sriracha mayo salad, grilled whole leatherjacket with chard and pickled radicchio, and dreamy bacon ice cream pops. In keeping with the menu's new-school vibe, the pub itself has all the makings of a modern-day local with sports on the big screens, a cheery assortment of happy hour specials, and a leafy, timber-decked al fresco space to rival any inner-city beer garden. The Macquarie Hotel is now open at 269 Macquarie Street, Liverpool. For more info, visit macquarie-hotel.com.au.
Rise and shine, your next adventure is Montague Island, a magnificent nature reserve nine kilometres off shore. It hosts the biggest fur seal colony in New South Wales, which attracts as many as 2500 seasonal residents, as well as over 90 bird species and a 12,000-strong little penguin colony. The best time to visit if you want a good chance of seeing these animals is during spring, but from late winter the seal colony on the island starts to grow and you're likely to spot penguins on an evening walk around the island. For a more organised tour, Lighthouse Charters offers a variety of options, including day trips with whale watching, snorkelling with fur seals and little penguin watching. To make the most of your trip, book an overnight stay. Montague Island's Assistant Lighthouse Keeper's Cottage sleeps seven people across three bedrooms, and you'll more or less have the island to yourself. Before leaving Narooma, grab an antipasto grazing box from Mr Bold Catering Co, which comes packed with local cheeses, chutneys, cured meats and fruit. Images: Destination NSW
