The Darling Harbour outpost of global hotel chain Sofitel is set to unveil a new two-storey spa overlooking the water at the start of next year. Set to open in January, Sofitel Spa is billed as a holistic retreat in the heart of the city, featuring an array of wellness treatments and spa facilities. It will join Sydney's existing impressive supply of luxe spa experiences. The spa will feature seven spacious treatment rooms, including two serene suites with soft timbers, alongside sandstone and marble finishes. Other elements include an infrared sauna, a meditation zone and a relaxation deck that will sit on level four of the hotel. The spa will sit alongside the hotel's previously opened level four infinity pool. The pool is heated year-round and offers guests the ability to enjoy a dip while soaking in panoramic views of Darling Harbour and the Sydney CBD skyline. "We have designed our new day spa to nurture and empower guests in their wellness journey, assisting them in identifying their needs and gently guiding them in accomplishing their own goals, whether that relates to fitness, stillness of the mind, replenishment with nutrition or achieving glowing skin," Director of Spa and Wellness Cecilia Ferreyra says. "Our aim is to create bespoke journeys for each of our guests which means all treatments are tailor-made, so guests walk out feeling the full benefits of being in our care." Traditional treatments like massages, facials, body wraps and exfoliation will all be available alongside more holistic half-day experiences that combine exercise, healthy eating, a variety of treatments and introspection. French beauty brand Biologique Recherche and fast-rising Australian company Waterlily have been enlisted to provide the spa with its cosmetic treatment products, each of which will be personalised to any one guest's needs. Sofitel Sydney Darling Harbour is located at 12 Darling Drive, Sydney. Sofitel Spa is set to open at the hotel in January 2023.
Stephen King's literary output contains multitudes. Horror, which the author has been best-known for since his 1974 debut Carrie, is just one genre on his bibliography. Accordingly, a life-affirming tale about the fact that we all also contain multitudes — Walt Whitman's poem Song of Myself is naturally quoted — isn't a surprise from the writer. Filmmaker Mike Flanagan bringing King's novella The Life of Chuck to the big screen might've been less expected, though, if the director behind recent TV must-sees The Haunting of Hill House, The Haunting of Bly Manor, Midnight Mass and The Fall of the House of Usher wasn't again exploring characters not initially appreciating, then slowly dawning upon the fact, that the choices they're making aren't necessarily ones that are making them happy. Flanagan has adapted King's work before, first with 2017 film Gerald's Game, then with 2019 The Shining sequel Doctor Sleep. Neither was a fantasy/drama that celebrates life's wonders and small joys — and just relishing existing for the time that we each have in general — however. That's The Life of Chuck through and through, with Flanagan's characteristically perceptive version of the King story that was first published in 2020 compilation If It Bleeds proving one of the most-heartwarming viewing experiences of 2025. Consider the 2024 Toronto International Film Festival's People's Choice Award-winner if not an antidote then a helpful reminder whenever minor annoyances blight your days: this picture understands that revelling in the delights, not the dramas, is a more-fulfilling mindset. Being a part of the film's cast was an instant yes for Karen Gillan (Douglas Is Cancelled), who initially starred in Oculus for Flanagan. The 2013 horror movie brought the Scottish actor to the US before playing Nebula in the Marvel Cinematic Universe and rolling the dice in the Jumanji franchise joined her resume. And yes, The Life of Chuck immediately stood out, she tells Concrete Playground. More than that, the picture's thoughtful examination of relishing tiny, everyday wins and treasures, and discovering what and who truly light up your life, is "such an interesting thing to dive into just as a human being," Gillan advises. "It's a great question to ask yourself." "I found myself asking myself this in preparation for the film, and after having watched the whole film. I asked myself 'how am I spending my precious time on this planet in the way that I want to?' and 'am I doing the things that make me truly happy?'. And 'if it were to all end tomorrow, what would I go and do that I've been too scared to do?'. And it was such an interesting way to reflect on how I'm living my life. So I just found it really moving on just a human level." [caption id="attachment_1017401" align="alignnone" width="1920"] Amy Sussman/Getty Images[/caption] In The Life of Chuck, Tom Hiddleston (Loki) portrays the titular character, as do Jacob Tremblay (Queen of Bones), Benjamin Pajak (Honeypot KK) and debutant Cody Flanagan at various stages, all as the flick steps through its namesake's existence in reverse. The movie begins as the end of days approaches, with society crumbling with it. Think: the internet disappearing forever, the sea enveloping cities, ordinary routines proving pointless and the hospital where Felicia Gordon, Gillan's character, works being inundated with those unsurprisingly unable to face the fast-ticking clock put on everything they know. Confusion reigns, including about a particular new development that Felicia's schoolteacher ex Marty Anderson (Chiwetel Ejiofor, Bridget Jones: Mad About the Boy) also notices: TV and billboard advertisements filled with Charles Katz's image and thanking him for his "39 years of service", and radio ads as well. While there's nothing like being forced to confront your mortality to spark a reassessment of what's important in life, who matters, and how you want to spend the time that you have and direct your energy towards, that idea echoes in The Life of Chuck's following chapters, where nothing apocalyptic lingers in the narrative's timeline. And, it buzzes and hums in a movie that is anything but standard in digging into a concept that is no stranger to the screen. Spontaneously answering the call to dance, developing and embracing your passions, carving out time for life's pleasures where you can, treasuring your loved ones: in a picture also featuring Mark Hamill (The Sandman) as Chuck's grandmother and giving Ferris Bueller's Day Off great Mia Sara (Dorothy and the Witches of Oz) a rare screen part as his grandmother, these moments and realisations are essential. Everyone from Annalise Basso (Blind River), David Dastmalchian (Murderbot), Harvey Guillén (Companion) and Matthew Lillard (Five Nights at Freddy's) to experienced Flanagan cast members such as Kate Siegel, Rahul Kohli, Samantha Sloyan and Carl Lumbly (all most recently in his The Fall of the House of Usher), plus also Violet McGraw (Doctor Sleep), similarly get their time to shine in The Life of Chuck. Gillan receiving hers also added to her parts beyond Guardians of the Galaxy and MCU fare — to a filmography already overflowing with them, of course, going back to her first on-screen role in Rebus; then to The Kevin Bishop Show, The Well, playing Amy Pond on Doctor Who and more in the UK; and also the Jumanji films, NTSF:SD:SUV, Selfie, 7 Days in Hell, In a Valley of Violence, Gunpowder Milkshake, Dual, Late Bloomers, her feature directorial debut The Party's Just Beginning and other titles since. It is indeed refreshing when Gillian isn't donning the Nebula makeup for a role. "I would say that the biggest difference is that I just kind of feel like I'm at the spa every morning when I'm not in the Nebula makeup. Because the Nebula makeup is intense. And it's so cool and it's so worth it, but they've got the scalpels and stuff. It's not one of those spa-like experiences. And then any other job, it just feels so luxurious in comparison," she shares. "So I love playing Nebula, but it is really nice to just have a normal face." We also spoke with Gillian about reteaming with Flanagan, playing someone trying to look after everyone else as the world disintegrates, fleshing out a complicated relationship alongside Ejiofor in their brief screentime together and The Life of Chuck as a source of inspiration — and also being a King fan starring in a King movie, swinging from big franchises to more-intimate projects and the film's feeling of quiet urgency, among other topics. On the Unique Prospect of a Film That Celebrates Life and Its Wonders, the Multitudes That We All Contain and Treasuring the Small Moments "The script completely stood out to me. So I've worked with Mike Flanagan before, on a movie called Oculus. He's actually the whole reason that I moved from Scotland to America. And so it was one of my first roles in Hollywood. So when I got the call for this project, I was ready to sign up having not even read the script because I was so excited about working with him again. And I love all the Stephen King adaptations that I've seen. So it was a bit of a no-brainer. But when I actually read this script, it was like 'this is like nothing else I've ever read before'. It's so unique — even just the structure of it. It's told in reverse and the whole first chapter is the end of everything, and then you learn that that's all a metaphor for one man's life, Chuck. And it was just such a beautiful exploration into an ordinary man's life, and really focusing on those smaller moments that don't usually get screentime in movies — and showing the beauty of those moments." On What Excited Gillan About Stepping Into Felicia's Shoes "There were so many things about the character that I thought was really interesting. I really was intrigued by the fact that she had taken on this caretaker position in everyone's lives around her. And I kind of filled in a whole backstory as to why that would be the case — because it's not really explored so much in the short story or the film. But it was a really interesting character to dive into, because she's this real caretaker-type, and you can see that in her relationship with her ex-husband Marty. But then we throw her into the end of the universe, the end of everything, and you can just see how much she's still trying to fulfil that position and keep everybody going — and maintain optimism when everyone is just giving up around her. And I thought that was such a beautiful character trait." On Fleshing Out a Complicated Relationship Alongside Chiwetel Ejiofor in Their Brief Amount of Screentime Together "We didn't actually do so much reading the scenes with each other or anything like that. We just spoke and had conversations, and we did that both separately with Mike Flanagan to really flesh out characters and backstories, and then talked together. But the first thing that we ever shot together was the long phone call scene, and it was his side of the phone. So we made sure that we were present for each other — and so I hid in a bedroom upstairs and would just call him on the phone, and then we would film his side of the scene. So I was just in some random person's bed in the house, no one else was there in the house that we were in, just kind of talking to him on the phone. And that brought such a sense of authenticity to the whole thing. And then he did the same thing for me when I filmed my side of the conversation. What was nice about that was having not done it over and over again prior to that — like, the first time he properly heard that scene would have been through the telephone." On If a Film About Life's Quiet Wonders and Being the Centre of Your Own Universe Gets You Thinking About Those Ideas in Your Own Life "Yeah, it's so true. And this film really reminded me of that. And I found myself being really filled with gratitude for all the little things that sometimes you can take for granted. And yeah, I think honestly, it was just such an existential experience watching the film when it was all finished. I came away from it crying, but they were happy tears. And I just think that's so rare that film does that to its audience." On the Film's Tonal Balance — Proving Heartfelt and Sweet, But Also Clear-Eyed About the Truth That Life Is Fragile and We're All Only Here for a Short Amount of Time "I think you just have to trust Mike. He has it. And all I really tend to do is just try to approach each scene from the most-truthful place possible — and ask myself the question 'how would I genuinely feel if this was happening?'. And then what I do is I think of a time when I genuinely felt that emotion, and try to access it so that I don't really have to act — if that makes any sense — because I'm generally feeling something. And that's all I'm focused on. I'm not necessarily like 'how does this fit into the bigger picture?'. I think that, for me, is the director's job, and I'm just there to bring some authenticity and to genuinely feel things." On Starring in a Stephen King Adaptation When The Shining Is One of Your Favourite Films "I know — a non-horror one, which feels even more rare and unique. It was just mindbending. I'm like 'what? I'm in a Stephen King thing?'. That just seems like, to me, as big as it gets. And actually he loved the film, which was so cool — because I know that he wasn't a fan of The Shining, and he loved The Life of Chuck. And I got to meet him, and he came and supported the film, and came to the premiere at the Toronto Film Festival — and I met him and I was pregnant, and he told me to have a good one, and I'm never going to forget that." On the History Among the Cast and Crew of The Life of Chuck — and Not Just Gillan and Mike Flanagan's History Together "So I had such a good time on Oculus. Really, that's one of the best experiences I've ever had on a film. And then I found myself really wanting to have that experience again. Because I visited set, I visited Mike when he was filming The Haunting of Hill House, the series. And I was looking around and I saw all the same crew members as Oculus, and I was like 'I want to do this again'. And I was like 'put me in something'. And then he did. And it's The Life of Chuck. And it was just so great to reteam with him and see how he's evolved, and actually how he's exactly the same — which is mainly how I experienced it. He hasn't changed that much, even though his career has gone into the stratosphere. He's still the same old Mike. But he has evolved in ways as a filmmaker, and that's really cool to see. I just loved it. I had the best time." On the Ease That Comes with Repeat Director Collaborations "Definitely. It's just like any person that works with a new colleague or one that they've got a shorthand with. It's exactly that. You sort of have to feel each other, figure out each other's rhythms a little bit, get on the same frequency — and it's just so nice when you don't have to do that introductory period every single time. You can just dive back in. Some of the directors I've worked with have very distinctive ways of working, and sometimes you have to recalibrate and be like 'okay, so this director likes to give notes over a giant megaphone thing. This one is going to want me to improvise. This one's going to want me to stick to the script'. And so it's nice to just know what you're getting into again. And also they know how you work and can get the best out of you — because the best directors, in my opinion, are different directors to each actor, because each person needs something slightly different. And so it's nice when they really understand how I work as an actor." On the Impact That Working with Flanagan the First Time on Oculus Had on Gillan's Career "It really did bring me over to the States. It literally got me a visa to be able to stay in the States, which meant I was available for auditions and that's how I managed to have a career over in the States. So it just kickstarted everything for me. And it was a massive challenge for me as an actor to lead a film. I was young at the time and it was quite a demanding role. And so that made me have to level up and up my game. And so for my development as an actor, it really helped me get a lot better." [caption id="attachment_888782" align="alignnone" width="1920"] Marvel Studios. © 2022 MARVEL.[/caption] On Being Able to Swing Between Big Franchises Such as Guardians of the Galaxy and the Marvel Cinematic Universe, Plus the Jumanji Films, and More-Intimate Projects "That just feels like such a treat as an actress. I'm like 'that's so great to not be completely pigeonholed, and to get to do projects of all different sizes and genres'. I mean, that's my dream. I would hate to be bound by typecasting or anything like that. [caption id="attachment_756013" align="alignnone" width="1920"] Jumanji: The Next Level[/caption] I think I'm just looking for great characters and great stories, and it truly doesn't matter if it's a $200-million film or $200,000 film. It's like 'I don't care'. It's about making good cinema at the end of the day, and I just feel really lucky that I've had a variety of experiences." On If You Tap Into Something in Particular to Bring The Life of Chuck's Feeling of Quiet Urgency — That Life Needs to Be Lived Urgently to Be Lived Fully — to the Screen "I would say so. I was definitely asking myself questions about how I'm living my life. And I started to have these visuals — like, 'imagine if I just had an hourglass with the sand falling through it for my whole life, what level of the sand would it be at?'. And it's something so wild to think that it's constantly dwindling away. And you kind of forget that as you go about your day to day, and you think 'oh, that's not going to happen to me' and 'that's never coming' — but it is. None of us are getting out of this. And so, yeah, I think it's first of all really important to remember from time to time in your life. And I really had to think about that in terms of the character and what she would do in the moments where she knew that those were her last. Who does she want to reach out to? And I think what I learned is so much of the stuff that we focus on in our lives would just fall away in those final moments. Like, we think we focus on accolades, achievements, money — and none of that matters at the end of it all. What matters is being around the people that you love and love you. And that's definitely what I've found in the character." The Life of Chuck opened in Australia cinemas on Thursday, August 14, 2025 and in New Zealand cinemas from Thursday, July 31, 2025.
Merivale will be embracing the Queen's Birthday this long weekend with parties fit for royalty across two of its venues, to celebrate the exclusive launch of Beefeater PINK in Australia. Head to Enmore, Friday, June 8 through Monday, June 11 to indulge in Beefeater PINK cocktails at Queens Hotel. There's the Royal Fizz, a blend of Beefeater PINK, Lillet Rosé and tonic, and the Beefeater Marteani, served in a teacup (just as Queenie likes it) and garnished with rosemary. Next, settle in for on-site Cantonese restaurant Queen Chow's Her Royal High Tea, where you can feast on pink lobster dumplings with tobiko and gold flakes and red rice rolls with prawn and crispy beancurd. There's also The Peking and The Queen, a signature take on the classic roast dinner, featuring Imperial Peking Duck. Providing the soundtrack while you tuck in will be DJs Polographia and Shantan Wantan Ichiban. The Vic on The Park will also be getting involved in the festivities serving up the Beefeater PINK cocktails alongside a more traditional British menu including roast beef with Yorkshire pudding, Devonshire tea soft serve and Vic Lane snacks (the Vic's take on the subcontinental food of London's famous Brick Lane). DJ sets by Luen Jacobs and World Champion DJs plus live graffiti art on classic British cars will provide the entertainment while you feast. Find more information on the long weekend celebrations and make a booking here.
Winter is coming, and that means a few important things are on their way. Firstly, and most obviously, Game of Thrones is starting to get pretty epic. We're definitely getting accustomed to staying in with a bottle of red and forgoing nights out in favour of some medieval carnage. But secondly, our ski slopes are hitting their prime. The time for snow gear is fast approaching and Concrete Playground is here to get you sorted. If our nights in are complemented by a bottle of red, our time on the slopes is inevitably coupled with three beverages: hot chocolate, mulled wine and warm cider. Fittingly, the latter is getting involved with the physical activities. Rekorderlig — the Swedish champions behind this apple and cinnamon bliss — have made you a custom snowboard this season, and we have one to give away. This special creation, which ordinarily retails for $330.50, is in a traditional shape with a rounded nose and tail. It offers traditional and zero camber options, extended carbon pop rods, a wood core, and a wide-centred stance that works for riders of all sizes and abilities. We know winter can be a bit of a drag, but this is your best bet to make the most of it — outside of boozy TV marathons that is. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Aunty Donna's approach to their career and to comedy boast more than a little in common. Think about either, and it also brings a recent movie title to mind. Beloved for their absurdist mile-a-minute humour, the Australian group recent loaned their voices to Dungeons & Dragons: Honour Among Thieves, but it's the name of 2023's big Oscar-winner that seems to sum up their whole ethos: Everything Everywhere All At Once. Zachary Ruane, Mark Samual Bonanno and Broden Kelly aren't in that film; however, they have been touring, making a Netflix series, and releasing Aunty Donna's $30 bottle of wine and an Always Room for Christmas Pud picture book all in just the past few years. And, they've now returned to the ABC nine years after a Fresh Blood iView stint in 2014, this time with six-part sitcom Aunty Donna's Coffee Cafe. For fans watching on, Aunty Donna's jam-packed recent slate has felt like a whirlwind. Chatting to Concrete Playground about the release of Aunty Donna's Coffee Cafe — which is now streaming in full on ABC iView, and also airs weekly on ABC TV — Ruane goes one better, while also noting how much hustle it took to get the now world-famous comedy troupe to this point. "I think the last ten years for us at least have felt like a whirlwind. In a way, it feels like we've slowed down in the last couple of years, even though everything's a bit more in the public. We used to tour a lot more than we do now. We used to make a lot of content for online, possibly more than we do now," Ruane advises. "So even though there's heaps happening and it's nice to be reminded, it actually in some ways feels like we've slowed it down a bit, which gives you an indication of what the last ten years have been like for us." Aunty Donna formed in 2011, then took their first live show to the 2012 Melbourne International Comedy Festival. They haven't stopped inciting laughs since. Anywhere they can possibly spread their wild, weird and wonderful brand of comedy, they have — a lengthy list of stage shows all around the world, their YouTube channel, a podcast, two albums, multiple webseries, pilots, Aunty Donna's Big Ol' House of Fun, that book, the vino and now Aunty Donna's Coffee Cafe included. The latter sprang after their Netflix success, and from Ruane, Bonanno and Kelly's eagerness to try the sitcom format. The end result: a workplace comedy skewering cafe culture, specifically Melbourne's caffeine-sipping scene, with an Aunty Donna spin. When it comes to satirising its setting and anything even tangentially connected — kidulting bars, cereal cafes, awful bosses and terrible landlords, for instance — the gags and bits keep coming. So too does Aunty Donna's beloved grab-bag approach, giving a show about working in a cafe an entire episode about a court case with Richard Roxburgh (Elvis) reprising his role from Rake, then a real-estate agent parody featuring Looking for Alibrandi's Pia Miranda, plus yet another instalment making fun of the very platform that Aunty Donna's Coffee Cafe streams on. "We just went for it. We definitely caused a few headaches for our director Max [Miller, a fellow Aunty Donna member] with some of our setups," Ruane explains. Scoring a second show, being self-described "Melbourne wankers", getting nervous performing with Miranda, what comes next: Ruane told us about all of that, too — plus the dream of making an Aunty Donna movie. ON HOW AUNTY DONNA'S COFFEE CAFE COME ABOUT "It's our second longer-form thing, and I think we always knew that we wanted to keep pushing ourselves. Every time we come to a new platform or do a new thing, we want to it a little bit differently. We were really keen to do something a bit more narrative-focused, a bit more in that traditional sitcom structure. So that was the goal for us. I don't know how much that will read to an audience. Maybe it will all read as our crazy stuff, and in the same lineage of everything we do. But we wanted to challenge ourselves to make it a little more like a traditional sitcom, at least structurally, but still be as crazy and wild as what we've always done." ON COMING UP WITH THE CONCEPT — AND NOT JUST THANKS TO 'MORNING BROWN' "'Morning Brown', it's more of a nod to that song. We play around with different things, but we've always found that the things that we do that resonate the most are when there's a sort of a — I call it a sandbox, but there's a setting that resonates with people that I think people have an emotional connection to and understanding of. When we have that kind of setting that resonates, it allows us to go more crazy, more absurd. So, we've done it with the YouTube and our live shows. There's 1999, which was a webseries which is set in an office in 1999. We also did Glennridge Secondary College, which is a live show and a webseries set in a high school. I think we find whenever it's set somewhere recognisable and accessible, it actually allows us to go weirder and crazier and more absurd because people have a hook in. So we were looking for something like that — something that people would recognise, feel comfortable in, but then would also allow us to go in any direction we wanted." ON SKEWERING CAFE CULTURE "One thing we wanted to avoid going into — there's a territory of cliches in that space. We had to keep reminding ourselves to not just do the cafe stuff and the coffee culture stuff. But we've worked in hospitality, we're all Melbourne wankers, we've been customers at these cafes. It just feels so ripe, and it feels like the kind of thing you can pull from multiple different experiences. You can go into the kitchen and do a whole episode there. You can just focus on the staff, do a whole episode there. That's what we loved about the idea." ON MAKING A WORKPLACE COMEDY "It's really interesting. We've done other things set in workplaces, but also found it in the school one as well — there's something about a workplace where very different personality types and very different things can happen. I think also what we really loved about the cafe compared to our last series, which was set in a house: it's really hard to get people from the outside world into the house. We love to play lots of different characters, and it's really hard to get weird characters to come through the door. With a cafe, that's exactly what it is. Structurally, it's all a cavalcade of people coming through the door. Anyone you can envision, you just imagine them wanting to get a coffee and they're there in your world. That was the best part about it." ON GETTING GUEST STARS LIKE RICHARD ROXBURGH AND PIA MIRANDA "We were expecting Roxburgh to be a firm no. And not only that, we had to get so many layers of approval to get that joke in. I remember when it was floated, it was like 'oh, that's fun but it will never happen'. Because we had to get the creator of Rake onboard. We had to get ABC to sign off on it. We had to get Roxburgh to sign off on the character and then to want to do it — and then to be available to do it. Which is like, there are so many barriers here, it's not going to happen. We'd already started thinking of alternative jokes to him. Then I remember we were in the writers room and each day we'd get another person who'd said yes to it, we just kept getting this run of emails, and then when he was available to do it. We did not expect it to happen. Which I think made it more fun, because I don't think we put too much thought into it — we just wrote this stupid joke and were like 'surely he'll say no and then we'll figure something else out'. So it was very amazing that he said yes. I mean, same with Pia Miranda. I think I was more nervous performing with Pia Miranda than I was with Roxburgh. I had to act opposite her — that's crazy! Intimidatingly, she doesn't look like she's aged a day since [Looking for Alibrandi]. So it's like, I feel like I've been teleported. I'm like 'am I Kick Gurry right now?'. It was very cool." ON MAKING FUN OF THE ABC ON THE ABC "Insanely, they were so chill. It was funny how much. They were like 'you can tease us more if you want'. And we were like 'we'll see'. They were so up for it. I definitely thought we had pushed it too far with iView, because we really go at the platform. We thought they'll come back with 'you can make a bit of a joke but maybe not about technical issues'. But they were just like 'haha, yeah'." ON RUANE'S FAVOURITE AUNTY DONNA PROJECT SO FAR "It's hard to say. I mean, I was super proud of the picture book. It was one of those things that we had to keep explaining to people that we saw it as a little piece in its own right and it wasn't just a merch cash in. It was really fun to just do something completely different and to just discover a different world, and play around in a different space — and just to get people who really got the joke. I had such a specific vision in my mind of an early 90-style of Australian picture book — and to have it come out looking like that was pretty special. So that's, of the recent stuff, probably the thing I'm most proud of. But then I also love crazy stuff. Like I think $30 Bottle of Wine, which is a video on our YouTube that goes for about eight minutes and it's just repulsive, that's probably my favourite still." [caption id="attachment_791048" align="alignnone" width="1920"] Aunty Donna's Big Ol' House of Fun, Netflix.[/caption] ON THE ORIGINAL AUNTY DONNA DREAM — AND LIVING IT NOW "I think it's always evolving and always changing. To be honest, in a really real way, I feel like it has surpassed so many of the original dreams and goals years ago. Very early on, I would've been perfectly happy if it was my full job — that became the goal really early in my twenties. If I can be entertaining people or doing something like this as my full-time job, that would be enough. To have hit that, and then had all these other things happen — we've got an ABC show, Wednesday night, that was the dream as a teenager for sure. That's what I grew up watching. To have had another show seen around the world. We've got a world tour coming up. So many of these things weren't even in the dream, weren't even a part of the picture. So to have achieved it, it's really cool and lovely and so — people say humbling, but it's the opposite. It's not that, it's cool and amazing." ON WHAT COMES NEXT FOR AUNTY DONNA "It's always about the creative, and always about doing new things. I don't think it's about [doing] more or [moving] up — I think it's just about different ways. If we can find different ways to make people laugh and to bring joy, then that's for me what it is. So who knows? Maybe it's a video game, maybe it's a board game, maybe it's more TV, maybe it's more YouTube — there's so many options, and I'm excited to just see where it goes." ON MAKING AN AUNTY DONNA MOVIE "How we would do it and how we would go about it is such a big question, but that's definitely on the list as something that I'd love to do. Our big one was that we always wanted to do like The Rugrats Movie, just a real crazy adventure. Yeah, we would love to do something like that for sure." Aunty Donna's Coffee Cafe streams via ABC iView, and also screens weekly on the ABC at 9pm from Wednesday, April 12. Read our full review. Aunty Donna's Coffee Cafe images: Richard Lowe / Jackson Flinter / ABC.
Prepare to stare at the moon in all of its glory — up close, without a telescope and without zooming into space. Measuring seven metres in diameter and featuring renderings of the celestial body's surface based on NASA imagery, the Museum of the Moon is a detailed installation by UK-based artist Luke Jerram. The giant sculpture has been touring the world since 2016, displaying in New York, Hong Kong, Mumbai and plenty of spots around Europe. From June 29, 2019 it'll add Sydney to its orbit. The looming artwork recreates the moon at a scale of approximately 1:500,000, with each centimetre equating to five kilometres of the lunar surface. And if you're wondering just how intricate the 120dpi imagery is, the high-resolution NASA photograph that it uses is 21 metres wide, and was taken by by a satellite carrying the Lunar Reconnaissance Orbiter Camera. The spherical sculpture is lit from within, so it'll add a glow when it comes to the Powerhouse Museum. It also combines its imagery and light with a surround sound piece created by composer and sound designer Dan Jones, and just how each venue displays it is up to them. Basically, it's never the exact same installation twice. [caption id="attachment_716830" align="alignnone" width="1920"] Neil James.[/caption] Its stint at the Powerhouse Museum will mark the Museum of the Moon's third visit Australia, following 12-day showing on the Gold Coast and a five-month stint at Melbourne's Scienceworks. And the floating sculpture won't be the only celestial fun happening in Sydney either. The giant moon is heading to the Powerhouse Museum as part of a 200-item exhibition dubbed Apollo 11, marking the 50th anniversary of the famed moon landing. Other objects you'll find throughout the exhibition include parts of the original Redstone Rocket and Parkes Radio Telescope, as well as a computer used by NASA to calculate the launch and landing. There'll be more immersive and interactive events happening, too, including a virtual reality experience in which you watch the moon landing, an interactive arcade game, tours of the observatory and a heap of talks by astronauts and astronomers. Museum of the Moon comes to Sydney's Powerhouse Museum as part of Apollo 11 from June 29, 2019.
2025 is a shaping up to be a big year for Netflix finales — and it will end that way, too. First, Squid Game is coming to a conclusion in June 2025. Then, Stranger Things will begin following suit with its fifth and last season. You'll be tuning in not once, not twice, but three times for this farewell trip to Hawkins, Indiana, however — starting in November 2025, then checking in again twice in December this year. Those specific dates: Wednesday, November 26 for the first four-episode volume of season five, then Thursday, December 25 for its second three-chapter volume, followed by Wednesday, December 31 for the finale. Netflix locked in the release schedule as part of a date-announcement video which also provides an initial glimpse at how everything will wrap up. Included in the clip: looks backwards at the tale that Stranger Things has told so far, which means peering at how young the cast was when the show premiered in 2016. From what's to come, comas, bedside vigils, the military, exploring via torchlight, shaking floors and a key piece of advice — "run" — all feature. Season five makes finding and killing Vecna (Jamie Campbell Bower, Emmanuelle) its main aim, all while the town has been placed under quarantine and Eleven (Millie Bobby Brown, The Electric State) has been forced into hiding We know already that the year is 1987 and the time is autumn, jumping forward from the fourth season's spring 1986 timing. We're also aware that one way or another, the residents of Hawkins that viewers know and love will have their last experience with the eeriness that's been plaguing their town for years. That's the promise that accompanies saying goodbye to Stranger Things, of course, even if the hit Netflix show's end won't be it for the franchise's broader universe. If it feels like there's been a lengthy wait for more — even with the series no stranger to long delays between seasons — that's because there has been. When November rolls around, it will have been almost three-and-a-half years since season four, a gap extended due to 2023's Hollywood strikes. Before that, just under three years elapsed between seasons three and four, and just under two between the second and third seasons. The 13-month gap between seasons one and two seems positively short, then. Late in 2024, Netflix revealed the titles of Stranger Things' eight season-five episodes. If you feel like obsessing over the monikers for clues, you've had eight hints for a while, then. The season will kick off with 'The Crawl', then deliver 'The Vanishing of ...', 'The Turnbow Trap' and 'Sorcerer'. Next comes 'Shock Jock', 'Escape From Camazotz' and 'The Bridge', before it all ends with the enticingly named 'The Rightside Up'. Fans also already know that this season features Terminator franchise icon Linda Hamilton, jumping from one sci-fi hit to another. Season five brings back all of the usual faces, too — so, alongside Brown and Bower, Winona Ryder (Beetlejuice Beetlejuice), David Harbour (Thunderbolts*), Finn Wolfhard (Saturday Night), Gaten Matarazzo (Please Don't Destroy: The Treasure of Foggy Mountain), Caleb McLaughlin (The Deliverance), Noah Schnapp (The Tutor), Sadie Sink (O'Dessa), Natalia Dyer (All Fun and Games), Charlie Heaton (The Souvenir: Part II), Joe Keery (Fargo), Maya Hawke (Inside Out 2), Priah Ferguson (The Curse of Bridge Hollow), Brett Gelman (Lady in the Lake) and Cara Buono (Things Like This). As for more Stranger Things-related antics after season five, when creators Matt and Ross Duffer revealed that their sci-fi show was working towards its endgame back in 2022, they also said that they had more stories to tell in this fictional realm. Instantly, we all knew what that meant. Netflix doesn't like letting go of its hits easily, after all, so the quest to find a way to keep wandering through this franchise was about as surprising as Jim Hopper's (Harbour) usual gruff mood. Check out the date-announcement video for Stranger Things season five below: Stranger Things season five will arrive in three parts, on Wednesday, November 26, Thursday, December 25 and Wednesday, December 31, 2025. You can stream the first four seasons now via Netflix — and read our review of season four. Images: Netflix.
What was once a wartime torpedo factory and submarine base is now Sydney's newest playground and public space. Located on the harbour between Kirribilli and Kurraba Point in North Sydney, HMAS Platypus is a former submarine base that hasn't been open to the public in over 150 years. Now, the space has been transformed into Sub Base Platypus, a massive new foreshore walkway and parkland — and it's now open to the masses. The historic north shore site sits on Cammeraygal land and was once a gasworks facility for the region. As part of the war effort, the site became a torpedo factory in 1942 and later commissioned as the navy's submarine base in 1967 — named HMAS Platypus — which then closed back in 1998. What was once the submarine wharf has been rebuilt into an elevated water walkway that links the site to Kesterton Park (via Kiara Close) and theNorth Sydney Ferry Wharf. Alongside the water walkway is a recreation and barbecue area, plus a new submarine-themed playground. As a tribute to the site's history, the playground includes a model Oberon Submarine and periscopes, built by the Harbour Trust's Volunteer Restoration Team, which consists of over 50 volunteers with expertise in engineering, carpentry and electrical work. Stage one opened in May 2018, with further redevelopment and long-term upgrades planned for the site over the next three years. It is eventually planned to become a large-scale waterfront park, with the government having already invested nearly $70 million in the project. The second stage of Sub Base Platypus will include a mix of open areas and parkland, with the addition of plazas, courtyards and flexible re-use spaces. The former submarine workshop structures will soon be leased out as well, with tenants expected onsite throughout 2019. Updated: June 24, 2018.
Hannah Carroll Harris and Lauren Carroll Harris's exhibition Into Thin Air looks at all things dystopian, artworks that are alive (but not in a freaky mad scientist kind of way) and landscapes that grow (a little different from a terrarium). And yes, some of the works do indeed look like things that have just up and vanished into thin air. Of the duo, Hannah looks at making artworks that grow and evolve as the exhibition progresses. Woven algae on looms, crystals that transform, and other bits and pieces. Lauren, on the other hand, looks at three-dimensional landscapes made from non-natural materials that have a dystopian feel. Her work Glaciers/Ghosts -Into Thin Air #1 is an eerie piece that reflects on how humans have impacted the environment around them. The show presents a vision of nature in decline. These sculptures and installations will be showing at the duo's own publishing and gallery space, an ARI aptly named called Archive Space. So, naturally, there's a little publication to go with the exhibit. This project has benefited from funding courtesy of Arc @ UNSW Limited, and a residency at Dark Tea Time of the Soul, Cumnock, NSW.
This summer, two Sydney hospitality icons will find a new home at Barangaroo's glitziest address. Beloved dim sum institution Golden Century, which closed its doors in 2021 in the wake of the COVID-19 lockdowns much to the shock of its many fans, is set to be permanently revived at Crown Towers while the nation's most Instagram'd restaurant, Bondi Icebergs Dining Room and Bar, will have a pop-up residency. Since opening in late 2020, Crown Towers has established itself as a world-class dining destination, in addition to boasting five-star quality hotel rooms and suites, and residential apartments, all housed in the now-iconic architectural feat that ranks as the tallest building in the Sydney skyline. Golden Century and Icebergs will join a list of nine signature restaurants at Crown Towers in the biggest shake-up to the hotel's food and beverage offering since its opening. [caption id="attachment_982210" align="alignnone" width="2560"] The Wong Family, owners of Golden Century, and Icebergs owner Maurice Terzini.[/caption] "Crown Sydney is already a beacon of hospitality in this beloved city, so it feels natural to add to our repertoire two renowned offerings from Sydney itself," says Crown Sydney Chief Executive Officer, Stanford Le. Golden Century will be moving into the third level of Crown Towers in early 2025 drawing on its three-decades of history as one of Sydney's most popular Chinese eateries and dim sum go-tos. In tribute to their original menu, Golden Century will be bringing back its signature classics like XO pippies, live lobster cooked two ways and the abalone steamboat, along with other fan favourite dishes like peking duck, salt and pepper squid and a yum cha lunch offering at weekends. Billy Wong, co-owner of Golden Century and the still-operating XOPP in Darling Square, said of the opening: "We feel that we have a great synergy with Crown's approach to hospitality — focusing on quality and the guest experience, making them feel welcome and at home. Golden Century is where it all began and we are excited to once again welcome in our loyal customers, serving our beloved Cantonese classics in a picture-perfect location that overlooks Sydney harbour and beyond." [caption id="attachment_742982" align="alignnone" width="1920"] XOPP[/caption] The Icebergs Harbour Bar residency will begin in December, welcoming guests all day to an elevated, Euro-Australian version of the OG Bondi bar experience. Diners can expect Icebergs Bar dining favourites such as the Iceburger, fried school prawns with aioli and lime and signature cocktails like the No. 147 with Ketel One vodka, coconut, passionfruit, pineapple, lemon and aromatic bitters. "I have always had a love affair with great hotel bars; they're transient and fun and you never know who you're going to meet," says renowned restaurateur Maurice Terzini, co-owner of Icebergs Dining Room and Bar. "This evolution of the Iceberg's Bar will bring classic drinks and our signature bar food offering to Crown Sydney, matching the already decadent and luxurious guest experience." [caption id="attachment_776713" align="alignnone" width="1920"] Icebergs Harbour Bar at Bondai Beach.[/caption] "We are thrilled to become the new home of the iconic Golden Century, offering our guests an experience that is at once nostalgic and exciting, and to partner with Icebergs for a summer residency of their bar experience, bringing their Bondi expertise to the harbourside," says Le. Icebergs Harbour Bar will be open seven days a week and will be available for walk-ins. Reservations for Golden Century will open to the public in December. Find Crown Sydney at 1 Barangaroo Ave, NSW.
If you're going to break a sweat, you might as well look damn good while doing it, right? Luxury brand Hermès agrees, of course, so it's hosting a super stylish pop-up gym at Sydney's Hordern Pavilion this weekend. From Friday, October 14–Sunday, October 16, HermèsFit invites fashionable fitness fiends to take part in the best-accessorised workout of their lives. While the pop-up's program of group workout classes has already been booked out solid, there are still plenty of other treats to check out during its stay. The chic space — decked out in the brand's signature orange hues — features a weights wall stacked with custom Hermès barbells, a juice bar, a boxing ring that doubles as a photobooth and even a round ping pong table where you can challenge your mates to a game. And chic statement accessories will be on show everywhere you look. What's more, HermèsFit is hosting a slew of after-hours fun across the weekend, with that central boxing ring transformed into a stage for free sets from the likes of Cub Sport, Dijok, Boy Soda and 1300. They'll kick off at 7pm on Friday, and from 5pm on the weekend. Images: Wes Nel
Stay tuned. More info coming soon.
With over 7000 stores to its name worldwide, Wendy's is one of the world's biggest and most recognisable burger chains. While a majority of its outposts are scattered across the United States, the chain also has over 1000 international locations in countries like New Zealand, Canada and the UK. Now, the American burger chain may be landing down under in the near future. Australian franchise consulting firm DC Strategy announced that it is working with the burger brand to help develop a strategy to bring its famous square hamburgers to Australia and open franchises throughout the country. "The Wendy's Company is looking for world-class, experienced franchise partners with strong operations experience and a proven track record for growing brands in Australia," a statement on DC Strategy's website says. [caption id="attachment_811853" align="alignnone" width="1920"] PRNewsfoto/The Wendy's Company[/caption] The consulting firm is now taking applications for individuals interested in becoming an Australian Wendy's franchisee. The first Wendy's was opened by Dave Thomas in Columbus, Ohio in 1969. It quickly grew due to the popularity of its burgers and iconic Frostys, growing to over 1000 restaurants in its first nine years of operations. Wendy's would join a new wave of American franchises that have recently arrived in Australia, including Taco Bell, Mark Wahlberg's Wahlburgers and Five Guys. [caption id="attachment_869874" align="alignnone" width="1920"] Sharon Hahn Darlin[/caption] DC Strategy is now taking applications for Wendy's franchisees in Australia. More to come.
With its massive deserts, wild seas and expanses of ancient forest, Australia offers space a-plenty for sculpture parks. Here, we take a look at eight of the most spectacular – from Mornington Peninsula's Pt. Leo Estate, set among vineyards and wildflowers, to Western Australia's Inside Australia, where metal figures appear on the surface of a gigantic salt-crusted lake. Next time you're in the mood for an arty road trip, pay a visit to one of these wonders. [caption id="attachment_641338" align="alignnone" width="1920"] Anson Smart[/caption] PT. LEO ESTATE, VICTORIA Set among vineyards, flowers and oceanic backdrops on the Mornington Peninsula, this 135-hectare park features epic works by local and international artists, all belonging to multibillionaires John and Pauline Gandel (owners of Chadstone Shopping Centre, FYI). Among the main attractions are the late Australian sculptor Anthony Pryor's Horizons (1988) — a spiral staircase that seems to disappear into the sky — and the late Israeli-American artist Boaz Vaadia's Ma'aseyahu. In between wandering, sample wines at Pt. Leo Estate's cellar door and feast at Laura, the stunning on-site restaurant, headed by ex-Rockpool Bar & Grill chef Phil Wood. Where? 3649 Frankston–Flinders Road, Merricks — about an hour south of Melbourne. [caption id="attachment_696465" align="alignnone" width="1920"] Tourism Australia[/caption] NGA SCULPTURE GARDEN, ACT While many sculptures are made with a particular site in mind, at the National Gallery of Australia (NGA), things are topsy-turvy. The Sculpture Garden was landscaped to fit the artworks. Built in 1981, the grounds stretch between the NGA building and the sparkling waters of Lake Burley Griffin. There are 26 sculptures by Australian and international artists, including Japanese artist Fujiko Nakaya's Foggy wake in a desert: An ecosphere, a cool, mist-filled forest through which you can wander, and a collection of Pukamani burial poles from the Tiwi Islands. Where? Parkes Place, Canberra — about three hours southwest of Sydney and seven hours' northeast of Melbourne. BROKEN HILL LIVING DESERT RESERVE, NSW The best time to visit Living Desert Reserve is sunset. This is when the sculptures look their most dramatic, backdropped by endless plains, flooded with the last rays of the day. There are 12 sculptures in total, created in 1993 by artists from all over the world during a sculpture symposium led by Australian artist Lawrence Beck. Each artwork has its own story, told through an accompanying plaque. While you're there, take a stroll through the Flora and Fauna Sanctuary, where you'll find stunning displays of Sturt's Desert Peas and learn about the site's significance to the area's Aboriginal people. For more tips in and around Broken Hill, check out our weekender's guide. Where? Living Desert Reserve, Broken Hill — a hefty 13 hours west of Sydney. MCCLELLAND SCULPTURE PARK AND GALLERY, VICTORIA Also on the Mornington Peninsula is McClelland Sculpture Park and Gallery. Its origins lie back in the 1920s, when artist Harry McClelland and his poet sister, Annie May, moved to Long Island, Frankston, where they surrounded themselves with arty, bohemian types. Harry built his studio on the current site of the gallery, which was designed by modern architects Munro and Sargent and opened in 1971. Dotted among open fields and pretty lakes are more than 100 sculptures by well-known Australian artists, including Inge King, Lenton Parr, Clement Meadmore, George Baldessin, Robert Owen, Norma Redpath, Rick Amor, Lisa Roet and Ken Unsworth. Where? 390 McClelland Drive, Langwarrin — about 45 minutes southeast of Melbourne. GLENORCHY ART AND SCULPTURE PARK, TASMANIA Located one kilometre from the Museum of Old and New Art (MONA), this extraordinary space is a fusion of art and nature. It occupies nine hectares along the shores of Elwick Bay, accessible by a boardwalk that passes through parklands and wetlands. The artworks respond to the site – often through their watery or amphibious qualities. James Guests' Refraction Principle, for example, launched in October this year, is a piece made of marine grade aluminium that marks the spot in the River Derwent where fresh and salt water meet. Where? Brooker Highway, Elwick Bay, Glenorchy — about 15 minutes' drive north of Hobart. HEIDE MUSEUM OF MODERN ART, VICTORIA Like McClelland, Heide Museum of Modern Art began its life at the centre of a bohemian community. Philanthropists John and Sunday Reed bought 15 acres 16 kilometres northeast of the Melbourne CBD and it wasn't long before artists, writers and intellectuals were dropping by, such as Sidney Nolan, Albert Tucker and Joy Hester (who is soon to have an exhibition at TarraWarra). In 1950, the duo established the Gallery of Contemporary Art on the property, which, in 1958, became the Museum of Modern Art of Australia and went public in 1981. The program focuses on temporary exhibitions of modern and contemporary works, including major surveys. Among previous shows are Modern Times: The Untold Story of Modernism in Australia (2009), Cubism & Australian Art (2009–10) and Less is More: Minimalism and Post Minimalism in Australia (2012). Where? 7 Templestowe Road, Bulleen — about 20 minutes northeast of Melbourne. GALERIA ANIELA, NSW Surrounded by the rugged Kangaroo Valley escarpment, Galeria Aniela's sculpture park gives you 7.9 acres of green, landscaped gardens to explore. In between perusing works by Australian and international artists, rest beneath cherry blossom trees and among herb gardens. If you're lucky, you might meet a wombat or wallaby. Indoors are three gallery rooms dedicated to temporary exhibitions. While you're in the area, stop by Southern Pies for a cheeseburger pie and swing by Fitzroy Falls. You'll find more Kangaroo Valley ideas over here. Where? 261A Mount Scanzi Road, Kangaroo Valley — about two hours southwest of Sydney. [caption id="attachment_696466" align="alignnone" width="1920"] Tourism Australia[/caption] INSIDE AUSTRALIA, WA Inside Australia, created by one artist, is the biggest outdoor art gallery in Australia. Its setting is Lake Ballard, a completely flat expanse that lies 11 hours' drive northeast of Perth, in the Western Australian goldfields. The artist is Antony Gormley, a Turner Award winner, who made the sculpture series in 2003, to celebrate the Perth International Arts Festival's 50th anniversary. He has scattered 51 metal figures across the lake, which stand out vividly against its dazzling, salt-crusted surface. Where? Lake Ballard, Menzies — about 11 hours northeast of Perth.
Kevin Un has worked across some of Sydney's best kitchens, including Restaurant Hubert, Lotus Dining Group and Sergeant Lok. Now, he's at the helm of a new Northern Beaches restaurant that's pulling together this experience and paying homage to his Malaysian-Indonesian heritage. Lantern Fish explore's South-East Asian cuisines, drawing from the traditional without being afraid to get creative. You'll find a dumpling menu that leans heavily on prawn, offering up combinations like scallop and prawn or pork and prawn siu mai. Or there are cheeseburger spring rolls, Malaysian kingfish ceviche, red curry prawn toast and tsui wan poached two ways. "I would describe my food as Malaysian, Indonesian and Chinese. It is my heritage combined with my experience," Un says. "I like it to be creative, I don't want my food to be found anywhere else but it won't be over the top; no foams or gels. I want it to be different but I want it to be fun." Alongside these signature dishes, the menu is extensive, providing more of Un's vibrant version of classic dishes. Other highlights include five-spice tofu and zucchini san choy bow, flash-fried cauliflower with Sichuan sauce, twelve-hour Cape Grim beef ribs and XO crab fried rice. If you order ahead, you can also organise to centre your meal around the Lanturn Fish specials — mud crab and lobster feasts. "When I was younger, the Chinese New Year table in Kuching would be a lot, more than 30 people, and we would always have three huge crabs cooked by my grandma. I want people to experience that," says Un. And, drop in for lunch and you can treat yourself to the express feast for $42 for two people. This special daytime set menu features oysters, salt and four-pepper squid, dumplings, smokey fried rice, kung pao chicken and chilli jam greens. Lantern Fish is located at Shop 5/2–8 Darley Road, Manly. It's open midday-3pm and 5–9pm Tuesday–Thursday and midday–3pm and 5–10pm Friday–Sunday. Photos: Kimberley Low
If you've been looking for an excuse to experience Sydney's new four-storey mega venue Hinchcliff House, its second-level Italian diner Lana is offering up just that with a set of two and three-course set menus for lunch every Thursday and Friday. Located inside a heritage wool store, Lana usually offers its seafood-heavy set menu for $79 per person, but if that's a little out of your budget, you can now cut down the dining experience and opt for 'Lana lite'. The lunch options start from $59 for the two-course option, or you can opt for three courses for $69. No matter which option you decide takes your fancy that day, you'll be presented with three choices for your main: Grimaud duck breast with fermented plum, Murray cod with verjus butter and caviar, or charred miso pumpkin topped with a pepita salsa. You can view the full menu here, which also features Hinchcliff House's sourdough made in-house, kingfish crudo and a caramelised pineapple cream dessert.
As the state capital and one of the region's most vibrant cities, Sydney is bursting at the seams with diverse cultural happenings. Luckily, we're here to guide you. We've rounded up a trifecta of the most thrilling and culturally important experiences over the coming months.
2022 was a huge year for Milly Alcock, with House of the Dragon bringing her into the Game of Thrones realm and Australian series Upright returning for its second season. Just a month into 2024, this year is already proving massive for the Aussie actor as well. After stepping into Rhaenyra Targaryen's shoes, Alcock is now becoming the Woman of Steel in upcoming DC Universe film Supergirl: Woman of Tomorrow. Filmmaker James Gunn, who is DC Studios' co-CEO and co-chairman — and, before getting those roles, directed The Suicide Squad — has confirmed that the Aussie talent is taking on the lead part in the upcoming flick. "Milly is a fantastically talented young actor, and I'm incredibly excited about her being a part of the DCU. Yes, I first became aware of her in House of the Dragon, but I was blown away by her varied auditions and screen tests for Supergirl," Gunn posted on social media after reports of Alcock's casting started circulating. View this post on Instagram A post shared by James Gunn (@jamesgunn) If you're looking for more details about Supergirl: Woman of Tomorrow, however, little else has been revealed as yet — including who else is starring, the filmmaker behind the lens and when the movie will arrive. Under Gunn and fellow co-head honcho Peter Safran (who was a producer on The Suicide Squad), all things DC on-screen are currently undergoing a shakeup. The DC Extended Universe is over, wrapping up with Aquaman and the Lost Kingdom, with the new DCU taking the company's movies in a fresh direction instead. In 2025, the Gunn-helmed Superman: Legacy will kick off the reborn franchise, starring Pearl's David Corenswet as the eponymous figure and The Marvelous Mrs Maisel's Rachel Brosnahan as Lois Lane. After that will come The Authority, focusing on a team of WildStorm characters; The Brave and the Bold, the DCU's first Batman and Robin flick; Supergirl: Woman of Tomorrow, as now starring Alcock; and Swamp Thing. Alongside House of the Dragon and her AACTA-nominated performance in Upright, Alcock's resume includes Australian shows such as Wonderland, Janet King, A Place to Call Home, Pine Gap, Fighting Season and Les Norton. As Kara Zor-El in Supergirl: Woman of Tomorrow, she'll take on a figure also played by Helen Slater (Chantilly Bridge) in 1984's Supergirl film, Sasha Calle (The Young and the Restless) in 2023's The Flash, Laura Vandervoort (Sullivan's Crossing) in TV's Smallville and Melissa Benoist (Clerks III) in the Supergirl television series. There's no sneak peek at Supergirl: Woman of Tomorrow yet, obviously, but you can check out the trailers for House of the Dragon season one and Upright season two below: Supergirl: Woman of Tomorrow doesn't yet have a release date — we'll update you when one is announced. Read our interview with Milly Alcock about House of the Dragon and Upright. House of the Dragon images: HBO.
SHADES is the new neighbourhood bar and multi-faceted cultural space coming to Central Station next month from the team behind Golden Age Cinema & Bar. This new venue will open inside a pop-up cultural precinct taking over the Eddy Avenue side of the station titled EDDY. SHADES is set to open in mid-December, sharing the space with a range of cultural organisations. There will be 13 tenants at EDDY, with Nonna's Grocer, Nomad Radio, Condimental, Shoebox, Dust Flowers and City Oltra, and a new pizza joint that's set to open from pizza party pop-up regular Oltra Disc, all among the tenants. The name for this new venue mirrors that of a bar in Jim Jarmusch's 1989 film Mystery Train. As with Golden Age, food, wine, cocktails, music and film will all collide at SHADES. "It's rare and exciting to be opening this kind of experimental venue in a location like Central," says co-founder of Golden Age Cinema & Bar Chris Barton. "Cities are unique because of their different layers and this is a great opportunity to provide something that we feel is missing in this part of town. We want to create a space in the heart of the city where people feel free to be themselves, have fun and take that positive energy back out into the world." [caption id="attachment_779832" align="alignnone" width="1920"] Golden Age, Cinema & Bar, Cassandra Hannagan[/caption] On entry, you'll find an intimate 50-person wine bar serving a curated list of east coast drops alongside disco-inspired cocktails and craft beers. The accompanying food is inspired by the Rail Refreshment Rooms of the past, with SHADES offering a range of mid-sized snacks like artisan pies and sausage rolls from local bakeries and pizza dropped off from City Oltra. In the front bat, a vinyl soundtrack will be filling the space thanks to a Pitt & Giblin speaker system. Head to the backroom and you'll discover a 100-capacity warehouse-style space playing home to resident DJs, experimental film screenings and a range of other artistic and cultural pop-ups. While the name harkens back to a 1980s art film, the venue also exists in conversation with the history of Sydney's nightlife. The design has been in the hands of local legend Michael Delaney who has worked on venues like Cafe Fredas, Club 77, Piccolo Bar and The Norfolk Hotel. And the backroom's speakers are a restored set of Klipschs salvaged from the iconic former Pitt Street nightclub Sublime. If you want to find out more about EDDY, the precinct is opening with a celebratory party this Thursday, November 24. The opening day will feature giveaways, discounts, demonstrations, music, food and drinks throughout the day. View this post on Instagram A post shared by Right Angle (@rightanglestudio) SHADES will open at Central Station in December 2022. It will be open 4pm–midnight Tuesday–Sunday. Top image: Right Angle
Josh Niland has had a busy few years. He opened his new Fish Butchery takeaway eatery in Waterloo, and announced that he will be taking over The Grand National Hotel while moving his signature restaurant Saint Peter into the space. Plus, he was named in the world's top 100 best chefs, won the James Beard Book of the Year Award and was listed among the world's 50 best next-generation hospitality leaders. If all this wasn't enough, he's still got time to do adventurous pop-ups around Sydney. His latest is a collaboration with Scotch whisky brand Talisker. Across two days in October, Niland will be heading up a culinary pop-up at a picturesque view-heavy North Head boathouse that is being erected at the Q Station in Manly. The Taste of Talisker series will take two forms across the two days — and the first will see Niland pull together a three-course meal paired with selections of whisky from 5.30pm on Friday, October 21. [caption id="attachment_870812" align="alignnone" width="1920"] Image: Talisker and Saint Peter pop-up.[/caption] On this exclusive menu, you'll find four must-try dishes for any seafood enthusiast. Things will kick off with salt and vinegar garfish bathing in its own oil with Kamut sourdough for dipping and yoghurt-cultured butter. Form there, you'll be served coal-fried calamari cut into thin pasta-like pieces and paired with yellowfin tuna salami and a chilli oil — all combining to create a seafood dish reminiscent of a next-level spag bol. The headline dish is whole butterflied King George whiting complimented with a finger lime and tapioca sauce that will burst in your mouth. Tickets for the dinner will set you back $202 per person and are limited. The next day, on Saturday, October 22, there will be a $100 guided whisky tasting experience at the pop-up, accompanied by a range of paired bar snacks from Saint Peter. The lineup of bites hasn't been announced yet, but they're sure to feature Niland's signature brand of sustainable seafood delights. "I wanted to capture the wild spirit of the sea paired with key aromas of Talisker — smoke, spice and a sense of sea salt spray in the morning after a storm," said Niland. "Years of maturation made by the sea has lent a full flavour to this bold dram and this menu celebrates Talisker's rich flavours while honouring the sea in a sustainable and ethical way." [caption id="attachment_870810" align="alignnone" width="1920"] Image: Talisker and Saint Peter pop-up.[/caption]
Courtney Barnett has amassed a far-reaching international fanbase thanks to her endlessly laidback and relatable brand of indie-folk. With three solo albums, a Kurt Vile collaborative LP, a nomination for Best New Artist at the Grammys and spots on just about every major music festival across the globe, Barnett is set to make a triumphant return to Sydney stages in support of her most assured album to date, Things Take Time, Take Time. You can catch Courtney and her band on stage at the newly renovated Enmore Theatre as part of Great Southern Nights on Friday, March 25, with support from Wergaia and Wemba Wemba singer-songwriter Alice Skye, who's 2021 album I Feel Better But I Don't Feel Good arrived with all the charm and honesty of Barnett's music. If you're looking to make March an even more Courtney Barnett-filled month, there's also a documentary on her called Anonymous Club, playing at Palace and Ritz Cinemas across NSW. The film follows Courtney on tour for three years between the release of her second and third album, providing intensely personal insight into her inner monologue and mental health through an audio diary she kept at the time. https://www.youtube.com/watch?v=NUXvlpS0TvE Great Southern Nights is facilitating a heap of gigs across Sydney and regional NSW, ranging from icons like Jimmy Barnes popping up in western Sydney or Archie Roach performing in Wagga Wagga, through to emerging acts like hyped young R&B singer Liyah Knight headlining a night of local music and DJs at Zetland's 107 Projects. You can find the full program at the Great Southern Nights website.
Situated in Sydney's CBD, the rebranded Novotel Sydney City Centre is, as its name suggests, centrally located near iconic landmarks such as the Sydney Harbour Bridge and Darling Harbour. Adjacent to Wynyard train station, it offers convenient access to Sydney Airport, Barangaroo and beyond. Housed in the former location of the Mercure Sydney Wynyard, the hotel boasts 283 newly renovated rooms across 22 floors, reflecting a $20-million refurbishment project completed in November 2023, led by Australian studio Dezign. The hotel has a keen focus on emphasising sustainability and family-friendly amenities. As the first Novotel in Australia to embrace "Hypothesis," it aims to minimise waste and maximise functionality for its guests. There are self-check-in kiosks in the lobby, and all in-room information is shared via QR codes to minimise paper waste. There are rooms ranging from family accommodations to suites with wet bars and balconies with views of the surrounding heritage buildings. Select suites offer modular furniture for personalised arrangements, allowing for flexibility and space efficiency to suit a guest's bespoke needs. With natural textures, timber accents and abundant greenery in the rooms and lobby, the hotel provides a tranquil retreat amidst the city's bustle. Downstairs in the lobby, you'll also find the Birdie Bar and Restaurant — which offers a fusion of British and modern Australian fare on a menu that champions local produce and celebrates Aussie fauna of the feathered variety.
One weekend of Coachella 2024 might be over, complete with lively sets and plenty of special guests, but this Californian music festival doesn't just run once each year. First, it throws its huge party in Indio across three days. Then, the next week, it backs it up to do it all over again. And for those playing along at home, that means that you have another chance to hit up the YouTube livestream. Wondering who is playing when? That's where set times for Coachella's second weekend come in. There aren't many changes from the first weekend's bill — but you will find Kid Cudi joining the lineup this time around. [caption id="attachment_950213" align="alignnone" width="1920"] petercruise via Flickr[/caption] In the headline spots as with weekend one: Lana Del Rey, Tyler, The Creator, Doja Cat and No Doubt. Coachella's second 2024 run spans across Friday, April 19–Sunday, April 21 — which is Saturday, April 20–Monday, April 22 Down Under. Among the highlights on Saturday in Australia and NZ: Del Rey, Justice, Peso Pluma, Lil Uzi Vert, Sabrina Carpenter, Deftones, Suki Waterhouse, Peggy Gou and Tinashe. The list goes on, of course. View this post on Instagram A post shared by Coachella (@coachella) On Sunday Down Under, get excited about Tyler, The Creator, No Doubt, Blur, Ice Spice, Jon Batiste, Sublime, Dom Dolla, Grimes, Orbital, Oneohtrix Point Never and RAYE — and more, obviously. And, come Monday for Aussies and New Zealanders, Doja Cat, Kid Cudi, J Balvin, Lil Yachty, Kruangbin, Reneé Rapp, Flight Facilities and DJ Seinfeld are on the bill, plus a heap of others. [caption id="attachment_936351" align="alignnone" width="1920"] Casey via Wikimedia Commons[/caption] Spotted a dreaded set clash? This year, for the first time ever, you can livestream multiple stages at once. How many? Four in total. Each year, Coachella and YouTube join forces to beam the massive music fest around the world, which is no longer such a novelty in these pandemic-era times — but being able to fill your screen with a quartet of Coachella sets at the same time definitely is. YouTube's multiview concert experience is enjoying its debut in the music space, and globally, at Coachella. This year, the service is capturing six different stages, as it did in 2023 for the first time ever — with Sonora on the list for the first weekend and Yuma now up on the second. [caption id="attachment_951352" align="alignnone" width="1920"] Jaime Rivera via Wikimedia Commons[/caption] That said, while you can feast your eyes on four stages simultaneously, you'll only be able to hear one, so you will still need to pick a favourite in any given timeslot. Bookmark Coachella's YouTube channel ASAP — or hit it up below: Coachella 2024's second weekend runs from Friday, April 19–Sunday, April 21 — which is Saturday, April 20–Monday, April 22 Down Under — at the Empire Polo Club in Indio, California, and livestreams via YouTube across the same dates. Top image: demxx via Flickr.
For the majority of us who missed out on seeing Led Zeppelin perform live overseas or during their only visit to Australia in 1972, this tribute event promises a little more than the local RSL. “We are aiming to establish a community of people who appreciate the way we pay homage to iconic bands and performers. Our shows feature exceptionally talented contemporary performers revisiting and reworking classic music in great rooms, not mimicking or trying to recreate the music note for note,†says Classic Rock Series Music Director, Joseph Calderazzo. The line-up of vocalists includes Dave Gleeson (Screaming Jets), Simon Meli (Ooh la la), Steve Balbi (Noiseworks), Natasha Stuart, Danny Marx-Young and Virginia Lillye, who will be joined by a 13-piece powerhouse band including the Sydney Lyric Strings ensemble. Calderazzo says he is looking forward to delivering: “A great rock show by some great local performers - with all the bells and whistles but with the honesty and intent that makes rock music what it is.†A rock photography exhibition by Philip Morris (whose lense has captured the immortal quartet plus Pink Floyd, Bob Dylan and AC/DC) will also be held in the Enmore Theatre.Photo by Philip Morris
UPDATE: MAY 13, 2020 — Carbón is reopening for dine-in service from Friday, May 15. It's taking bookings of up to ten people per 1.5-hour sitting, available from 5pm, 6.45pm and 8.50pm. On Saturdays and Sundays, it's also offering bottomless tacos and margaritas for $79 per person, with sittings at 12pm, 1.45pm and 3.30pm. To book, call (02) 9365 6092, email info@carbonmexican.com.au or direct message via Instagram. It is currently offering Mexican food and cocktails for pick up or delivery, too. You can order online here. The owners of cosy Mexican joint Taqiza have expanded their Bondi offering. They've taken over the old Rum Diaries space along Bondi Road and have opened Carbón — a new hacienda-inspired Mexican restaurant that focuses on all things woodfired. Chefs and owners Pablo Galindo Vargas and Liber Osorio know a thing or two about Mexican cooking, having been born and raised in Mexico City. "At Carbón, we wanted to rescue the indigenous culinary elements of our backgrounds, going back to our roots to create a menu full of flavours, colours and textures while maintaining the integrity and sustainability of the produce," says Vargas. The venue complements Bondi's laid-back vibes with a beachy fitout that is meant to be reminiscent of a Caribbean hacienda. While Taqiza is an intimate venue, Carbón boasts a large open space with a full kitchen that centres around their brand new, woodfire grill — which is fitting considering the restaurant's name translates to 'charcoal' in Spanish. The dishes pay homage to traditional Latin American parrilla (barbecuing) techniques, with the open charcoal fire used for cooking tortillas, heating underground ovens and boiling soups or sauces. Carbón also focuses on fresh produce that can be enriched with the use of charcoal. The interactive share menu centres on make-your-own tacos, with options including Hampshire suckling pig with achiote adobo and Seville oranges, as well as roasted lamb shoulder with chipotle citrus yoghurt. Regular specials will be on offer, too, like the charcoal sealed tuna sashimi with finger lime, tiger's milk (aka citrusy ceviche marinade), sweet potato chips and salmon caviar. At the bar, the drinks menu is — unsurprisingly — focused on tequila and mezcal. Cocktails like the Bondi Sunset (mezcal, elderflower liquor, lime juice and mandarin) and the Oaxacan Pink Lad (mezcal, brandy, lemon juice, agave syrup and aquafaba) are just the start.
It's that time again for 2024: time for Australia's Red Centre to glow with other hues, including across ranges dating back 300 million years, thanks to giant puppets and on the ochre earth. Every April, Parrtjima — A Festival in Light returns to the Northern Territory with art, music, talks and an all-round celebration of First Nations culture. This year's event is on now, kicking off on Friday, April 12 and running till Sunday, April 21 — and if you're not there or on your way, this is what you're missing out on. When Arelhe Urrperle strolls along, people take notice. A six-metre-tall puppet that weighs 600 kilograms wandering around draws attention. Seeing it mosey through Alice Springs Desert Park, sharing Arrernte stories and language, is a main attraction at 2024's Parrtjima — A Festival in Light, in fact — and just one of the highlights of this Indigenous arts festival. Erth, which has also brought dinosaurs and sharks to life around the country in the past — and held prehistoric picnics featuring puppets — is behind Arelhe Urrperle. In New South Wales, Marri Dyin, which also reaches six metres in height, has taken a stroll at Vivid Sydney 2018 and 2019, plus at the Nights on Crown Festival in Wollongong in 2019. Arelhe Urrperle is specific to the Red Centre, however, with Erth's puppeteers training local Indigenous performers to operate the roving puppet for Parrtjima's 2024 run. Representing Arelhe matriarchs, Arelhe Urrperle is one of this year's signature installations — and a new addition to Parrtjima for 2024. Fancy feasting your eyes on illuminated cars that form a collage of work celebrating Eastern, Western and Central language groups? Walking through an immersive passageway that pays tribute to late Arrernte leader Dr MK Turner? Thanks to fellow installations Arrernte and Honouring, they're also on the festival's program right now. One of the Northern Territory's annual highlights — and one of its dazzling sights, alongside natural features Uluru, the Tjoritja gorges and Kings Canyon, plus nightly light show Wintjiri Wiru, as well as Bruce Munro's Field of Light and Light Towers — this arts, culture and storytelling event takes place against the MacDonnell Ranges. 2024 marks the ninth Parrtjima, with its lineup focusing on the importance of interconnectedness across First Nations culture for this year. That's partly happening through two things that are always on the bill: two of the festival's regular annual attractions, aka a huge artwork that transforms a 2.5-kilometre stretch of the majestic ranges, showering it with light each night of the festival; and Grounded, the installation projected over the red dirt at tourism and conservation facility Alice Springs Desert Park. The Ranges Light Show has taken over additional projection space in 2024, while Grounded has become more interactive. Over its opening weekend, the program also included a three-night marketplace for the first time in the fest's history. The Northern Territory Indigenous Business Network (NTIBN) Buy Blak Market featured both food and other products from local Aboriginal businesses. On the music roster across the entire event, Troy Cassar-Daley, Shellie Morris, Miiesha and Mulga Bore Hard Rock are taking to the stage. Cassar-Daley and Morris are also on the talks lineup, alongside Floyd Doyle and Dr Josie Douglas. Parrtjima – A Festival in Light runs from Friday, April 12–Sunday, April 21, 2024, at venues around Alice Springs in the Northern Territory. For more information, visit the festival website. Images: Parrtjima – A Festival in Light. 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.
Australia's cities are lighting up this winter thanks to a slew of dazzling arts festivals — and if you're planning to spend the middle of the year hopping between them, you've now got another destination. While Melbourne's Rising festival, Sydney's Vivid, and Hobart 's Dark Mofo will all unleash their delights in June (with Vivid even starting in late May), Illuminate Adelaide is set to brighten up the South Australian capital throughout July. And, based on its just-dropped lineup, there's plenty to tempt both locals and interstate visitors alike. Returning for its second year, Illuminate Adelaide is all about creativity, art, music and light, and will unfurl all of the above from Friday, July 1–Sunday, July 31. Topping the bill: Gorillaz, with Damon Albarn and Jamie Hewlett's chart-topping act adding an Adelaide show to their Australian tour, which already includes headlining this year's Splendour in the Grass, plus sideshows elsewhere. Also set to be huge: Ouchhh Studio's Wisdom of AI Light, a major exhibition that's all about art and artificial intelligence. A multisensory experience, it'll take up a specially designed pop-up exhibition space in the East End of the Adelaide CBD, with quite a wonder inspired by renaissance painters as its centrepiece. Here, AI has been trained to analyse billions of brushstrokes by some of the best artists who've ever lived — with a particular focus on Leonardo da Vinci — and create its own new moving image work. [caption id="attachment_850982" align="alignnone" width="1920"] Ouchhh Studio[/caption] The exhibition also includes a number of other pieces by the Istanbul-based Ouchhh Studio, such as art made in conjunction with the Machine Learning Scientists at CERN in Switzerland and with NASA. In the former, called Dark Machine, you'll peer at AI-processed data from subatomic particle collisions — while the latter, Data Gate, sees AI play with data from the Kepler Space Telescope, drawing upon its nearly ten years in space observing 2500-plus planets, more than 530,000 stars and over 61 supernovae. Still on all things radiant, 2022's festival will welcome back some of last year's big light installations (because peering at shiny sights never gets old). Making a comeback is Light Cycles, which'll once again transform the Adelaide Botanic Gardens with light projections, lasers, sound and special effects, all thanks to Montreal's Moment Factory. And, the Adelaide Zoo will host the return of Light Creatures, so there'll be another round of enchanting interactive animal installations — think: giant tiger lantern puppets, huge rainbow skinks, giant pandas and giraffe lanterns — giving the place an enormous glow. The City Lights program is returning as well, once again featuring a range of acclaimed artists — and turning the CBD into an after-dark art trail in the process. 2022's version will notch up more 40 free site-specific works over 17 days, spanning creative photobooths, illuminated laundry, 15 giant glowing seesaws and a chandelier harp in various spots around town. There'll also be a 50-metre-long walkway of moving light and mirrors, an interactive geometric LED cube, bouncing glowing orbs, and Vincent Namatjira's Going Out Bush turned into animation and projected onto the Art Gallery of South Australia's facade. [caption id="attachment_850978" align="alignnone" width="1920"] Chandelier Harp, Jen Lewin. Photo by Aaron Rogosin.[/caption] Other standouts from the hefty full Illuminate Adelaide program include the Australian premiere of seven-channel video piece We Will Slam You With Our Wings by Joanna Dudley, which takes notoriously sexist speeches from throughout history and reframes them as feminist war cries; the Aussie debut of concert series KLASSIK underground, which pairs classical music with live visuals; and experimental and electronic music celebration Unsound Adelaide. And if you're already starting to make plans to head along, expect to have a heap of company — last year's fest was impacted by COVID-19 lockdowns and wild weather, but still attracted more than 500,000 attendees. Illuminate Adelaide 2022 runs from Friday, July 1–Sunday, July 31. Check out the festival's website for the full program and to grab tickets. Top images: Light Creatures, Adelaide-Zoo. Credit: Frankie the Creative. // Futures, part of City Lights // Submergence, part of City Lights. Credit: Rikard Osterlund.
Fancy hitting the road for a camping adventure, but don't have quite the right wheels for it? Before you fork out the big bucks to hire from a rental company, meet Camplify — a new Aussie sharing platform for campervans and RVs that works a bit like Airbnb. Using the peer-to-peer rental platform, owners can rent out their vehicles when they're not in use (read: gathering dust in the garage). As for hirers, they can get a taste of caravanning life whenever they like, without actually having to own one themselves. Each party has a Camplify profile, owners approve each hire and reviews are exchanged via the platform. The prices are reasonable too, starting at around $30 per night for a standard camper trailer. A caravan will cost you about $80, while that top-of-the-line luxury motorhome you hire for a romantic weekend getaway might see you stretching to $500. For minimal effort, you can even have the vehicle and gear set up for you at a campsite or holiday park, so it's holiday-ready as soon as you rock up. Insurance is covered in the cost, as well as Australia-wide roadside assistance from Camplify's mates at NRMA. Share your own caravan, or start planning that camping trip, over at Camplify.
Passion. Vulnerability. Determination. This is what Mia Thompson offers when asked what's needed to make a career out of dance. The full-time artist speaks from a position of experience, having had both feet planted in the world of dance since childhood. "I started dancing when I was 4," Thompson shares. "I wouldn't say I was a superstar — just running around in a cute little tutu thinking everything's great. I have six sisters, so I think it was a way to get us into a controlled space together that was also artistic. It's in our family's blood to be artistic." Embarking on any creative journey is difficult — embarking on one as your 9–5 that satisfies your inherent creativity and enables you to share your craft with the world is especially so. With the support of LG SIGNATURE — a proud partner of Sydney Dance Company and supporter of the wider arts community — we had a chat with Thompson, exploring her travels to the world's stages, her current position with Sydney Dance Company and what it takes to be a full-time dancer. [caption id="attachment_866757" align="alignnone" width="1920"] Pedro Greig[/caption] "I THOUGHT WHAT YOU DID WITH DANCE WAS TEACH" Not fussy on her favourite style, Thompson fell in love with all forms of dance. Ballet, jazz, modern, hip-hop — for Thompson, it was a joy to just be moving. In high school, after watching an older sister perform, she realised that the world of dance extended further than the classes she was in. "I thought what you did with dance was teach," she laughs. "I saw the Queensland Ballet do The Sleeping Beauty and I was like, 'They're getting paid to do that?! I want to do that!'" After finishing high school, Thompson joined Queensland Ballet's professional program. "I did one year but the director didn't really like me — he thought I was only doing it 'cos my sister was. I was told it'd be unlikely that I'd get a contract with them, and that I could stay and get my training or find another program with a segue into another company." A heavy blow, but a blessing in the end. Because, what's vital to flourishing in the world of professional movement art? "A school or teacher that supports you as an individual. You can go to the top school in Europe, but it might not be the top school for you. If they don't understand you, they're not going to give you the most that you can get out of yourself as an artist. I was so headstrong on getting a ballet career, so being in a contemporary [dance] company now, maybe Queensland Ballet could see something I couldn't." Following her training in Queensland, Thompson went westwards with a successful audition for WAAPA. Living away from home for the first time, evolving as a dancer and starting friendships, the tingle for travel set in. Thompson secured a spot in the Scottish Ballet where, in 2018, she was promoted to first dancer. [caption id="attachment_865975" align="alignnone" width="1920"] Rimbaud Patron[/caption] LANDING ON HOME SOIL While at the Scottish Ballet, she met her future fiancé. "He wanted to do contemporary and I told him about Sydney Dance Company. We were just friends at this point, and I was like 'You should go'." He auditioned, got in and the pair got together, giving long-distance love a go for a year. In the audience of a Sydney Dance Company production — and seeing the new-found articulation in her partner's body — Thompson had a revelation: "With ballet, you're striving for perfection. Watching the [Sydney Dance Company] dancers — the way they moved and the understanding they had for their body — there was nothing that I could relate to. I wanted that, I wanted to be able to speak on behalf of myself and my body." Dance is a notoriously cutthroat industry. There's limited spots, stiff competition and a relatively short career span. "You have no idea how many dancers, even in Europe, are just desperate to get into Sydney Dance Company. We are the leading contemporary dance company in Australia, even in the world. Young artists leaving school are just so keen to get in, they want to know everything about you, it's like we're celebrities. It's very easy to forget — I remember myself at that age, dancers would walk past and my jaw would drop. Even before I auditioned, that was me looking at the company." The chance to audition arose and she took it. She got the longed-for call and high-tailed it Down Under, finishing her time with the Scottish Ballet as Cinderella. As Thompson speaks, she radiates an almost palpable enthusiasm for her vocation. Sydney Dance Company's stellar reputation is one that has not only been earned, but continues to be a work in progress. "If we're not performing, a typical day starts at 9.30am and ends at 6pm. You rehearse repertoire or create new work, explore ways of moving. You can have your steps, but every day I see dancers in the mirror or talking to each other trying to find new ways to develop it. It literally never stops growing, which is beautiful in itself." [caption id="attachment_866753" align="alignnone" width="1920"] Pedro Greig[/caption] "IT'S FLOW STATE" When seated behind a desk, it's difficult to imagine a work life dedicated to exploring and executing movement. Beyond perfecting shape after shape, there's a bottomless list of to-dos. "After a show," Thompson shares, "you'll see most of the dancers in a cubicle, with our feet shoved in an ice bucket to cool." Plus, there's warm-up classes, prehab/rehab (to safeguard those hardworking bodies), rehearsals, feedback sessions and self-review videos, collaboration, hair and makeup, stage direction and spacial notes. The end result? Expertly controlled dancers commanding the stage, allowing audiences to connect and feel something. When asked what it feels like to perform on stage, Thompson's eyes widen and she lifts her chin. "When I dance I feel a great sense of freedom and release," she smiles. "It's like I'm in a trance. There's no better feeling than feeling completely lost on stage, surrounded by your colleagues. Working with them but also feeling completely alone in this world. It's my happiness, it's my sadness, it's my expressive therapy. It's flow state." Defining what it takes to be a full-time dancer is so subjective that it's no simple task. But, when you reflect on Thompson's persistence and determination, her desire to understand her body and to collaborate on stage, and the palpable energy and emotion that buzzes around her when she speaks about dancing, it's clear that it's not just a job. "Some days can feel like work," Mia finishes. "But the minute you step out on stage, you just get lost in it." A supporter of the wider arts community, LG SIGNATURE is a proud partner of Sydney Dance Company. Head to the website to learn more about the partnership. Top image: Pedro Greig
These days, travel trends shift in the same way as food, music or fashion. Destinations that were popular a few years ago don't always stay that way, and as you scroll through Instagram, you'll often see your friends all hitting up the same travel hotspots. Instead of chasing the same locations, travelling in 2026 is about going somewhere that feels fresh, exciting and a little unexpected. Thanks to Singapore Airlines' Early Bird Fare Deals, you can book ahead to the cities that are sure to fuel your curiosity, from Manchester to Johannesburg to Ho Chi Minh City. Manchester, England London will always be a classic holiday destination and a popular gateway to Europe, but Manchester has a lot more to offer than you might think. Known for its legendary music history (responsible for bands like The Smiths and Oasis), the city has evolved over the years into a hive of live gigs, design festivals and one of the UK's most exciting dining scenes. Football fans already know Old Trafford and the Etihad are must-visit stadiums for a game, but Manchester's neighbourhood bars and galleries are just as worthy of your time. With Singapore Airlines' Early Bird fares, you can fly Perth to Manchester from $1,555 return. Brussels, Belgium Belgium's capital is full of beautiful architecture and public spaces, but it's also fast emerging as Europe's creative hub, where street art and digital design combine with the city's old-world charm. Between modern art galleries, neighbourhood breweries and its reputation as the birthplace of fries, there are so many reasons to go and visit. It's also perfectly positioned for day trips to Bruges, Ghent or Antwerp, if you feel like taking your travel plans even further. Early Bird fares from Adelaide start at $1,473 return, proving that booking ahead pays off. Istanbul, Türkiye Few cities are as interesting as Istanbul right now. Straddling Southeastern Europe and Western Asia, the city is buzzing with a new wave of restaurants, rooftop bars and contemporary art spaces that sit alongside ancient mosques and markets. Stay in Sultanahmet if you want to be right in the historic centre. For something a bit less touristy but still trendy, find a place in the Beyoğlu neighbourhood. You can spend your days wandering through the Grand Bazaar, cruise along the Bosphorus and sample modern Turkish cuisine in Karaköy. Lock in your 2026 flights now and you'll have first pick of this ever-changing city. Frankfurt, Germany When most people plan a European trip, they think of Italy, Greece or Paris. But Frankfurt has quietly become one of Europe's most exciting cities, and it's worth adding to your list. Beyond its skyscrapers and reputation for delicious sausages, it's also home to leafy riverside parks, food halls that champion local producers and some of Germany's most active nightlife districts, offering everything from old school German pubs to trendy wine bars. With Singapore Airlines' and Lufthansa's joint network, you can also connect from Frankfurt to other European cities seamlessly, making it easy to hit multiple destinations in the one trip. Ho Chi Minh City, Vietnam On the Southeast Asia front, Ho Chi Minh City (still known locally as Saigon) is a place of constant movement. Once you touch down, you won't need any plans other than setting out on foot to explore. Street food stalls sit beside cocktail bars, while French colonial buildings stand near cutting-edge coworking hubs. Block out an afternoon to visit the historical Notre Dame Cathedral and Central Post Office buildings, or check out the city's many stores stocked with locally sourced streetwear, jewellery and antiques. It's energetic and chaotic in the best way, and it's impossible to visit without wanting to return again and again. Johannesburg, South Africa For those wanting to go further afield, South Africa's largest city is an eye-opener. Over the years, the city has reinvented itself with a thriving arts district, an innovative restaurant scene and a proud emphasis on heritage as the home of Nelson Mandela and Desmond Tutu. It's also the perfect launchpad for safaris or road trips across South Africa, making it a destination that feels equal parts unique and inspiring. Copenhagen, Denmark Copenhagen is one of those cities that feels old and new all at the same time. There's colourful harbour front houses and cobbled streets alongside sleek architecture, bike-friendly paths and world-leading restaurants. In 2026, plan your visit for summer to make the most of the city's long, warm evenings — perfect for rooftop drinks, open-air festivals and cycling along the canals. Book with Singapore Airlines' Early Bird Fares and you'll have first pick of the best travel dates to soak it all in. For Aussies looking to head overseas, 2026 is shaping up to be a year of fresh horizons. Thanks to Singapore Airlines' Early Bird Fare Deals, you can book now and secure your seat to over 100 destinations worldwide. Singapore Airlines' Early Bird Fare Deals end September 30, 2025, so get in early and make your next adventure one to look forward to. Find out more and book your Early Bird fare for select travel dates in 2026 here.
Saint Peter, Paddington's much-adored seafood restaurant, has expanded. But instead of opening a second eatery, owners Josh and Julie Niland have founded Fish Butchery, a swish retail space devoted to premium-quality Australian fish. Forget all about your stock-standard seafood shops — with their mountains of ice, predictable species and tiny selection of cuts, Fish Butchery is a beautifully-designed adventure, without an ice cube in sight. And, rather than merely choosing from the fillets on display, you can ask the butcher to prepare the exact cut you need, just as you would at a traditional meat butchery. "Fish retail hasn't been reimagined for decades," says Josh, who's also head chef at Saint Peter. "It has long existed as a wet bar — an ice counter — with fish piled on top. But water tends to shorten a fish's shelf life, change its taste and promote odours." Consequently, at both Saint Peter and Fish Butchery, all seafood is dry-handled from whoa to go. Every fish is dry-scaled, filleted, pin-boned and presented in a fan-free cool room, kept at 0-2 degrees celsius. There's also a waste-free policy and a focus on under-represented species, which, Josh says, "is part of our ongoing dream to encourage people to eat a wider variety of fish. We want to make those lesser-known varieties not just a restaurant experience but commonplace at home. They taste great, so our aim is customer enjoyment but also to support sustainable fishing." Keep a look out for species you mightn't have tried cooking before, such as leatherjacket, tommy ruff and mahi mahi. The Nilands source these and others from a variety of suppliers, including the Sydney Fish Market, Nicholas Seafoods and independent fisherpeople, such as Bruce Collis, Neil Perry's go-to. And, should you not feel like cooking, you can grab takeaway fish and chips. It'll be Fish Butchery's only cooked offering. "It was a logical step for the restaurant to add a butchery to its armory," says Josh. "It'll make the restaurant more efficient by centralising all cutting to one area, while enabling us to offer a product unrivalled in Sydney." Find Fish Butchery at 388 Oxford St, Paddington. Opening hours are 10am-6:30pm, Tuesday-Sunday.
Every week from July to September, Chauvel Cinema will become home to all manner of retro flicks. You've just spent months streaming anything and everything at home, but now it's time to revisit a heap of bona fide classics on the big screen — all as part of the Palace Encore season. It all kicks off on Monday, July 6 with a choice that'll make you exclaim "great Scott!" — and wish that you could drive to the cinema in a Delorean. Yes, that'd be Back to the Future. Wearing a puffy vest is optional. Also on the bill: Studio Ghibli's enchanting Spirited Away, Martin Scorsese's 90s gangster classic Goodfellas and Stanley Kubrick's horror masterpiece The Shining. Or, you can don a bathrobe to watch The Big Lebowski. The list goes on, with everything from Fight Club to American Psycho also getting a whirl. https://www.youtube.com/watch?v=ZspM1JrOmA8 Sessions screen on Monday and Friday nights, with tickets costing $10 for Palace movie club members and $15 otherwise.
More than a year ago, the New South Wales Government finally announced that it will ban lightweight single-use plastic bags, becoming the last Australian state or territory to do so. By 2022, that plan is set to come into effect — and, as part of a newly revealed strategy to combat both waste and plastic, it's set to be followed by a range of other just-announced initiatives. Get ready to farewell single-use plastics in plenty of forms — such as straws, cutlery, stirrers and polystyrene containers, too — because they've all just been given an expiry date. A six-month timeline has been put on phasing out lightweight single-use plastic bags, which means that they'll be out of action when 2022 hits. Meanwhile, straws, stirrers, cutlery, polystyrene containers, cotton buds with plastic sticks and microbeads in toiletries are all set to be scrapped within 12 months. The bans form part of the NSW Waste and Sustainable Materials Strategy and NSW Plastics Action Plan, both of which were announced on Sunday, June 13. Premier Gladys Berejiklian revealed that the NSW Government will spend more than $356 million over the next five years to implement the new plans, with consultations now set to take place, and legislation and regulations expected to be submitted to parliament in the next few months. The Plastics Action Plan also targets plastic bowls, plates, cups and their lids; non-compostable fruit stickers; and heavyweight plastic shopping bans, all of which are set to be banned within three years — so, by 2025. In fact, getting rid of all problematic and unnecessary plastics by 2025 is the key aim. "The single-use items we are phasing-out will stop an estimated 2.7 billion items of plastic litter from ending up in our environment and waterways over the next 20 years," said Environment Minister Matt Kean. Crucial to the plan is the existence of already-available alternatives — whether they're reusable, in the case of cutlery and plates, or 100-percent compostable, as seen with paper straws and stirrers. That said, exemptions will be available for sections of the community that aren't able to use alternative products to plastic, such as the aged care sector and people with disability. Also part of the ban: helping small businesses transition to new non-plastic products, as well as education campaigns to get everyone onboard. Plus, single-use plastics aren't the only items being targeted in NSW's war on waste. By 2030, the state's residents will also get new green bins for food scraps and organic materials — and by 2025, large supermarkets and hospitality businesses that produce significant amounts of food waste will need to have their organic scraps collected separately from their other garbage. Overall, NSW is aiming to reduce the total amount of waste generated per person by 10 percent by 2030, reduce litter by 60 percent by the same time, and triple the rate of plastic recycling by then, too. Similar laws regarding single-use plastics have already come into effect in South Australia, while Queensland's ban will kick in on September 1, 2021 — and Victoria has set a 2023 target date. As a nation, Australia is set to phase out a heap of single-use plastic items by 2025 as well. And, that's on top of smaller-scale initiatives, not only including bag bans and container schemes, but the phasing out of single-use plastics in various guises at the company level, with Coles, McDonald's, IKEA, Coca-Cola Amatil and Qantas among those making steps in the plastic-free direction. You can read more about the New South Wales' proposed single-use plastics ban via the NSW Environmental Protection Authority's website.
A 24-year run is a stellar effort in anyone's books. Still, the time has come for change at Opera Bar, as Applejack has taken over the restaurant from Matt Moran and his Solotel hospitality group. Perched on the edge of Sydney Harbour, this attention-grabbing spot will soon be under new management following "a highly competitive tender process." Applejack will operate Opera Bar for at least the next 10 years as part of the new agreement. Plus, it's taking charge of House Canteen — the restaurant's neighbouring all-day hawker-style diner. No strangers to leading high-profile Sydney venues, Applejack is also behind the likes of Bopp & Tone, Forresster's, June's Shoppe, Taphouse, RAFI URBNSURF and more. "To be entrusted as custodians of venues at the Sydney Opera House — the world's most iconic cultural stage — is both humbling and inspiring," say Applejack Co-Founders Ben Carroll and Hamish Watts. "We can't wait to share the exciting new concepts we've developed for both locals and visitors while honouring this extraordinary location." With this in mind, Applejack will officially take over the reins of Opera Bar in mid-September, while the House Canteen changeover is expected in mid-November. Meanwhile, the hospitality group plans to commence refurbishments in 2026, once the bustling summer season has come to a close. As for Moran and Solotel, Sydney Opera House Chief Customer Officer Jade McKellar expressed gratitude to the renowned chef and his general manager, John Gallas, for their contributions to the venue over the past two-and-a-half decades. Together, they helped shape Opera Bar into one of Sydney's most prominent venues. "The Solotel team has been instrumental to the success of these iconic Sydney venues, creating unforgettable experiences for locals and tourists over decades and contributing to the vitality of Sydney's hospitality scene," says McKellar. "We thank them for their significant contribution and acknowledge their lasting legacy." Applejack will take over Opera Bar in mid-September, with House Canteen to follow in mid-November. Head to the website for more information.
Now in its eighth year, Tiny Stadiums has definitely established itself as one of the most inventive festivals of Sydney's performing arts scene. Presented by PACT Centre for Emerging Artists and curated by the Groundworks collective, this small-scale festival regularly takes over the streets, shopfronts and rooftops of Erskineville Village. For the next nine days, this inner-western suburb is to become a hub of interactive live performance. With a program that focuses on bite-sized, site-specific performances and an emphasis on audience interaction, Tiny Stadiums will again bring the very best of Australia's emerging arts scene to our shared public spaces. Both locals and unsuspecting visitors will soon be at the mercy of some of our nation's most experimental artworks. For instance, Trojans, a work developed by Team MESS, has been inspired by Mexican soap operas. This video work will be shot live with actors performing an episode by a different writer each night. But instead of rehearsing the script, they're going in blind, prompted only by lines delivered to them via headphone radio receivers. The festival's centrepiece, Live Art Saturday, promises equally weird and wonderful works. Highlights include Frances Barrett's downloadable sound piece A Manual for Time Travel, where you listen to instructions on how to move from the past to the future. The piece is set to music by Sydney-based composer Nina Buchanan and intended as a soundtrack to your exploration of the other works displayed through Erko's streets. Make sure you also stop off at the local park to join experimental choreographers Deep Soulful Sweats in an energetic fusion of yoga, interpretative dance and disco party, dubbed Fantasy Light Yoga. For girls, the all-female collaborative Hissy Fit will be encouraging women of all ages to rock out on camera for Girls to the Front, a video installation that will evolve over the days of the festival to become the backdrop to a punk rock party finale on the last Saturday of the fetival. Tiny Stadiums takes place in various sites around Erskineville Village and at PACT Centre for Emerging Artists from November 14-22. Visit the website for details. Check out the festival's teaser here.
Sitting grand above Woolloomooloo, the Art Gallery of New South Wales is one of the largest in the country. Its permanent collections include everything from paintings to photography, audio clips and short films by both Australian and international artists. All up, there are five permanent galleries which you can check out for free, from the Yiribana Gallery showcasing artworks by Aboriginal and Torres Strait Islander artists, to the Australian, European, Asian and Contemporary galleries. It also hosts a number of temporary exhibitions every year. To check out what's coming up, head here. The Art Gallery of NSW is open daily, except Christmas Day and Good Friday.
UPDATE, Wednesday, May 15, 2024: After two new Olivia Rodrigo shows for October were added at midday today, another two have been announced at 4pm. This article has been updated to reflect all four new gigs — two each in Sydney and Melbourne. Great news if you're a fan of Olivia Rodrigo and the first four tour dates announced for her first-ever Down Under visit didn't suit: four more shows have just been added to the singer and former Disney talent's Australian itinerary. She's still only playing Sydney and Melbourne, adding a third and fourth gig in both cities — and doing so before punters can even buy general tickets, which starts on Thursday, May 16. Big-name acts have a habit of doing this; see also: Taylor Swift, blink-182, Lizzo and The Weeknd, for some recent examples. So, it shouldn't come as a surprise — but it will give you more chances to head along to Rodrigo's huge GUTS world tour Rodrigo has a date with Australia in October, and will now take to the stage at Melbourne's Rod Laver Arena from Wednesday, October 9–Thursday, October 10, and also from Sunday, October 13–Monday, October 14. In Sydney, you can catch her at Qudos Bank Arena dates from Thursday, October 17–Friday, October 18, and also from Monday, October 21–Tuesday, October 22. When we say that this tour is big, we mean it. With the Aussie dates alongside gigs in Bangkok, Thailand, Seoul, Hong Kong, Tokyo and Singapore, the tour spans more than 80 concerts around the globe. Fans Down Under who aren't in Sydney and Melbourne, however, you'll be needing to travel. In support of her second studio album that's also called GUTS, this marks three-time Grammy-winner Rodrigo's first arena tour. The 'Drivers License', 'Good 4 U' and 'Vampire' singer will have her debut album SOUR to work through as well. The GUTS tour started in Palm Springs in February, saw Rodrigo do four shows at Madison Square Garden in April, and is currently making its way around the UK before heading to Europe, back to the US, then to Asia and Australia. Olivia Rodrigo GUTS World Tour 2024 Australian Dates: Wednesday, October 9–Thursday, October 10 + Sunday, October 13–Monday, October 14 — Rod Laver Arena, Melbourne Thursday, October 17–Friday, October 18 + Monday, October 21–Tuesday, October 22 – Qudos Bank Arena, Sydney Olivia Rodrigo is touring Australia in October 2024. Ticket presales start at 1pm on Wednesday, May 15, and general sales at 1pm on Thursday, May 16 — head to the tour website for further details. Images: Chris Polk, Polk Imaging.
Erotica fans Australia-wide are celebrating the return of World Movies Channel's adults only program, Summer of Sin. Starting in December, it's a 62-night festival of all things intimate, with a sexually charged film screening at 9.30pm every single night until January 31. Before you ask, yes, Christmas Day's included. 2011 Spanish film The Sex of the Angels has that one covered. Moreover, New Year's Day will see a coital marathon kicking off at midnight, with 24 hours of films played back-to-back. In December 2012, the initiative saw a 49 percent increase in the channel's audience. This year, the formula that proved so irresistible to so many is being reapplied — a combination of classics and new international films, never-before-seen in Australia. In the words of the organisers, "We've scoured the darkest and dirtiest corners of the cinematic world for a line-up of the sexiest premiere films." Pretty much every fantasy or fetish gets a look-in, from swingers' parties to alien abduction. Here's our top 5. Young and Wild (Chile, 2012) When: Friday, 13 December 2013 (Australian television premiere) & Wednesday, 15 January 2014 This playful, raunchy, stylish film centres on 17-year-old Daniela (Alicia Rodriguez), who can't stop thinking about sex. Raised in a strict, wealthy, religious family, she expresses herself through her blog, Young and Wild, where she records her most outrageous desires and experiences. Call Girl (Sweden, 2012) When: Wednesday, 18 December 2013 (Australian television premiere) Inspired by true events involving Swedish politicians and prostitutes, this crime film is one of the more serious items on the Summer of Sin menu. A teenage girl's entry into prostitution exposes widespread hypocrisy at governmental level. Intimacy (France, 2000) When: Thursday, 26 December 2013 (Australian television premiere) & Saturday 18 January Every Wednesday afternoon, Jay (Mark Rylance), a failed-musician-turned-bar-tender, meets a woman (Kerry Fox) for brief, rough, wordless sex. One day he follows her home and discovers more than he bargained for. Kiss Me (With Every Heartbeat) (Sweden, 2011) When: Wednesday, 8 January 2014 Mia has always lived a straight life, and is about to enter an engagement with her partner, Tim, when she falls in love with her stepmother's gay daughter, Frida. An irrepressible mutual attraction develops between the two women, leading to a sensual affair. Elles (France, 2011) When: Friday, 31 January 2014 (Australian television premiere) Obsessive, middle-aged, unhappily married journalist, Anne (Juliette Binoche), receives an assignment that carries her into the risky yet seductive world of Parisian student prostitution. She gets to know two independent young women whose erotic adventures carry them into dangerous and unpredictable territory. Read our review here.
Sitting down to watch Cat Person isn't a passive experience. It isn't an interactive movie, but the bulk of the film's audience isn't coming to it as a blank slate. They've read Kristen Roupenian's viral New Yorker short story from 2017, because everyone has. They've seen the discourse that it started, and potentially engaged in the debate that's swelled ever since, too. They remember how the 7000-word piece arrived at the ideal #MeToo moment, capturing the intricacies of modern dating, gender power dynamics, text-first communications, and mediating not just our lives but our loves through screens one jokey SMS and flirty emoji at a time. As a feature, Cat Person isn't just about bringing the tale of 20-year-old college student Margot and 33-year-old Robert, who she first meets serving him snacks at her cinema job, to the screen, then. Six years have passed since Roupenian's story became the only thing that anyone was talking about, especially online, with the whole Cat Person phenomenon now about more than just the tale itself. In her third movie as a director after 2014's Life Partners and 2018's The Spy Who Dumped Me — and also helming episodes of Utopia, The Flight Attendant and The Wilds, plus writing Booksmart as well — that's also what filmmaker Susanna Fogel set out to capture with Michelle Ashford's (Masters of Sex, The Mayfair Witches) script. "There's always a fear with anything that people feel strongly about, and would get really passionate about, that you're going to let them down. I think that with this in particular, I had to release myself a bit from the notion that everyone is going to love this adaptation — because the truth is not everybody loved the story, and not everyone loves any movie, really," Fogel explains to Concrete Playground. "I also have to take my best shot of trying to bring this story into the next generation for a group of people who many of whom were too young to read the story. The Margots of today were 13 when the story came out, so this is a moment that I wanted to share the story with them in this format." "But there's always a fear of it. You of have to let it go. You have to say 'I'm going to do my best to honour the material, and if I can create the feeling that I got reading the story in an audience, then that's what I can do'," Fogel continues. "There are going to be details that aren't what people pictured. Some people are going to want it to be a faithful adaptation of the story because they just want to see that story the same way. And Michelle and I, and ultimately Kristen, really believed that there's another chapter to the story that's happened culturally since 2017 — people exhausted themselves debating the merits of this story and revealed things about themselves culturally — that became part of the story. So to us, the only reason to adapt it was to build upon the narrative and not just render it directly." The film version of Cat Person expands beyond the narrative that Roupenian relayed with such galvanising precision. The aim: capturing how it felt to read the short story, as well as the conversation swirling around it since. The focus is still "concession-stand girl" Margot (Emilia Jones, CODA) and customer Robert (Nicholas Braun, Succession). Everything from their first meeting to their texts, and also their age gap, dates and rampant awkwardness, remains. But Fogel's film not only adds details, but also complexities and perspectives, seeing the tale's ambiguity and clashing perceptions. The 2023 Sundance Film Festival first witnessed the end result, and now audiences in Australia and New Zealand can as well, with the movie opening in both countries Down Under in November. We chatted with Fogel about the process of bringing Cat Person to the screen — her first reactions to the short story, her thoughts on the response, the unique opportunity that is turning a viral short story into a movie, casting and continuing the Cat Person conversation all included. ON READING CAT PERSON WHEN KRISTEN ROUPENIAN'S SHORT STORY FIRST ARRIVED "I did see it. I was hard to not see. It was everywhere. It was something that people talked about a lot. It was very explosive in the culture. At the same time, I didn't see it as a movie. It's hard for me not to see things as movies just because I live in LA, and whenever something is viral or captures anybody's attention, there's going to be a stampede of people trying to make it into a film. But this one, I thought this is so brilliantly internal that I don't really know how it becomes cinematic, and how it becomes external, and how you capture what really resonated for people in a film — much less a film that people are going to see if they're men or people of all ages, which the story did have a bigger reach than just than just women. I was concerned that a film wouldn't be able to harness that somehow. And then two years later, I read Michelle Ashford's script. I realised that there was a there was a vision behind doing that that made so much sense to me — I just would never have thought of it myself." ON THE INITIAL RESPONSE TO CAT PERSON AS A SHORT STORY "The story itself, by the time I came to it, I was aware that it was very explosive and controversial. And when I read it, I wasn't sure why, because I thought that this is such a perfectly observed short story. It's so specific to this woman's experience. Why are people debating it? Why are people accusing the writer of man-hating? What is what is really like triggering to people about the story? And over time, that narrative around it became so explosive that it kind of hijacked the narrative — the narrative around the narrative became what was the most interesting thing about it. There's this undercurrent of male rage that courses through the subtext of the story, and that male rage was manifested in a very overt way among all of the people on Twitter who were arguing about the story. So, in a weird way, it kind of proved the concept of the story itself, and that to me was what was so interesting. And when we tried to expand upon the original format of the story, that anger and the male perspective on that was something that we tried to enhance and show cinematically, just because it was so much a part of that cultural moment. It eclipsed anything about the original story itself." ON BRINGING A SHORT STORY THAT'S GONE VIRAL TO THE SCREEN "It was a very unusual opportunity. I've always looked for ways to tell stories about women — granular, observant, emotionally driven, relationship-driven movies and TV shows. That's kind of my sweet spot. But it's so often that those feel small, and they always have to be combined with another genre or a mystery or something that feels like it gives them reason to be — stories that justify their telling, in a way. This one, obviously we did expand it genre-wise, but the fact that the story existed and was viral was a great opportunity to tell a really intimate, granular story about a woman's experience, and have a little bit of name recognition buoying the release of it, and the public interest in it. That was a really lucky — that was a real opportunity. There's name recognition and a curiosity about something that is ultimately so personal and would normally just go in the bucket of tiny movies that five women see at a women's film festival." ON TACKLING A TALE THAT'S STRUCK SUCH A CHORD FOR BEING SO RELATABLE "A different medium is always a challenge. When you take a short story that women project their experiences onto — so women are picturing themselves as Margot, women are picturing their own Robert from their own life as Robert, they're not picturing actors that I cast — trying to honour that and execute something that would resonate with women the same way as whatever was in their mind's eye when they read the story is a tall order. I just did my best to try to pick versions of both characters that made them human enough that whatever felt really realistic and grounded to women would would be manifested here, and it wouldn't feel like we took it in this crazy direction. It definitely escalates at the end, but from a starting point of relatability was the goal. I mean, that's always the challenge, I think. But I think from moment to moment, [it was] just making sure those performances felt grounded, making sure to cast somebody who felt really relatable to women, and felt smart and substantial — so that if she makes some dumb mistakes, you can still be rooting for her instead of dismissing her as a victim. And just making choices that I think try to keep threading the needle with nuance was something that was important to me, so that people couldn't really dismiss either side, or come down on one extreme side or another — just to try to maintain the ambiguity of the original story." ON THE VISION FOR CAT PERSON AS A FILM FROM SCRIPT ONWARDS "Michelle had this brilliant idea to take a lot of what Margot was going through internally and make it manifest in a really extreme multi-genre experience of being a young woman. So, Margo's experience is that she walks through her life, and she's very pop culture savvy. She's seen movies where young women are victimised. She's seen movies where young women fall in love. She's seen movies where young women come of age. So she's seen all the reference points, and she's trying to figure out where she belongs and what her story is. What excited me about Michele's adaptation was really that she opened the door to explore a lot of different genres, as if to say that being a young woman is a multi-genre experience. There's always a base level of fear, because we're when we're coming of age and even when we're not, we're aware that we could be overpowered on a physical level. That's always a fear that sits underneath our lives, and is ready to poke its head out at any point in time that it's triggered. But all of the things that Michelle wrote were so vivid. And then the fears and fantasies and violence felt like I just tried to capture those as viscerally as I've experienced them myself, in the hopes that other women have also had those fears if I've had them, I hope. I don't hope other women have had them, but I hope that I'm a good ambassador to tell their story in a way that feels relatable to as many women as possible." ON FINDING THE RIGHT MARGOT AND ROBERT "Casting is always easy and hard. What's easy is if you're the filmmaker and you have a sense of who those people are in your mind, there's actors that you know you want. The challenge is that they're not always the actors who you know are the most famous or the most bankable. Luckily we worked with StudioCanal, who were pretty open minded being a European company — they weren't as algorithm-obsessed and so they let me cast these two actors who were really on the cusp of fame and had recognition but weren't overexposed on a level where people would bring too much baggage into the viewing experience. By the time the movie came out, people have an association with Cat Person. They're expecting to be mad. They're expecting to be relating. They're just expecting a lot going in. And I didn't want that to have a toxic alchemy with some outrage about me casting the wrong super-famous person. So I wanted it to be a little bit like these characters, these are interesting actors, maybe you've seen them but you haven't seen them in everything. You don't know who they're dating. It's not a situation where you're rolling your eyes before you even walk into the theatre. Emilia has a real soulfulness and gravitas to her that I wanted Margot to have despite her youth, so that it wouldn't be just a simple story of a young woman and an older man, and she's naive and he's inappropriate. I wanted it to be a bit more [that] he has some arrested development, but also she is presenting herself with as much maturity as she can, and she has a presence that doesn't feel adolescent to him. Zooming out, it's inappropriate that he pursues her. But zooming into it, it sort of makes sense that she's presenting herself in a way that it would be overreaching past the bounds of her experience level or her actual maturity level. Emilia seems mature, and I thought that was important to keep Robert defensible as well. If she seemed really flighty and really young, it would be more egregiously only about her being young and not about the fact that they do have this connection, even though it's dysfunctional. I didn't audition either of them, but I spoke to them, and they get it. They got it. They understood what was weird about the dynamic, and they were so intellectually able to do it — and I knew how talented they were on screen, that I just kind of took the leap of faith that they could do it. They're both actors who have great comic timing, but they're not broadly comedic. They have an interesting presence, but they haven't done this role before. So it felt like they would really like invest in that challenge. And in Nick's case, he has like a base level of likeability, especially to other men who watch Succession, that I thought that would be a good place for Robert to start — a place where men are relating to him, even if they think he's kind of a loser or whatever, they're inclined to root for him because of because of who he is." ON FOGEL'S HOPES FOR THE MOVIE'S CONTRIBUTION TO THE CAT PERSON CONVERSATION "I would like for this movie to invite men and women to talk about their own experiences, and the differences in perception that go into relationships. I think that everybody has a story where they relate to one or both of the characters — that's why my hope is that everyone who's ever been on a date can watch that movie and say 'oh, I've been him' or 'I've been her' or 'I've been both'. To me, I think that the movie challenges people to think about their own relationships and be more authentic with the other person, however they can be — and really give themselves permission to not know what they want, take a minute to figure out what they want, not be sure what they want, change their mind. Those are all really important parts of dating and consent, and I'm hoping that this movie, by making people feel like they're not alone, makes people feel like 'it's okay for me to figure this out on my own timeline'." Cat Person opened in cinemas in Australia on November 23 and in New Zealand on November 2. Read our review.
It's not an overstatement to say that our environment and the delicate ecosystems within it are extremely important to us all, and especially right now, so any effort to preserve our world is an effort worth making. In partnership with certified compostable coffee pod company, Tripod Coffee, we've come up with a list of five easy adaptations centred around your daily coffee routine — so you can go easy on the environment while still enjoying your morning brew. SWITCH TO COMPOSTABLE COFFEE PODS If you have a Nespresso machine at home, you may have noticed a by-product of all that convenience: a lot of pods ending up in the bin. Instead of ditching the machine and further adding to landfill, you could make the switch to coffee pods that are more sustainable. Tripod Coffee is an Australian company that creates compostable coffee pods. This means, you still get an excellent, cost-effective coffee each day, but without the waste. And, as the pods are made from fairly sourced beans, roasted by local coffee maestros, you've got a sustainable sip available in your kitchen every morning. How do you know if a coffee capsule is compostable? You can check the Australian Bioplastics Association list here, or look for the Australian Certified Compostable symbol on the packaging. Tripod Coffee pods are made of a bio-polymer and are sealed with a paper lid. You can place the entire capsule in your green bin, if your council accepts organic waste. If not, you can return the packing using Tripod's Pod-to-Plant returns program. [caption id="attachment_766152" align="alignnone" width="1920"] Lisa Fotios[/caption] COMPOST YOUR COFFEE GROUNDS Australians generate 67 million tonnes of waste each year, and we chuck 5 million tonnes of food into landfill — which can be easily avoided. Not only can we buy food more responsibly, but we can also learn how to make the most of our organic waste. Composting works twofold to help the environment, first by keeping waste out of landfill, and second by creating a garden-nourishing by-product (aka compost tea). Coffee grounds are packed with potassium and are great to add to compost bins. If you don't know where to start with creating your own compost, check out these tips from Planet Ark, which includes using a Bokashi bucket to ferment food scraps if you live in an apartment. If you don't have outdoor space for a composting bin, or consume lots of coffee and want to make sure your organic waste goes to good use, check out ShareWaste, which connects people who are recycling their kitchen scraps with local people who are already composting, worm-farming or keep chickens. Alternatively, connect with your favourite cafe and ask if you can add your used coffee grounds to its Closed Loop bins, or other organic recycling scheme organised by your council. [caption id="attachment_766122" align="alignnone" width="1920"] Chevanon Photography[/caption] EXPLORE DIFFERENT MILK OPTIONS There are approximately 270 million dairy cows producing milk for human consumption around the globe. Milk production impacts the environment in various ways, according to World Wildlife Fund, including production of greenhouse gas emissions contributing to climate change. It also has impacts on water supply, deforestation, loss of wetlands and issues of animal welfare. So there are many people around the world who are looking at plant-based milks or mylks. A glass of dairy milk produces almost three times more greenhouse gas than any plant-based milk according to a study by Oxford University in 2018, and earlier this year The Guardian investigated the varying impacts of soy, almond, macadamia or oat — with oat milk coming out, generally speaking, on top. Oat milk is super creamy and froths well for a cappuccino, while almond milk goes down well with a tiny bit of maple syrup, some ice cubes and a shot of coffee for an iced latte. The most important takeaway from those reports is that whatever alternative you choose, it has a lesser environmental impact than dairy. However, it's worth noting that Australia's dairy industry accounts for around 7 percent of the gross value of agricultural production and around 7 percent of agricultural export income. So a cultural shift away from dairy milk is not without its casualties. [caption id="attachment_766125" align="alignnone" width="1920"] Nathan Dumlao[/caption] KNOW WHERE YOUR BEANS ARE SOURCED By getting to know where your coffee beans come from, you can make a choice that values ethics and sustainability (with the bonus of tasting great, too). Fair trade coffee means the land the beans are sourced from is treated with care, as are the farmers who work on it. It's a win-win — and a step you can take to make a difference. If you want to ensure your coffee is fairly produced, look for the Fairtrade Australia markings; Tripod Coffee's Great Gatsby coffee uses 100-percent certified fair trade organic coffee from Central America. [caption id="attachment_766149" align="alignnone" width="1920"] Andrea Piacquadio[/caption] BUY FROM LOCAL BUSINESSES DOING GOOD Knowing your daily habits are having a positive impact elsewhere in the world is not only good karma, but also a way of ensuring the money you spend is going directly to people who are actively creating positive change. Tripod Coffee has created the world's only pod-to-plant program, which means that the pods you've used end up as nutrient-rich fertiliser. It also commits one percent of its profits to restoring the Daintree Rainforest through Rainforest Rescue. There are also coffee roasters promoting coffee bag recycling programs and ones that donate to global research to protect coffee plants from extinction — something that nobody wants. Research the companies that are giving back on a global scale, and spend your money locally to keep supporting the little businesses that do good in big ways. Tripod Coffee produces Australian certified-compostable coffee pods. Find out more about the range and delivery options, here.
The team behind Sydney institutions S*A*S*H, Slyfox Hotel and Stanley's Bar has taken over a storied Oxford Street space to open a new techno and dance music-focused nightclub. Carousel Bar and Ballroom is the latest project from the accomplished crew, slotting into the former home of Byblos and Miind Club with a cabaret- and 70s-inspired bar that boasts a primary goal of hosting heaving dance floors. On Tuesdays and Wednesdays, the Darlinghurst venue operates as a small bar, serving approachable cocktails and Estrella Damm on tap. Then, from Thursday, Carousel transforms into a nightclub for the weekend, playing home for the night to some of the country's and the world's best DJs. A state-of-the-art Funktion-One sound system has been installed, featuring 33 speakers placed all around the venue — including the bathroom — to deliver the night's soundtrack as selected by each evening's chosen tastemakers. The DJ decks have also been moved off the wall and further onto the dance floor, placing the DJs right among the patrons and creating a setup reminiscent of Boiler Room's in-the-round layout. Rounding out the whole operation is an impressive lighting system that includes lights imported all the way from Amsterdam that you won't find anywhere else in Australia. The decks have already hosted the UK club mainstays Voigtmann, Yune Pinku on her Listen Out Australian tour and local favourites like Melbourne's Sleep D. Among the upcoming gigs taking over the Oxford Street digs, you can catch Casey Spillman, Booka Shade and the Subsonic Music Festival launch party. The name Carousel is derived from the rotating stage that the team discovered during the site's renovations. The unconventional setup is believed to have hosted creatives around 60 years ago when the venue went by Carpiccio's. Find Carousel Bar and Ballroom at 163–169 Oxford Street, Darlinghurst, operating Tuesday–Sunday. To browse all of the upcoming events arriving at the new Sydney nightclub, head to the venue's website.
No matter your feelings on the ideal timeline between Boxing Day shopping and Easter treats hitting the shelves, March has arrived and those babies are coming in hot like a certain glazed fruit bun. And this year, you've got a boozy new offering to add to your Easter shopping list — a Hot Cross Rum from family-run Margaret River distillery The Grove. The small-batch sip has been hand-crafted using The Grove's four-year barrel-aged dark rum, then housed in an American Oak former bourbon barrel. Raisins, oranges and a bunch of warm spices are left to steep, before the rum's given a final infusion of classic hot cross bun flavours including cinnamon, vanilla and cloves. [caption id="attachment_845050" align="alignnone" width="1920"] By Freedom Garvey-Warr[/caption] At the end, you've got a warm, rich, festive-tasting spirit, packed with notes of caramelised raisin, vanilla and cinnamon, with a lingering fruity finish. A 40-percent ABV hot cross bun in a glass, if you like. The Grove team recommends you sip their new creation neat; with a hot buttered Easter bun on the side for full effect, of course. Word is, it's also a solid match to a cheese board or dessert. Just 240 bottles of the Hot Cross Rum have been made, available now to pre-order with Australia-wide delivery happening this month, just in time for Easter. The Hot Cross Rum marks the first of The Grove's new Collector's Series of limited-edition spirits, so expect plenty more creative rum releases to follow. The Grove's Hot Cross Rum is available to pre-order via the website, at RRP $100 for a 500ml bottle.
The crumpet has made a noticeable splash in the Sydney restaurant scene in recent years. Said to originate in the UK as far back as the 14th century, this (very) old-school griddle cake is loved for its simplicity — and its ability to be paired with almost any topping. Whether you're into savoury bites or have a sweet tooth, our city is offering a wide range of ways for you to enjoy the humble crumpet. Think bacon- and avo-loaded numbers, falafel takes on the cake, dulce de leche-topped holey boys and even crumpets paired with locally sourced sea urchin. Here are our favourite spots to get next-level crumpets across Sydney.
Anything can happen at Dark Mofo. One of two massive arts festivals run by Tasmania's Museum of Old and New Art, the winter event has always prided itself on being a fest where the dark, sinister, confronting and boundary-pushing come together, sometimes for better and sometimes for worse. So, for its first program announcement for 2023, a wild dance theatre performance inspired by Dante's The Divine Comedy sounds completely in the event's wheelhouse. That production is A Divine Comedy, hailing from Austrian choreographer and performance artist Florentina Holzinger, and hitting Dark Mofo as both an Australian premiere and an Aussie exclusive. Playing for three days throughout the festival's Thursday, June 8–Thursday, June 22 dates for 2023, it dives into the hell, purgatory and paradise of Dante's classic work, all to explore how humans negotiate life and death. "We are thrilled to present Florentina Holzinger's A Divine Comedy for Dark Mofo 2023. She is a super-talented artist who is brazenly contemporary and culturally relevant," Creative Director Leigh Carmichael said, announcing the news. "This is the most incredibly wild theatre performance that we have presented in the history of Dark Mofo. Its scale is unprecedented and bold, a fitting highlight for our tenth festival. We can safely say the audience will be anything but bored." Holzinger is known for making challenging and provocative theatre, and for exploring gender relations — including how women's bodies are represented in art and media. For A Divine Comedy, she's staging the whole show as a giant autopsy room, in fact, then unleashing choreography that dances with existence, mortality, the end that awaits us all, and our struggle to cope with what that all means. Dark Mofo attendees will watch a cast of all-female-identifying performers spanning all ages, as well as a variety of physical, musical and athletic disciplines, take to the stage for the work. And, they'll see nude performers, slapstick acts, bodily substances and references to slasher movies as well — plus a jam-packed selection of nods to art and dance's respective histories. A Divine Comedy will play Dark Mofo from Friday, June 16–Sunday, June 18, with the rest of the fest's program set to be revealed this autumn. Whatever else joins the bill to help the event officially hit ten years, it'll be part of Carmichael's last at the helm. He'll step down after Dark Mofo 2023, making way for a new Artistic Director from 2024 onwards. [caption id="attachment_846523" align="alignnone" width="1920"] Winter Feast, Dark Mofo 2021, Dark Mofo/Jesse Hunniford, 2021. Image Courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] Wondering what else might be in store? Previous years' lineups have seen a fantastical combination of musical performances, performance art and large-scale installations come together. In 2019, the program featured the likes of artists Ai Weiwei and Mike Parr, American musician Sharon Van Etten and one of the world's largest glockenspiels, for instance. In 2022, patrons were treated to performances by The Kid LAROI, and the sounds of Chernobyl and Candyman — plus rainbow installations, and signature festivities such as the Nude Solstice Swim, the City of Hobart Winter Feast, Night Mass: Transcendence in the In The Hanging Garden precinct and the Reclamation Walk. Already keen to get booking? Fancy a Tasmania trip in the interim? Our Concrete Playground Trips Hobart getaway might also be of interest. [caption id="attachment_800592" align="alignnone" width="1920"] Lusy Productions[/caption] Dark Mofo 2023 will run from Thursday, June 8–Thursday, June 22 in Hobart, Tasmania. The 2023 program will be announced in autumn — check back here for further details. A Divine Comedy will play Dark Mofo from Friday, June 16–Sunday, June 18. A ticket ballot for the show is open until 12pm AEST on Friday, February 10. A Divine Comedy images: Nicole Marianna Wytyczak. 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.
There are two types of travellers: the ones sprinting to the gate with a busted wheel, and the ones gliding easily through duty-free. The latter probably invested in a very good suitcase. After its co-founders sat at Proud Mary in Collingwood and decided to rethink suitcases in 2019, July hit the travel world with a suite of colourful cases that are more than just chic and durable. Equipped with crush-proof shells, built-in chargers, and more recently, the world's first trackable luggage, July's travel gear is now frequently spotted in airport terminals internationally. On the last weekend of February, July is hosting a massive two-day warehouse sale featuring over 150 styles from its warehouses and archives — it's worth a visit even if you're not planning a trip. From chic book totes and darling crescent crossbodys to handy toiletry and camera bags, the luggage label designs pieces that pull double duty on everyday commutes as well. Online shoppers can get up to 50% off travel essentials, too — you can access the sale via July's website, or hop on the mailing list to get first dibs when the sale goes live — but in-store discounts are slated to be juicier. From 9am to 5pm, Melburnians can browse the collection at the Collingwood store, while Sydneysiders should make a beeline for Rosebery. Images: supplied
That wide-open highway between Melbourne and Sydney has so much to offer. So, why settle for the routine route when you can have a rural adventure? In partnership with Canadian Club and Empty Esky, we want folks to make the great Aussie road trip even better. We've plotted the perfect itinerary, spotlighting regional towns that have had a rough go lately but are back to welcoming tourists with open arms. The next time you hit the bitumen, make it a mission to do some good and discover cool new things. Brave a haunted house, explore Aboriginal cultural heritage, splurge on a boutique hotel, treat yourself with sweets and a bakery pilgrimage and admire a really big sheep. WANGARATTA Your first stop should be for a hearty lunch with a side of cultural education in Wangaratta. Hit the all-day breakfast menu at Cafe Prevue — is there ever a wrong time of day for pancakes? Or, opt for fried chicken bao, mushroom arancini or a trusty toastie. Afterwards, wander down to the river and along the Bullawah Cultural Trail. This project was a collaboration between over a dozen Indigenous and non-Indigenous people and organisations to acknowledge and celebrate the Pangerang people and their long heritage and continued connection to Country. Through artworks, info boards and a bush tucker garden, discover the ways of living and stories that belong to this place and its people. [caption id="attachment_801899" align="alignnone" width="1920"] Visit Victoria[/caption] BEECHWORTH If you're passing through Beechworth, hit Beechworth Bakery for the lunch of champions: the signature Ned Kelly Pie, stuffed with steak, bacon, cheese and egg. You'll find "Australia's Greatest Bakery" in one of the beautiful historic buildings typical of this picturesque gold rush town. Room for dessert? We suggest the classic vanilla slice or one of its famous Beestings: a fluffy, filled bun spilling custard into your hands with each bite. You'll need some treats for the road, too, so visit The Beechworth Sweet Co for the whimsy of an old-timey sweet shop. Admire the glass jars of boiled sweets, sherberts and jellies, and sample some of its handmade fudge. JUNEE You haven't really explored the country unless you've picked up some bric-a-brac and local handicrafts. The Olde School T-House in Bethungra is crowded with curios and collectibles, so stop in for a browse and some morning tea. Then, steel yourself with an ice-cold Canadian Club and Dry at Junee Hotel before you dine with the dead (maybe) at Monte Cristo Homestead. Test your nerve at this grand homestead, which was once the Crawley family's (the town's founding family) seat of power. The homestead ghost tour includes a three-course dinner, accommodation and breakfast — a friendly touch for what's considered Australia's most haunted house. Oh, and there's an additional gift "if you make it through the night". For some comfort the next day, head to the Junee Licorice and Chocolate Factory. You can pick up organic chocolates, take a tour around the old mill (currently on hold due to COVID restrictions) or stop at the cafe for a decadent hot chocolate laced with turkish delight, butterscotch or even chilli. [caption id="attachment_795809" align="alignnone" width="1920"] Destination NSW[/caption] GUNDAGAI You know it for The Dog on the Tuckerbox, now discover Gundagai's fancier attractions. Heritage meets stylish minimalism at the boutique hotel, Flash Jacks. Starting life as a convent in 1891, these Victorian bricks have been born again as the ultimate luxe retreat, where you can splurge on a room with a bay window daybed. The perfect accompaniment to this top-notch stay is one of the best coffees you can get between Melbourne and Sydney. The Coffee Pedaler is a bright, cheery cafe that punches well above its weight. Sit outside for a pretty street view towards the hills, and tuck into a city-worthy brunch with generous country portions. [caption id="attachment_801901" align="alignnone" width="1920"] Public Art Walk, Destination NSW[/caption] GOULBURN Is it an Aussie road trip if it doesn't include at least one Big Thing? Goulburn's Big Merino (Rambo to his mates) celebrates the great Australian wool industry. If you're a dyed-in-the-wool art lover, take a free tour of Goulburn Regional Art Gallery, which showcases some of the best regional contemporary and emerging artists, then wander the Public Art Walk from there to the Information Centre. Afterwards, join the locals at the Goulburn Workers Club for a Canadian Club and Dry and a game of pool. Recover the next morning at Grit Cafe with an espresso and get your granola on. Or, grab a homemade bagel, artisanal sausage roll or brekkie burrito to see you through to Sydney. For more road trip inspiration, check out these guides from Canadian Club and Empty Esky. Top image: Monte Cristo Homestead, Destination NSW
Beloved inner west brewery Hawke's Brewing Co's newly built 2100-square-metre Marrickville brewery is set to play home to a brand new venue paying homage to 1980s pubs and the beer's namesake. The brewery has announced its flagship venue, The Bob Hawke Beer and Leisure Centre, will open on Thursday, March 31, boasting a retro fit-out, a bistro and the full range of Hawke's beers. The 300-seat venue comes on the cusp of Hawke's five-year anniversary. Inside you'll find a pub or community centre style restaurant and bar, decked out with wood panelling inspired by Old Parliament House. As you walk through the venue, you'll find walls lined with steel brewing tanks, a patio area, and a pool room, filled with Bob Hawke memorabilia. Food-wise, patrons can enjoy The Lucky Prawn, an 80's Chinese-Australian bistro that the Hawke's team has created with help from Nic Wong (Cho Cho San, Bodega). The food is nostalgic, just like the rest of the venue. There's prawn toast, san cho bao, honey king prawn, sizzling beef and the mother of all nostalgic creations, deep-fried Viennetta. While a Hawke's brew is obviously the recommended beverage of choice at The Lucky Prawn, you can also order a $14 bottle of Crown Larger for special occasions. [caption id="attachment_848331" align="alignnone" width="1920"] Nikki To[/caption] "While we named the venue in his honour, we were mindful of being sycophantic and simply plastering imagery of Hawkie all over the place," Hawke's co-Founder Nathan Lennon says. "I think we've achieved a balance that pays tribute to Bob in the Pool Room, while delivering an authentic Australian experience throughout the rest of the space." While the venue is drenched in nostalgia, Lennon and fellow owner David Gibson wanted to ensure it was also sustainable and future-focused. The brewery is run with the help of a 100-kilowatt rooftop solar farm, and houses several eco-innovations alongside the venue. The building's carbon capture system which was developed with UTS Tech uses carbon-dioxide from the beer's fermentation to help grow plants and vegetables to be used in the venue. [caption id="attachment_848327" align="alignnone" width="1920"] The James Adams[/caption] The Bob Hawke Beer and Leisure Centre is located at 8–12 Sydney Street, Marrickville. It is set to open on Thursday, March 31 and will be open midday–11pm Wednesdays, midday–midnight Thursday–Saturday and midday–10pm Sundays. Images: Nikki To and The James Adams
Melbourne-born furniture label Jardan now has a new space in which to showcase its covetable designs, this week opening the doors to its stunning Sydney flagship store on Paddington's Oxford Street. IF Architecture — the Melbourne firm responsible for the likes of wine bar Marion, Cutler & Co's recent makeover and Jardan's Melbourne and Brisbane stores — has transformed the two-storey art deco building once home to Ariel Booksellers into a seriously good-looking showroom, where colour reigns supreme. Reflecting Jardan's own 30-year connection with Australian home life, the interiors of the new store pay homage to the country's most influential art and design families, inspired by their iconic interpretations of Sydney's ever-changing colour palette. To that end, expect tones that speak to the vivid blues of Brett Whiteley's Sydney Harbour painting, the oranges, blues and greens synonymous with Louise Olsen and Stephen Ormandy's Dinosaur Designs, and the bold colours favoured by celebrated interior designer Marion Hall Best. The store — which is their first in Sydney — will leave design buffs with their jaw on the floor. Even if you're not in the market for some expensive new designer furniture, if you're in Sydney, it's well worth dropping in for a peek. Jardan's new Sydney flagship store is located at 42 Oxford Street, Paddington. For more info, visit jardan.com.au.
If your only wish for brunch is simple, nutritious food made from the freshest local produce, then Fable Coffee is the spot for you. Owners Phil Ocampo and Jessica Shaw used to sling Mexican street food at various Sydney markets, and got to know the local grocers working alongside them — they still rely on these relationships, and fresh, quality, seasonal produce is their highest priority. Simplicity is the mantra here, from the industrial-chic decor to the single-origin coffee. The passion for fresh local food is so strong at Fable that you can even purchase market produce from there, alongside its staple range of homemade goods — think chai, peanut butter and muesli. Image: Trent Van der Jagt.
Whether you tuned in the 90s and early 00s as it aired — staying up late in Australia to catch it on free-to-air TV on a weeknight, or taping it to view afterwards — or binged it via DVDs or streaming later, Buffy the Vampire Slayer has never been a television series that audiences watch casually. Jane Schoenbrun and Brigette Lundy-Paine, writer/director of A24 hit I Saw the TV Glow and one of its stars, have both OG fandom and more-recent obsessions covered. Schoenbrun calls the show their "first love", they explain to Concrete Playground. Lundy-Paine only started viewing it for I Saw the TV Glow but misses it now when they're not watching it, they also tell us. Schoenbrun, Lundy-Paine and audiences everywhere have Buffy to thank for a movie that's cast its own glow since its Sundance Film Festival premiere — and across stops at the Berlin International Film Festival, SXSW in Austin, Sydney Film Festival and Melbourne International Film Festival since, too, before reaching Australian theatres in general release. Earning its praise as an instant trans cinema cult classic, the pair's collaboration doesn't just take inspiration from Schoenbrun's affection for a pop-culture phenomenon about a high schooler that the undead feared. One of the standout films of 2024, and from A24's adored roster of flicks overall, it's the source of all-consuming passions itself, while also contemplating that very topic. With their 2021 debut feature We're All Going to the World's Fair, Schoenbrun has already pondered how screen fixations can help mediate identities. Two movies in, they have a niche — and a pivotal one. Their films examine the space where fandom and pop-culture obsessions overlap with alienation, dissociation and dysphoria. They explore how they filtering who you are through an internet or TV fixation can assist in processing those emotions and states, and aid in unlocking something that you mightn't have had the tools to recognise otherwise. Two features in, Schoenbrun has earned their own adjective as well: their films are positively Schoenbrunian. It isn't just the common themes that mark We're All Going to the World's Fair and I Saw the TV Glow as works from the same inimitable voice, but also a shared dreamlike aesthetic, plus a knack for poetic and revealing dialogue. Watching their movies feels like plunging in, being enveloped and experiencing everything that their characters do; it's no wonder that the filmmaker's fare, especially their sophomore picture, is so easy to obsess over. Where We're All Going to the World's Fair follows a teenage girl making connections through an online horror challenge, with the feature digging into dysphoria along the way, I Saw the TV Glow does indeed have a television show at the centre of its plot. In the 90s, teens Owen (Dungeons & Dragons: Honour Among Thieves' Justice Smith, plus Let the Right One In's Ian Foreman as the younger version) and Maddy (Lundy-Paine, Atypical) strike up a friendship over the Buffy-meets-Goosebumps style supernatural series The Pink Opaque. The show is their escape from their adolescent reality, and a coping mechanism — one that Owen, especially, didn't know that he needed. It's also where these new friends feel like they finally see their real selves. Then Maddy disappears suddenly, The Pink Opaque is cancelled just as abruptly, and the 00s come calling. I Saw the TV Glow jumps further forward, too, as it uncovers the different ways that Maddy and Owen embrace — or don't — their authentic identities. The parallels with the egg-crack moment, the term used when someone realises that they're trans, are as bright and clear as the light emitted from every screen that bathes the movie's main duo in The Pink Opaque. Schoenbrun is always about showing rather than telling, though, and about viewers stepping into Maddy and Owen's emotional state with them rather than simply being informed about it. Again basking in 90s nostalgia on the big screen after 2020's Bill & Ted Face the Music — where they played Billie Logan, daughter to Keanu Reeves' (John Wick: Chapter 4) Ted — Lundy-Paine was drawn to the raw feeling evident in Schoenbrun's script, as well as their shared perspectives and experiences. We spoke with both Lundy-Paine and Schoenbrun about TV devotions, inspirations, Schoenbrun thematic and stylistic go-tos, telling personal tales, 90s nostalgia and more. On Falling in Love with Buffy the Vampire Slayer — Then and Now Jane: "I was just obsessed. I had other TV obsessions, but Buffy was the biggest one that I'll ever have. When I think back a bit on it, and I mean this quite literally, I think of Buffy as my first love. The amount that I put into that show emotionally, the amount of headspace it took up, each week waiting for the next episode to air, reading about it online — it was just a total obsession. And in many ways, I think — and the film is exploring this as well — it was a coping mechanism, a way for me to express myself in fiction, in a place that felt safe and outside of the quote-unquote real world. How did I fall in love with Buffy? I was flipping channels on the TV in my parents' bedroom, where I would be relegated when they were watching something on the main TV. And I remember coming across a rerun of the episode from the first season called 'The Pack'. It was the summer after the first season aired, and I was like 'I'm watching this show again next week' — and it just developed from there. I'd say by the second season, it was my favourite TV show. And by the third season, I was spending a lot of time with Buffy. I had tapes. I made my own tapes. I had the episode guides. I posted online about it. It really became almost this like space for me to hide and I just loved it so much. I remember when it was ending, thinking 'oh my god, this is like losing family'." Brigette: "I watched up to season five of Buffy before we started [I Saw the TV Glow], and I just totally fell in love with it. I miss it when I'm not watching it now. I fell in love with the community, and the idea that magic was real — that there was no question. I feel like I watched it kind of as Maddy, but I'll always love it as Brigette with the respect of it isn't mine completely, because I didn't watch it when I was young, but I really love it." On How Schoenbrun Obsessing Over Buffy — and Also Admiring Twin Peaks — Inspired I Saw the TV Glow Jane: "I think the experience that the film is trying to talk about — and it's doing this not only in a plot about 90s television, but through the aesthetics and tropes of 90s genre television — is a youth spent in front of the screen. I was a young queer kid growing up in the American suburbs, and the main thing that got me through that, or the main source of romance and mystery and joy in my life in this place where I think I not only couldn't be myself but I wasn't really being given any information to help me understand myself, the main place that I went looking for myself was in the screen. This is ultimately why I think like a show like Buffy or Twin Peaks became an obsession, because it was somewhere where I could catch a flicker of something more mysterious, something more magical. And I do think in many ways this was a queer experience. The movie, I think, talks about this very specific kind of parasocial relationship with fiction about fandom, about obsession, about searching for truth in fiction before you're ready to look inside yourself. And it's doing this using these genre cues that I learned from rewatching my Buffy tapes obsessively. It's a movie about people who love a show like that, but it's also very much a movie that's set in the heightened world of a Buffy or a Twin Peaks or an X-Files." On Lundy-Paine's Equivalent of Buffy or The Pink Opaque Brigette: "I think the first show that I really loved the way that Maddy and Owen loved The Pink Opaque was The OC. I watched it after it had been released, so I would record reruns from the soap channel. But I was really obsessed with the characters, and I felt like they were my friends — and it was the most devastating thing I've experienced when Marissa died in season three." On Making Films About Mediating Our Lives, and Coping with Alienation and Dysphoria, Through Fandom and Pop-Culture Fixations Jane: "I remember feeling like I've always been an artist, and I've always told myself stories and written screenplays or fan fiction, or anything that I could to be creative. It's a need that I have. But I had so much shame for the longest time about what kind of art I could make that would be authentic and not just a rip off of the things that I love, that would speak from a perspective in a place that that was deeply personal, and that could only come from who I was and where I came from. And a lot of that shame was repression. But there was this moment that was sort of in tandem with my coming out and my artistic awakening, where I kind of realised this cheat — which was they say 'write what you know', but what I know is watching. What I know is staring at a screen. And I think I'm enough of a self-reflective person to understand that that experience isn't all good or all bad, but that it is rife with mystery and ambiance and loneliness, and connection and love and sadness. And it can feel scary and alienating. It has political resonance, and it has personal resonance — and it's sort of the thing that we all do that we don't talk about in our art. It mediates our lives so deeply at this point, that in exploring that and not just exploring that from a political perspective but from my own life staring at a screen, and the way that it intertwined with who I was and what I was hiding from in myself, this just became, like I said, a cheat code of sorts to finally unlock my personal voice as an artist. I find the screen as a symbol just very compelling, both thematically and aesthetically, and it's something that I can return to over and over again without repeating myself so far. I find myself just wanting to dig deeper and deeper into that abyss." On Starring in a Movie That Is So Personal and Specific to Its Filmmaker Brigette: "One of the things about Jane that is so exciting is that they're able to communicate these really, really deep experiences and personal feelings in a way that other people feel a part of. I think that was one of the reasons the film was able to get made, was that in meeting after meeting they told their story, and they talked about what it meant for an egg to crack, which is the term of a trans person realising that they're trans. But also for myself, I had been experiencing the same things or very similar things to Jane, and that was one of the things we connected on when we first spoke — and I think one of the reasons that we trusted each other to make this movie together and to be fully vulnerable for it." On How Lundy-Paine Came to Be Involved in I Saw the TV Glow Brigette: "My good friend for a long time, Sam Intill, they sent me the script because they'd met Jane after seeing Jane's first film at Sundance, and they'd come on to produce this second one in its very, very early stages. And Sam connected Jane and I, and Jane and I just got along really, really well right away. We have a very similar sense of humour and experience, our perspectives of what making movies and what Hollywood meant to us — and the rules that we both wanted to break, and the experiences that we both wanted to help convey to the audience. So that was, I think, maybe two years before production. And then it was pretty locked in for Jane and I that we wanted to work together, and it was just a long process of Jane convincing A24 that that I would play the part. I had done a TV show, but I'm not a huge name and I think that was tricky for A24 to believe. But Jane was like 'no, it it has to be us. It has to be me and Brige'. And I was very grateful for that. And I had the script for a long time because of it, so I was able to like get really deep and comfortable with the words." On Lundy-Paine's First Reaction to the Script, What Resonated the Most and What They Saw That They Could Bring to the Film Brigette: "I think I was just so moved by how real it felt — and how it almost felt like mythology. The emotions of it were coming from such a raw place. And I really liked the way that Jane plays with the sort of shallow, cliched teen dialogue and then moves into a realm of almost subconscious communication to explore the actual meanings of what they're talking about. I think I felt the colours of the film really strongly. I felt this blue and pink neon electric sensation, and I also just knew that it was a character that I really wanted to have in my body, and I was really anxious to get to know her. I think I knew that arc very well. If I was different than Maddy myself — but I know, and I really wanted to free myself in the same ways that she did. So I was able to pull from my own angst and fear and love, and obsession with the stories and the worlds that that Maddy finds safety in." On Schoenbrun's Dreamy, Hazy, Like-You're-in-the-Characters'-Heads Aesthetic Jane: "Film as a dream was something that I was really interested in from the earliest stages of thinking about a language as an artist, like the idea of the experience of sitting in a dark room and seeing this thing — the only thing you can see. I had and still have these recurring dreams where I'll be watching something and then all of a sudden I will be inside of it. There were just these repetitions of interest in the process of travelling from watching something to being synonymous with the screen. There's a shot in We're All Going to the World's Fair where we slowly zoom in on a screen until the screen is no longer a screen, and it's our screen. This feels very trance-like to me. This feels like the process of falling asleep or dreaming. It feels very oneiric, and it's just fascinating to me because I think film is a medium so interested in time and space. Another big influence is the experimental film Wavelength, where we spend the entire movie just slowly moving across the room towards a painting. I find it like such a simple reminder of the power of the medium and perspective in the way that the third eye of the screen can help us understand space in a way that our own eyes can't. I just like it. There's a deepness and a mystery to it that I find myself continuing to chip away at. I could speculate about why I'm drawn to it. I read a really great book of queer trans film theory called Shimmering Images — Eliza Steinbock, I believe. I read this after I had made We're All Going to the World's Fair and it was an entire book of theory written about trans people's aesthetic connection to the shimmer, to liminality, to a space that is very transitory in its essence, and that we find some comfort in that space of transitory self because we relate to it. But I think there are so many resonances and so many reasons why I'm fascinated by haze, and by the screen and liminality and lo-fi aesthetics." Brigette: "I had so much fun with it because it's rare to work with a director who has a vision of such specific pacing and tone. And so we would do these scenes with, as I mentioned, sometimes the dialogue almost feels like canned or cliched, but because of Jane's style and the way that they're playing with that type of dialogue, it's about the pace and the rhythm. So we would have rehearsed a lot, but even when we got to set, we would do the scenes too fast. And so Jane had to continuously slow us down and remind us that it was almost as if we were existing in separate universes from each other, Owen and I. And so Jane would say 'this time, do it and don't even expect him to respond'. And I think that brings out some of that eerie, dreamlike quality." On Lundy-Paine's 90s Nostalgia Bent with Bill & Ted and Now I Saw the TV Glow Brigette: "I think it's something that interests me because it's something that activates a real personal and vital process for the directors or for the people who are making these films. I was born in 94, so I didn't experience too much of the 90s, but I obviously understand what it feels like to be nostalgic for, say, 2010. And so I think working on projects that are set in the 90s, it means a lot because it's the childhood, because it's a real place for the people creating these worlds. And also it just feels iconic. I remember I watched like Fight Club and Donnie Darko while we were filming, just randomly, and both times I was like 'I want to make a movie set in the 90s'. And realised 'ohh we are making a movie set in the 90s right now'." I Saw the TV Glow is screening in select Australian cinemas now, after opening on Thursday, August 29, 2024. Images: A24.
