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.
Live your Lion King dreams at Symbio Wildlife Park. While the park's 16 acres of manicured gardens on the Illawarra escarpment are home to fearsome species like cheetahs, alligators and snakes, you'll usually be set up with a fluffier (and friendlier) playdate on a behind-the-scenes experience (starting from $125 per person). Meet rare and secretive Nepalese red pandas as they descend from the trees to pluck snacks from your hands and enjoy a belly rub. Or, learn about the complicated social lives of meerkats as the inquisitive mob scurries around your feet, ready for a feed. Fulfil a childhood dream by dedicating a full day to the animal kingdom and interacting with numerous zoo inhabitants while shadowing a zookeeper. You'll get to prepare food, clean habitats, provide animal enrichment toys and learn about each unique species as you explore the park. Images: Destination NSW
Bloodhound Espresso, based on the corner of Palmer and Liverpool Streets, is precisely the type of reliable cafe you'd like to call your local. It's set a little away from the hustle and bustle of Darlo's busier thoroughfares, while still being easily accessible. It has a decent amount of both indoor and outdoor seating — particularly useful if you've got your doggo in tow — plus a window set up beside the coffee machine for takeaway brews. The brekkie menu, available until 11.30am and all day on weekends, is simple but covers all bases. The Turkish Breakfast is a highlight — hummus, dukkah, falafel, salad, boiled egg and turkish toast. And the brekkie burger is a winner, particularly if load it up with an extra hash brown and avo. Images: Terence-Kent Ow
The Eastern Suburbs' main watering hole is turning over a new leaf, reopening of their new beer garden and ground-floor venue, The Garden Bar. Design-wise, The Garden Bar in good hands, with creative team Alexander & Co at the helm (they're responsible for well-dressed Sydney spots like Surly's, The Morrison, Daniel San, The Print Room and Watsons Bay Beach Club). The crew have created a lush, fairy-lit outdoor space of the Sheaf's beer garden, with creeping vines, wooden tables and plenty of flora. Plus, the greenery and pastel decor extend to the ground-floor bar. Sounds like prime cocktail habitat to us. So what kind of garden-friendly nosh can you expect to be nibblin' on here? Chef Matt Weller, formerly of Swine and Co. and Ananas, has created a whole new bistro menu full of pub classics and contemporary bites. If you're looking to nibble, there's some oceanic share plates like the seafood board with blue swimmer crab, potted prawns, oysters and grilled half-shell scallops ($37) or the sashimi plate with salmon, kingfish and tuna ($25). But we're keen to try the Cracker Jack chicken lollipops with spicy green tomato relish ($14) — the last meat lollipops we had at Darlinghurst's The Powder Keg were out of control. If you're after something a little more hefty, there are mains like the prawn pizza with chilli, spinach, garlic zucchini and parmesan ($21) or the Sheaf wagyu burger ($19). Plus, there's going to be lunch and daily specials to shake things up. But this is a garden bar isn't it? Where are those beverages at? Alongside the Sheaf's new signature cocktail, The Garden Sling (St Germain, Limoncello and seasonal fruits), the team have created some pretty quirky cocktails for the new venue, like popcorn-infused tequila with lime caramel and grapefruit, or a soda and Earl Grey tea cocktail spiked with spiced rum and pomegranate (all $17).
Before lockdowns became a regular part of our lives, you probably hadn't been giving your library membership much of a workout. Obviously, over the past 18 months, there's been a few compelling reasons to start using it again. Not only do the City of Sydney libraries, City of Melbourne libraries and Brisbane City Council libraries have thousands of ebooks available to download and read for free, but some libraries around Australia also provide access to free online streaming service Kanopy. Specialising in indie and arthouse films and documentaries, the service launched in Australia back in 2018, offering more than 30,000 films and documentaries — which are all available to watch without paying a cent. Aussie public libraries have been jumping on board since, including the aforementioned City of Sydney and City of Melbourne libraries, plus Randwick City Library and Sutherland Shire Council's eight libraries in Sydney, as well as the five located in the Yarra City Council and in the Maribyrnong City Council area in Melbourne, and the State Library of Queensland in Brisbane. If you're a student, it's worth checking if you can access the service through your uni's library. The service was launched in Perth in 2008, before moving to San Francisco and providing its online archive to students at hundreds of universities. Lucky for us, it decided to expand — giving access to public library members across the United States and Australia. Like the plethora of other streaming platforms vying for your eyeballs — such as of Netflix, Stan, Amazon Prime Video, Disney+, Apple TV+ and DocPlay, just to name a few — Kanopy's movie selection is updated regularly; however you'll always find something to watch. Titles can vary per library, too, but you just might find recent standouts Shirley and Proxima, the Daniel Radcliffe-starring Guns Akimbo, documentaries The Leadership and Memory: The Origins of Alien, Bong Joon-ho's fantastic Memories of Murder, and classics such as Talking Heads concert flick Stop Making Sense and basketball doco Hoop Dreams on offer. Other standouts that might be gracing your catalogue include the Joaquin Phoenix-starring You Were Never Really Here, recent Japanese creature feature Shin Godzilla, and international cinema highlights such as Foxtrot, BPM (Beats Per Minute), The Square, High Life and Mustang. The Studio Ghibli co-directed The Red Turtle is also in Kanopy's range, as is the Florence Pugh-starring Lady Macbeth, cult comedy Heathers, vampire drama Only Lovers Left Alive and Aussie romance Ali's Wedding. Nicolas Cage growling his way through Mandy, the time travel trickery of Donnie Darko, the inimitable A Girl Walks Home Alone at Night, Colossal's take on monsters, and Taika Waititi's Hunt for the Wilderpeople and Boy are all included too, and yes, the list still goes on. If you're not already a member of your local library, now might be a good time to sign up. For more information about Kanopy, or to check if your local library is a member, visit the streaming platform's website. This article was originally published in 2018. It has been updated to reflect new information.
Presented in a year like no other in modern history, the 2020 Emmy Awards were always going to look and feel vastly different to previous ceremonies. Unlike last year, the proceedings had a host, with Jimmy Kimmel doing the honours. But, due to the COVID-19 pandemic, there was no red carpet — and no packed theatre full of Hollywood's most famous TV faces either. Prior to the chaos of 2020, you'd probably never wondered what an awards ceremony without all the celebrities and hoopla would look like. Now, however, you definitely have the answer. Kimmel rightly pointed out that these things are frivolous and unnecessary whether there's a virus spreading around the globe or not, and this year's virtual event was never going to dispel that reality. Still, amidst some understandable awkwardness — including countless gags about social distancing and an overextended opening joke that spliced old audience footage with Kimmel's monologue to make it look like he was talking to a full room — the awards gave a heap of talented folks shiny trophies for their hard work. Some, like the big winners from Schitt's Creek crew, beamed in from their own socially distanced party in Canada. Others, such as Watchmen's Regina King and I Know This Much Is True's Mark Ruffalo, streamed in from their homes. A select few stars did join Kimmel in-person for skits and to act as presenters, including Jennifer Aniston, Jason Bateman, Zendaya, Laverne Cox, Sterling K Brown and Barry's Anthony Carrigan. But these events are always about the people receiving the prizes — and the great shows that, if you haven't watched them already, you should immediately add to your must-watch list. https://www.youtube.com/watch?v=W0uWS6CnC2o SCHITT'S CREEK What it's about: The idea behind Schitt's Creek is immensely straightforward, and also incredibly obvious: if one of those obscenely wealthy families who monopolise all those trashy reality TV shows was suddenly forced to live without their money, like the rest of us, how would they cope? As envisaged by father-son duo — and the program's stars — Eugene and Daniel Levy, that's the scenario the Rose crew finds itself in, including moving to the titular town that it happens to own as a last resort. Yes, as the name gives away, they're in a sticky situation. The adjustment process isn't easy, but it is very, very funny. And, although plenty of other credits on her resume have made this plain (such as Best in Show, A Mighty Wind, Waiting for Guffman and For Your Consideration, all also with Eugene Levy), the great Catherine O'Hara is an absolute comedy powerhouse as the Rose family matriarch. Won: Outstanding Comedy Series, Lead Actress in a Comedy Series (Catherine O'Hara), Lead Actor in a Comedy Series (Eugene Levy), Outstanding Supporting Actor in a Comedy Series (Daniel Levy), Outstanding Supporting Actress in a Comedy Series (Annie Murphy), Outstanding Writing for a Comedy Series (Daniel Levy), Outstanding Directing for a Comedy Series (Andrew Cividino and Daniel Levy). Where to watch it: Netflix and iTunes. https://www.youtube.com/watch?v=zymgtV99Rko WATCHMEN What it's about: If the current spate of seemingly non-stop superhero movies and TV shows has taught us anything, it's that any story can hit the screen multiple times. Viewers have watched oh-so-many versions of Batman, multiple Hulks and many a Spider-Man, after all, so 2019's version of Watchmen — following the 2009 film of the same name — really didn't come as a surprise. The series takes place 34 years after the events of Alan Moore and Dave Gibbons-penned comic books of the same name, so it's a sequel, in a way. This is a particularly textured, timely and powerful take on the vigilante tale, however, even though that description has always applied to the underlying material. Starring Oscar-winner Regina King alongside Jeremy Irons, Hong Chau, Don Johnson, Tim Blake Nelson, Yahya Abdul-Mateen II, Jean Smart and Louis Gossett Jr, and created by The Leftovers' Damon Lindelof, this iteration of Watchmen once again explores an alternative history — with a particular (and often chilling) focus on the impact of racist violence and racial injustice. Won: Outstanding Limited Series, Outstanding Lead Actress in a Limited Series or Movie (Regina King), Outstanding Supporting Actor in a Limited Series or Movie (Yahya Abdul-Mateen II), Outstanding Writing for a Limited Series, Movie or Dramatic Special (Damon Lindelof and Cord Jefferson). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=OzYxJV_rmE8 SUCCESSION What it's about: For more than a decade, screenwriter Jesse Armstrong helped give the world one of the best British sitcoms of the 21st century, aka Peep Show. As fans will know, there's a sharp, dark edge to the hit comedy about two flatmates — and while a US drama about a wealthy family of constantly bickering media moguls mightn't necessarily seem like the obvious next step, Succession definitely possesses the same bite. The premise: with patriarch Logan Roy (Brian Cox) suffering from health issues, his children Siobhan (Aussie actor Sarah Snook), Roman (Kieran Culkin), Kendall (Jeremy Strong) and Connor (Alan Ruck) all fight to step into his shoes. Brought to the screen with stellar writing, the resulting series is as compelling and clever as it is entertaining. Across its two seasons to date (with a third set to come), it's also filled with such ferocious performances from its top-notch cast — and such exceptionally witty dialogue for them to snipe and spit at each other — that you'll wish every season ran for twice as long. Won: Outstanding Drama Series, Outstanding Lead Actor in a Drama Series (Jeremy Strong), Outstanding Writing for a Drama Series (Jesse Armstrong), Outstanding Directing for a Drama Series (Andrij Parekh). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=JjcfL8fbs7k EUPHORIA What it's about: It'd be easy to think that if you've seen one TV show about angsty teenagers and their antics, you've seen them all. But every now and then — more frequently than you might think, in fact — a new program pops up that demonstrates why that thinking will never ever prove true. Premiering in 2019 and instantly announcing itself as a must-watch addition to its genre, Euphoria is the latest, with Zendaya leading the series as recovering teen drug addict Rue Bennett. The show kicks off when Rue returns from rehab and immediately endeavours to settle back into the lifestyle she prefers. Expect illicit substances, boozy parties, sex, tested friendships, the ups and downs of love, and the quest to feel comfortable in one's shoes, because they all follow. A series that isn't just evocatively shot, but matches its style to the raw emotions on offer, Euphoria serves up one helluva ride. Won: Outstanding Lead Actress in a Drama Series (Zendaya). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=U4KBGydqlVk I KNOW THIS MUCH IS TRUE What it's about: There's no such thing as too much Mark Ruffalo, so six-part HBO series I Know This Much Is True obliges by casting the Avengers and Dark Waters star as identical twin brothers. In an adaptation of Wally Lamb's book of the same name, Ruffalo plays Dominick and Thomas Birdsey — with the latter struggling with paranoid schizophrenia, and the former's life often defined by his sibling. Set in the fictional small town of Three Rivers, Connecticut, and hopping between the present and the 90s, this is a thematically sprawling yet emotionally intimate drama that tracks the twins' parallel paths, while also spinning a story of betrayal, sacrifice and forgiveness. Although the cast also spans Melissa Leo, Kathryn Hahn, Archie Panjabi, Imogen Poots, Rob Huebel and Aisling Franciosi, Ruffalo unsurprisingly turns in two exceptional performances that steal the show. Prepare to be in particularly, unshakeably grim territory, though, with Blue Valentine filmmaker Derek Cianfrance directing every episode. Won: Outstanding Lead Actor in a Limited Series or Movie (Mark Ruffalo). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=-zVhRId0BTw UNORTHODOX What it's about: Deborah Feldman's best-selling 2012 autobiography Unorthodox: The Scandalous Rejection of My Hasidic Roots has made the leap to Netflix as a four-part mini-series. And, as the book's title makes plain, both explore her decision to leave her ultra-Orthodox Jewish community in Williamsburg, New York, flee her arranged marriage and everyone she's ever known, and escape to Berlin to start a brand new life. Names and details have been changed, as tends to be the case with dramas based on real-life stories; however, Unorthodox still follows the same overall path. In a tense but instantly commanding opening to the show's first episode, 19-year-old Esther 'Esty' Shapiro (Shira Haas) slips out of the apartment she shares with her husband Yanky (Amit Rahav), picks up a passport from her piano teacher and nervously heads to the airport. The end result proves a unique and intriguing coming-of-age tale, a thoughtful thriller, and an eye-opening but always careful and respectful look at a culture that's rarely depicted on-screen in such depth. Israeli actress Haas (The Zookeeper's Wife, Foxtrot, Mary Magdalene) turns in a nuanced, weighty and gripping performance as Esty, too — which is pivotal in making Unorthodox so compelling to watch. Won: Outstanding Directing for a Limited Series, Movie or Dramatic Special (Maria Schrader). Where to watch it: Netflix. Further reading: our full review. https://www.youtube.com/watch?v=CMBhxOW5fYo MRS AMERICA What it's about: From Aussie music biopic I Am Woman to US documentary 9to5: The Story of a Movement, the quest to have equal rights for women enshrined in American law has received ample on-screen attention of late. And that should firmly be the case, especially given that the proposed amendment to the US Constitution on that very matter — the Equal Rights Amendment — has yet to be adopted across the entire country. Joining the list of content on the topic, Mrs America explores the subject on the small screen, focusing on the heated fight in the 1970s across a blisteringly potent nine-episode series. As well as a fierce look at a still very relevant chapter of recent history, the series serves up the ever-impressive Cate Blanchett as real-life high-profile conservative activist Phyllis Schlafly, fellow Australian Rose Byrne as famed feminist journalist Gloria Steinem, and a lineup of talent that also includes Elizabeth Banks, Uzo Aduba, Sarah Paulson, John Slattery, Margo Martindale, Tracey Ullman and Melanie Lynskey. Won: Outstanding Supporting Actress in a Limited Series or Movie (Uzo Aduba). Where to watch it: Binge, Foxtel Now, iTunes and Google Play. https://www.youtube.com/watch?v=5hAXVqrljbs OZARK What it's about: In 2019, when the final batch of episodes from Arrested Development's fifth season dropped, no one really cared. That might sound harsh; however, it's a case of sad but true. Don't worry — star Jason Bateman certainly has enough to keep him busy elsewhere, particularly in the dramatic realm. As well as playing a part both in front of and behind the lens on this year's Stephen King adaptation The Outsider, since 2017 he's been leading, executive producing and sometimes even directing Netflix crime drama Ozark. Following a financial advisor who moves his family from Chicago to a quiet Missouri town after a money-laundering scheme goes wrong in a big way, this is one of Netflix's quiet achievers. That it also features the always-exceptional Laura Linney, as well as now two-time Outstanding Supporting Actress in a Drama Series winner Julia Garner — a standout on the big screen in The Assistant, too — also helps. Won: Outstanding Supporting Actress in a Drama Series (Julia Garner). Where to watch it: Netflix. https://www.youtube.com/watch?v=4dQI67eYz_0 MORNING WARS What it's about: Called The Morning Show overseas and Morning Wars in Australia, this star-studded series takes a straight-from-the-headlines approach. Immersed within one of America's popular morning television shows, it follows the fallout after one of its hosts is fired after reports of sexual misconduct (something that did indeed happen on the US version of Today a couple of years back). Steve Carell plays the anchor newly joining the unemployment line, Jennifer Aniston returns to TV for her first regular role post-Friends as his shell-shocked but fiercely ambitious co-host and Reese Witherspoon is the opinionated upstart who starts making a splash — with the latter happening after a video of her passionate tirade at an uninformed protestor goes viral. Billy Crudup, Mark Duplass and Gugu Mbatha-Raw also feature (we said this was star-studded) in a series that doesn't always hit as hard as it wants to, but remains highly involving. Won: Outstanding Supporting Actor in a Drama Series (Billy Crudup). Where to watch it: Apple TV+. Images: Watchmen via Mark Hill/HBO, Succession via Graeme Hunter/HBO. I Know This Much Is True via Atsushi Nishijima/HBO, Ozark via Jessica Miglio/Netflix.
A few years ago an idiotic politician declared that Sydney simply didn't want small bars like Melbourne's, where people could quietly read a book while drinking a glass of chardonnay in a black skivvy. That comment has been proven false again and again, and now Sydney is graced by establishments like Love, Tilly Devine, the perfect small bar to sit and read a book over some chardonnay. In a skivvy, if you want. The people at Love, Tilly Devine are excited. They're excited about their wine, about the future of their neighbourhood, and about their food. The name of the bar is an ode to East Sydney's past and a tribute to an obscure 1930s brothel madam who performed acts of local charity. The bar is tucked away in a Darlinghurst alley, with open windows and exposed brick walls and cosy to the point that I spotted one waiter go outside into the street and refill somebody's glass through the window. Don't come to Love, Tilly Devine if you want to get drunk. There are other places to do that. This is a place you can bring a date and drink quality, not quantity. This is a wine lover's bar for people who are willing and able to spend their money on it. The staff are happy to help out if you feel a bit befuddled by the seemingly limitless selection (the wine list currently sits at just under 300 varieties), and with the perfect seasonal food to go with it. Prices come per bottle, so it's tricky if you just want a glass; the cheapest glass of wine from the Riesling list, for example, is $16. But while it might be on the dear side, Love, Tilly Devine is a welcome addition to Sydney's thriving small bar scene. Image: Nikki To. Updated Tuesday, March 21 2023. Appears in: The Best Bars in Sydney
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this months latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from October's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW THE GREEN KNIGHT Mesmerising and magnetic from its first moments till its last, The Green Knight is a moving musing on destiny, pride, virtue, choice, myths and sacrifice, all wrapped in a sublime spectacle. The medieval fantasy hums with haunting beauty and potency as it tells of Arthurian figure Gawain (Dev Patel, The Personal History of David Copperfield), nephew to the King (Sean Harris, Mission: Impossible — Fallout), and the only man who accepts a bold challenge when the eponymous figure (Ralph Ineson, Gunpowder Milkshake) — a mystical part-tree, part-knight — demands a duel one Christmas. The catch: whichever blows the eager-to-prove-himself Gawain inflicts on this towering interloper, he'll receive back in a year's time. So, when this initial altercation ends in a beheading (and with the Green Knight scooping up his noggin and riding off), Gawain faces a grim future. Twelve months later, that bargain inspires a quest, which The Green Knight treats as both a nightmare and a dream. There's an ethereal look and feel to every inch of this stunning movie, where the greenery is verdant, and the bloodshed and battlefield of skeletons just as prominent. Playing a man yearning for glory yet faced with life's stark realities, Patel is in career-best form — and the latter can also be said of writer/director/editor David Lowery. Every film he makes has proven a gem, from Ain't The Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and The Gun; however, The Green Knight is a startling and riveting feast of a feature that's as as contemplative as it is visionary. The Green Knight is available to stream via Amazon Prime Video. THE VELVET UNDERGROUND Excellent filmmakers helming exceptional documentaries about music icons just might be 2021's best movie trend. It isn't new — see: Martin Scorsese's filmography as just one example — but any year that delivers both Edgar Wright's The Sparks Brothers and Todd Haynes' The Velvet Underground is a great year indeed. Both docos are made by clear fans of the bands they celebrate. Both films find creative and engaging ways to approach a tried-and-tested on-screen formula, too. And, both movies will make fans out of newcomers, all while delighting existing devotees. They each have killer soundtracks as well, obviously. They're each tailored to suit their subjects, rather than leaning on the standard music bio-doc template. As a result, they each prove the kind of rich, in-depth and electrifying features that only these two directors could've made. With The Velvet Underground and Haynes, none of this comes as a surprise. As well as the astonishing Carol and the just-as-devastating Dark Waters, he has experimental short Superstar: The Karen Carpenter Story, glam-rock portrait Velvet Goldmine and the Bob Dylan-focused I'm Not There on his resume, after all. Here, he makes two perceptive choices: splitting his screen Andy Warhol-style to show both archival materials and new interviews simultaneously, and avoiding the allure of giving the late, great Lou Reed all his attention. The result is an inventive, impassioned and wide-ranging doco that charts the band's story and impact; captures the time, place and attitudes that gave rise to them; and proves as dazzling as The Velvet Underground themselves. The Velvet Underground is available to stream via Apple TV+. SPREADSHEET When Katherine Parkinson starred in The IT Crowd 15 years ago, she played a woman trying to exude a cool, calm and collected air, but constantly finding her life — and her new job in IT — hindering that aim. In Spreadsheet, her new sitcom role, Parkinson's latest character isn't attempting the same feat. Instead, freshly divorced Melbourne-based lawyer and mother-of-two Lauren has has accepted that her existence is now messy; however, having a spreadsheet to keep track of her revamped love life is meant to help. Embracing being single, and all the opportunities for casual hookups that apps now bring, she isn't looking for a relationship. She even has her colleague Alex (Rowan Witt, Adore) helping to maintain her fast-growing database of sexual options. But this clearly wouldn't be a comedy if her new status quo turned out smoothly and stress-free. As this new Australian sitcom knows and keenly relies upon, there's a breeziness to Parkinson's comic performances that hits both humorous and relatable notes. Indeed, the British actor is the key reason that Spreadsheet's eight-episode first season is so incredibly easy to binge. Whether Lauren is being introduced in the throes of pleasure in the car park outside the Palais Theatre, is getting intimate in a snake dungeon or sports an eye patch after a run-in with a cuckoo clock, Parkinson is a comedic whirlwind. In a series that approaches its 'sex in the suburbs' setup with smarts and insights, too, she's also surrounded by an impressive local cast that includes Witt, Stephen Curry (June Again), Katrina Milosevic (Wentworth) and Zahra Newman (Long Story Short). The first season of Spreadsheet is available to stream via Paramount+. THE DONUT KING The documentary that comes with an obvious serving suggestion — avoiding pastry cravings while watching is impossible — The Donut King chronicles the life of Cambodian American Ted Ngoy. In the mid-70s, the soldier-turned-refugee fled the Khmer Rouge for a new start in the US. Then, after being enticed by the smell wafting out of a Californian doughnut shop, he found owning his own the path to success. After beginning with one venue, Ngoy grew his empire. In the process, he even helped cement pink-hued doughnut boxes as the industry standard — the pop culture standard, too. Inhabiting a constant cinnamon cloud might've been bliss, and it certainly was the impetus behind Ngoy's rags-to-riches story; however, filmmaker Alice Gu covers much more than pastry highs in this incisive and thoughtful portrait of the American Dream. Not even the best job is ever 100-percent filled with glaze and sprinkles, including when making desserts is your daily trade. For Ngoy, becoming a doughnut kingpin was the result of hard work — not just his own, but his whole family's — as well as savvy choices. His business also helped set a path for fellow Cambodians, as well as fostering a sense of community, by sparking a run of expat-owned doughnut shops in California. Gu captures all of this lovingly, with a celebratory tone, and with a warm appreciation for Ngoy's achievements both in general and as an immigrant entrepreneur. That said, she doesn't shy away from the twists and turns that've complicated his path, and this story, along the way. The Donut King is available to stream via Docplay. THE GUILTY It's the remake that was always going to eventuate; the remake that was announced before the original Danish film even reached Australian cinemas, in fact. A high-concept thriller set in a police call centre and solely conveying its dramas via telephone conversations, The Guilty was instantly destined to get the Hollywood treatment — not only because it's predicated upon a commanding concept, but because the first time around made for exceptional, Oscar-shortlisted, outstandingly tense and gripping viewing. Thankfully, Netflix's take on the tale lives up to its predecessor. It's as suspenseful and taut, as economical and evocative, and as superbly acted. Twenty years after Donnie Darko made him a star, Jake Gyllenhaal's resume isn't short on highlights; however, The Guilty easily sits among them. Gyllenhaal (Spider-Man: Far From Home) plays LAPD officer Joe Baylor, who's been demoted to taking 911 calls after an on-the-job incident that'll see him in court the next day. His evening at work will prove just as stressful, after a woman called Emily (Riley Keough, Zola) advises that she's been kidnapped by her ex (Peter Sarsgaard, Interrogation), with their kids left home alone. Joe springs into action, and tries to get his colleagues to do the same. But as the excellent series Calls also demonstrated, words can tell viewers the whole story while keeping on-screen characters twisting. Reteaming with Gyllenhaal after Southpaw, filmmaker Antoine Fuqua directs this intense affair with that truth firmly in mind. The Guilty is available to stream via Netflix. A GLITCH IN THE MATRIX When a certain Sydney-shot, Keanu Reeves-starring sci-fi/action film did big box-office business 22 years ago, it did more than just start a huge movie franchise. The Matrix and its sequels also gave proponents of the simulation hypothesis — the idea that this life we all call our own is merely an artificial simulation, but we don't know it — an enormously successful pop culture touchstone. Examining that notion, as well as its connection to the series that shares part of its title, A Glitch in the Matrix couldn't arrive at a timelier moment. The concept is about to get another blockbuster billboard, after all, with The Matrix Resurrections just months away from release. What truly interests this documentary, however, isn't the answer to that reality-versus-simulation question, but all the reasons that might inspire someone to think that nothing about their experience is genuine. Documentarian Rodney Ascher likes delving into ambiguous and liminal spaces. With Room 237, he pondered conspiracy theories around The Shining. Next, he dedicated his sophomore effort The Nightmare to sleep paralysis. He's clearly fond of fascinating, mind-bending concepts, too, but there's always a shagginess to his films — a sense that the underlying ideas he clasps onto are far more compelling than actually charting the stories he selects on his chosen topic. A Glitch in the Matrix is no different, but it's also ambitious and engrossing as it mixes everything from animation and archival clips to interviews. A movie can be thought-provoking and also messy, of course, and still make for compelling viewing. A Glitch in the Matrix is available to stream via Docplay. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK SUCCESSION For fans of blistering TV shows about wealth, power, the vast chasm between the rich and everyone else, and the societal problems that fester due to such rampant inequality, 2021 has been a fantastic year. The White Lotus fit the bill, as did Squid Game, but Succession has always been in its own league. In the 'eat the rich' genre, the HBO drama sits at the top of the food chain as it chronicles the extremely lavish and influential lives of the Roy family. No series slings insults as brutally; no show channels feuding and backstabbing into such an insightful and gripping satire of the one percent, either. Finally back on our screens after a two-year gap between its second and third seasons, Succession doesn't just keep plying its astute and addictive battles and power struggles — following season two's big bombshell, it keeps diving deeper. The premise has remained the same since day one, with Logan Roy's (Brian Cox, Super Troopers 2) kids Kendall (Jeremy Strong, The Trial of the Chicago 7), Shiv (Sarah Snook, Pieces of a Woman), Roman (Kieran Culkin, No Sudden Move) and Connor (Alan Ruck, Gringo) vying to take over the family media empire. This brood's tenuous and tempestuous relationship only gets thornier with each episode, and its examination of their privileged lives — and what that bubble has done to them emotionally, psychologically and ideologically — only grows in season three. It becomes more addictive, too. There's no better show currently on TV, and no better source of witty dialogue. And there's no one turning in performances as layered as Strong, Cox, Snook, Culkin, J Smith-Cameron (Search Party), Matthew Macfadyen (The Assistant) and Nicholas Braun (Zola). The first two episodes of Succession's third season are available to stream via Binge, with new episodes dropping weekly. Read our full review. LOVE LIFE Mere minutes into Love Life's second season, a big query arises. With The Good Place's William Jackson Harper taking over from Anna Kendrick as the show's lead, it's an obvious question: what would Chidi Anagonye think? He'd recognise the indecision bubbling away inside Harper's new character, Manhattanite book editor Marcus Watkins. From a moral and ethical standpoint, he'd be less enamoured with Marcus' other choices, especially the flirtatious friendship that Love Life's new protagonist pursues with Mia (Jessica Williams, Booksmart) while still married to Emily (Maya Kazan, Love Is Love Is Love). Thankfully, it doesn't take long for Harper to settle into his new part, and for the ghost of Chidi to fade. The latter would still protest, of course, but Love Life sends the man behind him wading through a different pool of rom-com dilemmas. It's a delightful stroke of casting, in a series that has always hinged upon its audience's connection with its main character. Harper doesn't ever let his natural charm eclipse Marcus' flaws — Love Life doesn't trade in perfect protagonists or easy, clearcut romantic fantasies — and that balance adds both weight and depth to the show's second season. That said, the storylines here won't seem particularly different to Love Life's season-one viewers. This is a case of new lead, same city, similar romantic struggles. It isn't a spoiler to note that Marcus and Emily's marriage doesn't last long, or that the relationships that follow take him on quite the rollercoaster ride, but Harper instantly gets you hooked on the journey. The first three episodes of Love Life are available to stream via Stan, with new episodes dropping weekly. FOUNDATION If you've ever wondered whether good things truly do come to those who wait, as the old adage insists, let Foundation convince you. In the 90s, these Isaac Asimov-penned sci-fi stories were slated to become a film trilogy, but those plans faltered. In the late 00s, Independence Day's Roland Emmerich was onboard to direct a different movie adaptation — and thankfully that didn't eventuate either. It's hard to see how Foundation would've worked on the big screen, unless it fuelled a sizeable number of features. On the small screen, it still spins an immensely dense storyline, but it also has room to breathe. Stepping into a futuristic world on the precipice of ruin, this is a series that rewards patience. (If you've ever seen the Party Down episode that jokes about hard sci-fi, you'll know how seriously it takes its genre, too.) Created by screenwriters David S Goyer (Christopher Nolan's Batman trilogy) and Josh Friedman (the TV version of Snowpiercer), Foundation splashes its sizeable budget across the screen — all while reimagining Asimov's tales almost eight decades after they were written. Mathematics professor Hari Seldon (Jared Harris, Chernobyl) remains a key part, though, thanks to his prediction that the Galactic Empire will soon fall. That prophesy angers the three cloned versions of Emperor Cleon, especially Brother Day (Lee Pace, Captain Marvel), with his dismay sparking action just as Seldon's new protege Gaal Dornick (Lou Llobell, Voyagers) arrives. That's just Foundation's setup, too, and it's sci-fi catnip. The first six episodes of Foundation are available to stream via Apple TV+, with new episodes dropping weekly. A RECENT MUST-SEE YOU CAN (AND SHOULD) STREAM NOW THE OTHER TWO You're in your twenties, trying to make it in New York and struggling to chase your dreams. The only thing that's making you feel better is the knowledge that your sibling is doing the exact same thing. Then your kid brother comes up with a throwaway pop hit, adopts the stage name ChaseDreams and becomes a YouTube sensation — and suddenly you're related to the world's next Justin Bieber. That's the premise of sitcom The Other Two, which follows struggling actor Cary (Drew Tarver, Bless the Harts) and his ex-dancer sister Brooke (Helene York, Katy Keene) as they come to terms with their new situation. Yes, they're thrilled for their baby brother; however, they're also shocked, envious and desperate to get their own time in the spotlight. That's the other thing about having a famous sibling: riding their coattails isn't the same as making it yourself. The Other Two leans upon two things: its sense of humour and the way it interrogates the celeb game, and its casting. Both are as sharp as Chase's rise to stardom; Case Walker even got that part after becoming a Musical.ly sensation IRL. Tarver and York's back-and-forth is the series' anchor, however. Also excellent: Molly Shannon (The White Lotus), Ken Marino (Black Monday), Wanda Sykes (Breaking News in Yuba County) and Josh Segarra (The Moodys). Its second season hasn't arrived in Australia yet, but The Other Two's first ten episodes are hilarious, acerbic and perceptive, especially when it comes to today's celebrity-obsessed, influencer-heavy society. It's an instant classic (it was one of our best new shows of 2019, in fact), and it's instantly rewatchable. The first season of The Other Two is available to stream via Paramount+. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August and September this year — and our top straight-to-streaming movies and specials from 2021 so far, and our list of the best new TV shows released this year so far as well.
Situated at the south end of King Street in Newtown, this heritage-listed watering hole has long been a favourite spot for locals. Revamped by the Reilly Group (the team behind Marrickville's The Henson) in mid-2016, this working-class boozer has maintained its old-school charm, with a few smart touches to keep things relevant. The food is straightforward pub grub but done properly. And the chicken burger ($19) here is worth a visit alone. It features fried chicken, iceberg lettuce and chipotle mayo, with the option of adding streaky bacon for $3 (yes, please). Drop in on a Monday for the $20 burger and beer deal, plus pints at schooner prices. Images: Alana Dimou
Sydney has been waiting patiently for the opening of its second international airport for over a decade now — but now, seven months away from its projected opening date for commercial flights, a key piece to the Western Sydney Airport puzzle is caught between a dispute and a hard place, as first reported by the Sydney Morning Herald. The airport site, located in Badgery's Creek, is planned to be connected to the wider Sydney Metropolitan area through multiple transport arteries. For drivers, the brand new M12 Motorway will connect to the existing M7 via a direct line to the airport. That's due to open this coming weekend, but public transport is a different story. The airport is due to be included in Sydney's expanding metro lines, with a projected December 2027 opening date, but as SMH reports, that's now in limbo. [caption id="attachment_1082387" align="aligncenter" width="1920"] SYDNEY, AUSTRALIA - OCTOBER 28: A general view of the passenger terminal under final construction at Western Sydney International Airport on October 28, 2025 in Sydney, Australia. Western Sydney International (Nancy-Bird Walton) Airport (WSI), located at Badgerys Creek (Photo by James D. Morgan/Getty Images)[/caption] The 23 kilometre line is planned to connect the airport to Sydney via St Marys, Orchard Hills, Luddenham and the new city of Bradfield in a mix of tunnels, open tracks and viaduct — but Sydney Metro warns the opening date now hinges on the outcomes of a major negotiation with the contractors that's been ongoing since 2024, and threatens to extend the cost by an additional $2.2 billion — drawing the total cost to $12 billion for taxpayers. Said contractors are a consortium known as Parklife Metro — which is comprised of Italian construction group Webuild, the German-based multinational technology company Siemens, an international arm of French-state-owned public transport enterprise RATP and Australian infrastructure investors Plenary Group. The disputes? Claims have been filed against the NSW Government body overseeing the project regarding delays, scope creep and disruptions. [caption id="attachment_1082386" align="aligncenter" width="1920"] Sydney Metro carriage, Photo by Ma Ping/Xinhua via Getty Images[/caption] Now the project, which has already been delayed by a year and remains in the construction phase, is at the mercy of the negotiations. Sydney Metro Executive Chief Peter Regan said at a budgetary hearing that "the outcome of that negotiation will clearly impact the target date for opening. We're still in the construction phase of the railway. We're not in the testing phase, so it's probably too early to really sort of land that [target opening date], and it will depend on the outcome of that commercial discussion." To compensate for the delays, which will see the airport operational for well over a year with no rail connection, the NSW Government has confirmed that free bus services will run between St Mary's and the airport, at an estimated 30-minute commute time. SMH also confirmed that the carriages for the new lines are due to arrive in the coming months, and the lines themselves could still be expanded to connect the airport with Sydney Metro's northernmost station at Tallawong, and via a southern line to Bradfield. Images: Getty Images Subscribe to the Concrete Playground newsletter to get stories just like these in your inbox.
There aren't many spots in the city catering to both the pre-work and post-work crowds, but Kahii Kissaten Bistro aims to do just that. It transitions from a cafe slinging specialty tea, coffee, sandwiches and pastries to an intimate cocktail, wine and snack bar, ideal for after-work drinks or date night spots. The younger sibling to the nearby bar and restaurant Kuro, Kahii Kissaten is found on Kent Street in a heritage building. It's a modern take on the traditional Kissaten coffeehouses in Japan, which focus on coffee, socialising and small bites. Wile away the morning with house-roasted small-batch coffee, Uji-sourced matcha or the viral black sesame cloud drink and croissant. Return for lunch to enjoy one of Kahii's famous pork katsu sando or green tea soba noodles As day transitions to night, Kahii converts into a bistro with a largely French wine menu carefully constructed by their in-house head sommelier. There are also classic, tea-based and coffee-based cocktails from renowned bartender Fumiaki Michishita, plus an extensive range of sake and spirits. Kuro also offers a curated evening menu for Kahii's punters. Small bites include appellation rock oysters, confit salmon with herb tofu and seared kingfish sashimi. Or for something heartier: fried chicken and wagyu steak with crispy potatoes. Images: KW Photography, Matthew Wong
How do you choose Australia's best beach from the country's 11,761 coastal locations? That's the enviable annual job of beach expert Brad Farmer AM. It might sound like one of the best gigs that there is, but it's also far from an easy decision given that there's so many places to pick from in this nation girt by sea. So for 2025, Farmer hasn't been able to select just one — he's opted to anoint a ten-kilometre stretch of beaches as the country's finest instead. You'll find the top spots for some beach time in 2025 along the Tasmanian coastline, at the Bay of Fires Conservation Reserve. Farmer has chosen an expanse across the site's southern portion as his pick for the year. In doing so, he's given his list a few firsts. [caption id="attachment_666210" align="alignnone" width="1920"] Sean Scott[/caption] Never before has Tasmania taken out top spot for Farmer's recommendations for sun-, sand- and surf-fuelled getaways for the year ahead. Bay of Fires earns the honour after Squeaky Beach in Victoria did the same in 2024 and South Australia's Stokes Bay on Kangaroo Island achieved the feat in 2023. Other past winners include Misery Beach in Western Australia in 2022, Cabarita Beach in New South Wales in 2020, Nudey Beach on Fitzroy island in Far North Queensland in 2018 and Cossies Beach in the Cocos (Keeling) Islands, in the Indian Ocean, in 2017. Similarly making history: Farmer selecting a cluster of beaches over a single winner. "I spent plenty of time in Tasmania assessing the beaches and in the end there were so many incredible options I couldn't even settle on one, which is why, for the first time, I'm awarding the best beach to a cluster of neighbouring beach bays in the Bay of Fires," he advised. "They say the colder water is good for you, but even if you're not up for a refreshing dip there is still plenty to do and see along this ten-kilometre stretch of coast. It's a location made for photography or painting, fishing and surfing." [caption id="attachment_990475" align="alignnone" width="1920"] Liz McGinnes[/caption] As always, Farmer has spread the love across his top-ten list around the country. Woolgoolga in New South Wales came in second, then Emily Bay Lagoon on Norfolk Island placed third, Queensland's North Kirra Beach ranked fourth and Little Lagoon in Western Australia sits fifth. After that, South Australia's Fishery Bay earned sixth position, before Queensland, WA and NSW all pop up again — with 1770, Scarborough Beach and Caves Beach, respectively, in that order. Then, Victoria makes a showing thanks to Cowes Beach in tenth place. Situated on the Coffs Coast, Woolgoolga has notched up an impressive feat, too: its second-place ranking makes it Australia's best mainland beach and finished in second spot. Farmer has dubbed it "the quintessential Aussie beach destination". [caption id="attachment_990476" align="alignnone" width="1920"] Norfolk Island Tourism[/caption] He's also badged Emily Bay Lagoon as "Australia's hidden gem in the South Pacific" and North Kirra on the Gold Coast as "Australia's best airport beach". The praise goes on; Shark Bay's Little Lagoon is "a unique oasis", Eyre Peninsula's Fishery Bay is recognised for its sacred First Nations connections and 1770 near Agnes Waters is highlighted for being "a beautiful Queensland inlet shoreline environment". Perth's Scarborough Beach is "Australia's number-one integrated foreshore development", while Caves Beach in Lake Macquarie has the best caves and rock pools to explore, and Cowes Beach on Phillip Island earns affection for its lack of pretence. [caption id="attachment_990477" align="alignnone" width="1920"] www.coastalreflections.com.au[/caption] "Every beach which makes the list is a winner and this year really highlights the incredible diversity of the beach offerings we have here in Australia. It really is like nowhere else in the world. In 2025 we recognise beaches of all shapes and sizes right around the country," he continues. Farmer might've unveiled his picks with less than a month left of summer 2024–25, but you still know what to do from here: start making holiday plans that involve a splash. For Aussies in most states, there's a site on the list in your own backyard. And if there isn't or you're just keen on heading further afield for a gorgeous beach trip, you have options. [caption id="attachment_990478" align="alignnone" width="1920"] @theultimateaus Chris Bulloch[/caption] The Top Ten Best Australian Beaches for 2025 1. Bay of Fires, Tasmania 2. Woolgoolga, New South Wales 3. Emily Bay Lagoon, Norfolk Island 4. North Kirra Beach, Queensland 5. Little Lagoon, Western Australia 6. Fishery Bay, South Australia 7. 1770, Queensland 8. Scarborough Beach, Western Australia 9. Caves Beach, New South Wales 10. Cowes Beach, Victoria [caption id="attachment_990479" align="alignnone" width="1920"] Serio Photography[/caption] [caption id="attachment_990480" align="alignnone" width="1920"] londonerinsydney.com[/caption] [caption id="attachment_990481" align="alignnone" width="1920"] Will Wardle Media[/caption] [caption id="attachment_990482" align="alignnone" width="1920"] Lake Macquarie City[/caption] [caption id="attachment_990483" align="alignnone" width="1920"] www.coastalreflections.com.au[/caption] For more of Brad Farmer's beach tips, head to his Best Australian Beaches website. Top image: Will Wardle Media. 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.
Cafe food is usually an underwhelming experience here in Sydney. It's a shame really, with our excellent and expanding coffee culture that more cafes don't pay as much attention to the food. There are however, a few places starting to change this and Kepos Street Kitchen is one of them. Let's start with the coffee. Like everything here, there's attention to detail. The coffee is from standout cafe The Grounds in Alexandria and the beans are done justice at Kepos Street. There's also an organic tea selection from The Rabbit Hole and some refreshing mocktails. Yes, mocktails are cool, in case you haven't heard. Places like Chiswick and Rockpool Bar & Grill are making their own flavoured sodas and Kepos Street Kitchen is mixing some delicious booze-free drinks like a crisp pomegranate virgin mojito ($9) served in a cute handled jam jar. Yes, lovely well executed drinks that don't contain caffeine or alcohol. How considerate. The cafe's interior is simple and clean. It's mostly white- and honey-coloured wood; we love the creamy tones and big windows. It is right by a main road, but Kepos Street itself is a surprisingly leafy, quiet and charming little spot. Owner Michael Rantissi's Israeli heritage is dotted through the menu with the likes of Tel Aviv falafel and homemade hummus. He appears quite regularly on the floor saying Shalom to friends old and new while the rest of the staff are similarly welcoming. There's a good mix of salads, things wrapped in bread and more substantial dishes like gnocchi with braised veal shoulder and Persian eggplant ($26) which is beautifully balanced in flavour. The slowly braised meat and handmade gnocchi are soft and delicate. A traditional tabouleh salad ($12) is lifted by bursts of fresh pomegranate seeds and shreds of mint. Having previously worked at Pier and Vue de Monde, it's great to see chefs of Rantissi's caliber step into more casual dining, serving thoughtful and simple food with quality ingredients. Kepos Street Kitchen proves that cafe fare deserves consideration and when done well, can be a very rewarding experience. Oh and did we mention the freshly baked cinnamon, pecan, caramel buns? Yep, we're already big fans of Kepos Street Kitchen, and we hope it's a sign of good things to come in our cafe culture.
The internet may have delivered on its promise of infinite information, available at any point in time. But there's no substitute for sinking into the couch with a good book. There's also nothing like discovering a new read at your local bookshop. So, we've tracked down some of the best Sydney bookshops to help you find your next great read. Despite ebooks, online book companies and Netflix, these independent Sydney booksellers are still winning bundles of readers' love with their quirky collections, smart recommendations and cosy nooks. And don't worry, a heap of them are set up to deliver your next great read direct to your door.
After a long morning in the office — or a long night on the beers — sometimes what you really need is a sneaky lunchtime nap. You could have this nap in a park, in a meeting room or even in the loo (if you're desperate) — or you could catch some shut-eye at Sydney's new dedicated nap studio. Called Mynd, the Barangaroo studio is calling itself Australia's first purpose-built meditation and nap studio, and it's here to help city-workers get some downtime during their working day. Opening its doors to the public on Monday, February 8, Mynd promises to be a "pocket of peace in the city". It's been designed by Tom Mark Henry with plenty of soft greys, blonde wood and calming light. You can book into one of 30 different multi-sensory meditation classes — designed to be either relaxing, motivating or energising — which come complete with soothing soundscapes and scents. Or, you can chill out in the post-meditation lounge or book into a session in one of the nap pods. Yes, nap pods. The futuristic-looking pods have different vibrations and light settings, which are said to "maximise rest", and can be booked out for 25-minute sessions. You can pay $25 for a one-off nap session, and $14–20 for a meditation, or you sign up for a $40-a-week membership if you think you'll be wanting some regular mid-week shut-eye. Opened by two former "sleep-deprived city workers" James Harris and Sam Thornton, the studio is hoping to make meditation mainstream and more accessible. "We have ambitious plans," Harris said in a statement. "It's our aim to eventually scale Mynd Studios in a similar way to F45 — but think fitness for the mind, not body." Find Mynd Studios at 12 Shelley Street, Barangaroo from Monday, February 8. It'll be open from 6.45am–8pm Monday–Friday.
Every year during our wintertime, so many lucky folks jet off to Europe and other parts of the northern hemisphere seeking sin-filled holidays, but there are still stacks of Aussie destinations that are warm and summery throughout the year. If you're seeking a coastal vacay, there's no need to get on a long-haul flight — especially with the likes of Byron Bay being a short trip away. In northern NSW, this dream destination boasts sun, sand and rainforest in abundance. Plus, it's full of romantic studio spaces and quaint coastal bungalows, ideal for unwinding with your significant other or favourite travel buddy. We've done the hard work for you and rounded up 20 of Byron Bay's greatest couples' escapes. Book a favourite, pack your bags and prepare for that well-deserved beach retreat. Recommended reads: The Best NSW Glamping Spots The Best Hotels in Sydney The Best Beach Camping Sites in NSW The Best Luxury Stays Near Sydney WOLF BEACH RETREAT, BYRON BAY A sleek, modern take on the classic beach shack, complete with open-plan living and secluded backyard. Cocktails on the deck are a must. How much? From $295 a night, sleeps two. THE STUDIO, BYRON BAY Decked out in soothing whites and natural finishes, this serene hideaway is primed for maximum relaxation. Check in and recharge in style. How much? From $263 a night, sleeps two. THE BUNGALOW, BYRON BAY It's hard not to embrace the Byron lifestyle at this relaxed coastal retreat, featuring modern boho styling throughout and a tropical garden out back. How much? From $427 a night, sleeps four. BEST LOCATION IN BYRON, BYRON BAY This stylishly minimalist studio space is the epitome of a calming getaway. It's filled with natural light and located just a quick stroll from the beach. How much? From $271 a night, sleeps two. LUXURY LOFT, BYRON BAY New York loft meets tropical bungalow for this breezy Byron hideaway. Get set for daily soaks in the outdoor tub, surrounded by nature. How much? From $395 a night, sleeps three. HILLSCAPES STUDIO, BYRON BAY Escape the hustle at this serene studio space, among the trees. A fireplace promises cosy nights and the deck boasts panoramic views. How much? From $242 a night, sleeps two. CACTUS ROSE VILLA, BYRON BAY With chic white interiors, a palm-fringed pool and a romantic loft-style bedroom, this private villa will have you living the holiday dream. How much? From $548 a night, sleeps two. PACIFIC EDGE, BYRON BAY Want to wake to the sound of the waves? This self-contained couples' escape is newly built and perched just minutes from the beach. How much? From $220 a night, sleeps two. BYRON BAY STUDIO, BYRON BAY A designer retreat for two, complete with glass-walled bathroom, secluded terrace and roomy outdoor tub. All just a quick hop from the beach. How much? From $379 a night, sleeps two. BAM STUDIO, BYRON BAY The luxurious self-contained hideaway you'll never want to check out of. Destress with the help of a private leafy garden and sun-dappled deck. How much? From $292 a night, sleeps two. EAST COAST ESCAPES STUDIO 105, BYRON BAY A contemporary coastal abode boasting a sun-drenched deck and beachy white colour palette, this one's handily located between the shops and the sand. How much? From $262 a night, sleeps two. JADE STUDIO, BYRON BAY Swap city life for some time spent recharging at this bright, breezy studio. It's got a sunny courtyard, outdoor shower and cracking location close to the shoreline. How much? From $297 a night, sleeps two. THE LOFT, BYRON BAY This beautifully restored cottage has cruisy coastal vibes on tap, just a ten-minute walk from Byron's Main Beach. The ultimate couples' hideout. How much? From $633 a night, sleeps two. THE APOLLO STUDIO, BYRON BAY Your own Mediterranean-inspired paradise, in the heart of town. With luxe fixtures and a leafy courtyard, this self-contained bungalow is a true holiday gem. How much? From $252 a night, sleeps two. THE TREEHOUSE, BYRON BAY A light-filled hilltop escape, with sweeping views across the trees. This designer space boasts a leafy terrace and ten acres of lush green backyard. How much? From $283 a night, sleeps two. SCANDINAVIAN SIMPLICITY, BYRON BAY Filled with luxe touches and boasting its own sunny green courtyard, this Scandi-inspired studio has holiday charms aplenty. An ideal escape for two. How much? From $180 a night, sleeps two. BASK & STOW SEA, BYRON BAY A cheery splash of Palm Springs style, by the beaches of Byron. This whitewashed villa features resort-worthy interiors and a sparkling plunge pool. How much? From $448 a night, sleeps two. PARADISO PROPERTY, BYRON BAY Embrace beachside living with a stay at this quaint bungalow for two. It's a breezy, open-plan situation, flanked by two grassy, sun-drenched courtyards. How much? From $339 a night, sleeps two. BOUTIQUE RETREAT, BYRON BAY A cheery self-contained apartment that's sure to win you over with its plush linens, palm-filled courtyard and pink stone outdoor tub. How much? From $275 a night, sleeps two.. ARTFUL WAREHOUSE CONVERSION, BYRON BAY Swap the beach shacks and bungalows for a stay at this lofty converted warehouse, featuring mod-industrial styling and some primo mountain views. How much? From $344 a night, sleeps two. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Most recently dubbed the "A24 of theatre", Griffin is perhaps the most innovative, risky theatre company around. And Griffin Theatre Company's 2025 Season of plays is set to be a goodie, from plays exploring nuclear power to Kpop and naked performances. If you want to know more, keep scrolling. Nucleus Alana Valentine's Nucleus in the Reginald Theatre at the Seymour Centre is about two people who have committed their entire lives to different sides of the nuclear power debate. Intrigued? One is a nuclear engineer, and the other is an anti-nuclear campaigner. With nuclear energy such a hot topic (did anyone say Federal Election in May?), this show is guaranteed to be full of explosive arguments and even more explosive revelations. Koreaboo The second production, Koreaboo by Michelle Lim Davidson is inspired by her own life as a Korean-Australian adoptee. Presented in the Downstairs Theatre at Belvoir St Theatre, Michelle herself takes to the stage for a story about culture, deep connection, family and the power of Kpop. Naturism The premiere of Naturism by Ang Collins presented in the Wharf 2 Theatre at Sydney Theatre Company is set to be anything but your usual theatre experience. Let's start with the fact that the entire cast is naked. The play follows the journey of a Gen Z eco-influencer crashing an off-grid Boomer eco-paradise. The rest we will leave to your imagination. Griffin Lookout Griffin Lookout, a program supporting independent artists, presented in association with the Old Fitz Theatre, is back after a year-long hiatus, and if you were lucky enough to see past Lookout seasons, you can understand the excitement. SISTREN The first of these productions is SISTREN by Iolanthe. Known for their infamous performance in seven methods of killing Kylie Jenner, this play marks her debut as a playwright. You can expect a story of two best friends, who their headmaster dubs a 'lethal combination'. It's also set in South London, which we love. Birdsong of Tomorrow Birdsong of Tomorrow by Nathan Harrison is one for all the avid birdwatchers out there. However, this play takes a unique angle, turning your eye to our rapidly changing environment. But don't worry, it's not all doom and gloom. Get set to dive deeper into the world of birds than perhaps you ever have. Whitefella Yella Tree Griffin is presenting a return season of the acclaimed Whitefella Yella Tree by Dylan Van Den Berg. The production will enjoy seasons presented by Sydney Theatre Company, La Boite Theatre and University of Melbourne Arts and Culture. This one is at the top of our list – the script and production have won countless awards. Subscriptions The good news is that Griffin also offers great value theatre subscriptions, guaranteeing up to 20 per cent off standard ticket prices. Effectively a Season Pass, the subscription also offers perks from Griffin and friends, such as meet-the-artist nights and subscriber perks from places like Fabbrica Darlo, Penny's Cheese Shop and Four Pillars Gin. There are play packages for all theatregoers of all ages. Grab one of two core packages including two plays and three plays, with customisable add-ons that include one or both Lookout plays. And, unlike your Netflix and toilet paper subscription, this one promises real-life, tear-jerking, happy-crying, laughing-till-it-hurts kind of fun. Plus, Griffin has some of the most affordable mainstage theatre ticket prices in Sydney, as well as a strong offering for those under 35 with a dedicated ticket price. Explore the Season Brochure. Presently, only subscriptions can be purchased for 2025 plays at Griffin. Single tickets to shows will be released from 3 December. Learn more and subscribe here. Images: Supplied.
For two decades now, ever since Batman Begins proved such a smash back in 2025, the release of a new Christopher Nolan film has been a big occasion. Indeed, 'big' applies to much about the acclaimed director's approach. His movies are made for the big screen. The response is always huge. With The Odyssey, which releases in 2026, he's also making the first feature entirely shot on IMAX cameras. If you already have Thursday, July 16, 2026 marked on your calendar, then you're clearly keen for the filmmaker's first picture since 2023's Oppenheimer, which won him the Best Director Oscar. Here's another date of importance: Thursday, July 17, 2025. Tickets for The Odyssey at IMAX Melbourne have already gone on sale a year out from the movie's release, and they're already likely to sell out. View this post on Instagram A post shared by Odyssey Movie (@theodysseymovie) IMAX Melbourne is no stranger to showing Nolan's films, or for packing out its cinema while doing so. For The Odyssey, it will also be the only venue in Australia screening the movie on IMAX 1570 film and in the expanded 1.43 aspect ratio. If you haven't been keeping up with news about Nolan's 13th feature, the Memento, Inception, Interstellar, Dunkirk and Tenet director is adapting Homer's epic ancient poem about Odysseus' ten-year journey home to Ithaca after the also ten-year Trojan War. View this post on Instagram A post shared by Odyssey Movie (@theodysseymovie) Matt Damon (The Instigators) is playing Odysseus, Tom Holland (The Crowded Room) is his son Telemachus, and the rest of the cast also includes Zendaya (Challengers), Anne Hathaway (The Idea of You), Lupita Nyong'o (The Wild Robot), Robert Pattinson (Mickey 17), Charlize Theron (The Old Guard 2), Jon Bernthal (The Bear) and plenty more. IMAX Melbourne is one of a handful of IMAX cinemas around the world with tickets for its 70-millimetre sessions now on sale, and the only one in Australia. The Odyssey opens in Australian cinemas, including at IMAX Melbourne, on Thursday, July 16, 2026 — head to the IMAX Melbourne website for tickets.
If your breakfast game is in need of a little shake-up, you'll find yourself in excellent hands at Pyrmont's Quick Brown Fox. Continuing to infuse Sydney's cafe scene with some fresh ideas, the eatery is dishing up tried-and-true classics alongside a slew of crafty, contemporary creations. Many ingredients are made in-house, too, while the remainder are sourced locally. An all-day menu features dishes like sardines on toast and a Korean fried chicken waffle, as well as a congee of Koshihikari rice that's finished with a chilli fried egg, glazed speck, spring onion and XO sauce. Even the standard smashed avo has been reimagined, here with a poached egg, crispy tofu and yuzu-infused sesame. At lunch, you'll sit down to the likes of an impressive roast chicken with couscous and tabouli or a flank steak served medium with béarnaise and shaved taro crisps. The cheeseburger with fries with grass-fed beef comes with cheese, mustard, ketchup and pickles. You also have a choice of brunch cocktails at Quick Brown Fox (espresso martinis, bloody marys, mimosas, negronis and spritzes) and a compact list of Australian wines. Appears in: Where to Find the Best Breakfast in Sydney
Year after year, creatives, storytellers, thinkers, and inspirational figures from around the world descend upon Sydney for one very special event. The Sydney Writers' Festival, a short but very sweet celebration of the best and brightest minds and the words they've created. It's on its way back for 2026, and now we know exactly what we can expect from the five-day program of over 200 events and 250+ participating guests. This year's theme, Show Me the Truth, is a dive into truth and trust in written and spoken media amid overwhelming uncertainty. As Sydney Writers' Festival Artistic Director Ann Mossop explains, "Writers bring the truth to life in many different ways, whether it is in a novel that transports us to another time and place or in rigorous journalism that reflects the current moment." [caption id="attachment_1081033" align="aligncenter" width="1920"] Jacquie Manning[/caption] "We'll explore important questions about the future of democracy and the impact of AI on the arts and culture, but we'll also celebrate a major anniversary for one of Australia's favourite cookbooks and the joys of Dav Pilkey's Captain Underpants. The SWF program opens up a space for writers and readers to explore books, ideas and storytelling in all of their variety and richness," Mossop adds. Headlining this year's festival are a number of notable voices. International bestsellers like R.F. Kuang (Katabasis), Mick Herron (Slow Horses) and Patrick Radden Keefe (London Falling) will unpack their latest works, while global voices of change and truth like former NZ Prime Minister Jacinda Ardern and Wikipedia founder Jimmy Wales will examine their lives and legacies live on stage. [caption id="attachment_1081031" align="aligncenter" width="1920"] Jacquie Manning[/caption] Booker Prize-winning and shortlisted authors such as David Szalay (Flesh), Susan Choi (Flashlight), Yann Martel (Life of Pi), Roddy Doyle (The Women Behind the Door), Amitav Ghosh (The Nutmeg's Curse), Tayari Jones (Kin) and S.A. Cosby (King of Ashes) will all discuss the inspirations of and truths within their latest works. On the events front, the creator of an Australian classic, Dav Pilkey (Captain Underpants, Dog Man) will draw his characters live on stage in a live and antics-filled event. Journalists Lorena Allam, Avani Dias, Lyse Doucet, Anton Enus, Kate McClymont and Patrick Radden Keefe gather for The Story That Changed My Life to discuss the stories that changed their careers forever, while Brave Conversations: When Words Offend will unite journalists and storytellers for a panel on the role of disagreements in democracy. [caption id="attachment_1081034" align="aligncenter" width="1920"] Jacquie Manning[/caption] After Bondi will see four writers and host Michaela Kalowski reflect on grief, solidarity and resilience after the Bondi terrorist attack. Big Histories will bring together Amitav Ghosh, Luke Kemp and Clare Wright to re-examine the fundamental grand narratives of human history. Great Adaptations will offer an insight into how stories move from page to screen, and The Future of Truth will pair Barbara Demick, A.C. Grayling, Jimmy Wales and Toby Walsh in a discussion on how trust can be rebuilt in the age of misinformation, AI and information overload. The full program goes on and on, from returning favourite events like the SWF Great Debate and the opening gala to Australia-wide and international authors and celebrations of First Nations and queer voices in the writing world. You can visit the SWF website to browse every event and plan your perfect festival run, with over 55 free events making it as accessible as it is insightful. [caption id="attachment_1081032" align="aligncenter" width="1920"] Jacquie Manning[/caption] Sydney Writers' Festival will take place at venues across the city from Sunday, May 17–May 24, tickets go on sale at 10am on Saturday, March 14. For the full program or more information, visit the website. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox.
If you're planning to head to the Art Gallery of NSW this month to check out the free major exhibition Quilty before it closes on February 2, you don't want to go in without the background info. Covering 15 years of Australian contemporary artist Ben Quilty's career, the exhibition is made even better if you know the stories behind his works, which include intimate self-portraits and sombre reflections on injustice and displacement. With a storied career, including time spent as a war artist in Afghanistan in 2011, his friendship and advocacy with Bali Nine pair Andrew Chan and Myuran Sukumaran, his trips to meet Syrian refugees in Lebanon, Lesbos and Serbia, and his exploration of Australian history, there is much more to Quilty's works than just paint on canvas. [caption id="attachment_757618" align="alignnone" width="1920"] Ben Quilty, 'Self-portrait after Afghanistan' (2012), Dr Dick Quan, NSW, © Ben Quilty[/caption] SELF PORTRAIT AFTER AFGHANISTAN (2012) Quilty spent three weeks in Afghanistan in 2011 as an official war artist. His pieces from this time aren't the typical military landscapes one might expect; in the first room, you'll find a series of dark, vulnerable portraits of returned soldiers, which were painted in his Bowral studio. But it's Self portrait after Afghanistan that draws the most attention — a dark and swirling representation of his turmoil after returning from the Middle East. As the artist puts it, "My work is about working out how to live in this world. It's about compassion and empathy but also anger and resistance." [caption id="attachment_757628" align="alignnone" width="1920"] Ben Quilty, 'Self Portrait, the executioner' (2015), Gift of the artist 2015. Donated through the Australian Government's Cultural Gifts Program, Art Gallery of New South Wales, Sydney, © Ben Quilty. Photo: Mim Stirling, AGNSW[/caption] SELF PORTRAIT, THE EXECUTIONER (2015) Continuing his personal responses to harrowing experiences, Quilty painted a series of pieces about his friendship with Andrew Chan and Myuran Sukumaran, who were sentenced to death in Indonesia for drug trafficking in 2006. As part of a campaign to save the lives of Chan and Sukumaran, Quilty gave them art classes. Unfortunately, the campaign was unsuccessful and Quilty painted this self portrait the day after their execution in April 2015. Curator Dr Lisa Slade says Quilty, the exhibition, shows how art has the capacity to instigate change. She says, "He wields paint to draw attention to our responsibility as critical citizens in an increasingly fraught world." [caption id="attachment_757624" align="alignnone" width="1920"] Ben Quilty, 'Flowers for Heba' (2016), Private collection, Adelaide, © Ben Quilty[/caption] FLOWERS FOR HEBA (2016) In the same room of the exhibition, you'll find works inspired by Quilty's experiences in Lebanon, Greece and Serbia with acclaimed writer Richard Flanagan. What immediately draws your attention is a series of life jackets named for refugees who died while trying to seek asylum in Australia, but Flowers for Heba tells the story of when the artist was inspired by a little girl he met in a refugee camp. Quilty had shared his art supplies with children at the refugee camp and, when prompted to draw a picture of her home, Heba carefully drew her house with a bomber flying over it and two bloodied bodies on the ground, who she said were her parents. Her heart-wrenching drawing can be seen upstairs at the gallery as part of the exhibition Belonging. [caption id="attachment_757659" align="alignnone" width="1920"] Ben Quilty, 'Irin Irinji' (2018), Art Gallery of South Australia, Adelaide, Gift of the Art Gallery of South Australia, Contemporary Collectors, Jane and John Ayers, Lipman Karas and Tracey Whiting 2019 © Ben Quilty[/caption] IRIN IRINJI (2018) Quilty's Rorschach series is a play on the inkblot test that was commonly used as a psychology test in the 1960s. The first in the series, Bedford Downs Rorschach, was painted in 2008 and represents a Western Australian cattle station that was the site of an Aboriginal massacre. Ten years later, Quilty was taken by local artists to the site of another massacre, in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in South Australia. Though you won't find Irin Irinji on any map, it's captured here by Quilty across 12 panels covered in thick, textured paint and feathery white spaces that represent ghost gum trees or falling spirits. [caption id="attachment_757622" align="alignnone" width="1920"] Ben Quilty, 'The Last Supper' (2016), Private collection, © Ben Quilty[/caption] THE LAST SUPPER (2016) The final room of the exhibition sees Quilty attempting to make sense of the world, beginning with a piece painted the day after the US election in November 2016, which saw Donald Trump elected as the 58th president of the United States. The Last Supper (2016) is the first of a few works of the same name and sees Trump acting as the Jesus-like figure. Presiding over the table in all his floppy-haired glory, Trump is surrounded by screaming, disembodied features and piercing eyes. Fun fact: we're told Quilty has a rubber Trump mask lying around his studio. Head curator of International Art, Justin Paton, says Quilty's works find "new ways to grapple in and through the issues that stir him.'' Quilty is showing at the Art Gallery of NSW until February 2. Admission to the exhibition is free. Top image: Ben Quilty by Daniel Boud.
Barangaroo's a'Mare has long sat at the polished end of Sydney's Italian dining scene, all tableside theatre, crisp linens and a price point to match. Now, the Pavonis are opening things up. From April 22, the lauded restaurant will expand into a three-part venue, adding a new upstairs pizzeria and aperitivo bar, offering a more accessible way into one of the city's most pedigree-backed kitchens. If you know the names behind it, the move tracks. Alessandro and Anna Pavoni, the duo responsible for Ormeggio at The Spit, Cibaria Manly and Postino Osteria, have built a reputation on detail-driven Italian dining. Since opening in 2020, a'Mare has been their flagship: refined, exacting and firmly in 'special-occasion' territory. Upstairs, Pizza'Mare is shifting the dial. It's the group's first pizzeria, taking over the mezzanine with a more relaxed, drop-in format. The same produce-led philosophy, just expressed through pizza, pasta and antipasti instead of full-scale dining. The pizzas are built on a pre-fermented biga dough for a lighter, more digestible base, cooked in a Modena-imported MAM oven. Pizzaiolo Paolo Lacarpia, who has spun pizzas across Puglia and Tuscany, leads the offering under executive chef Giuseppe Fuzio. The menu leans clean and classic, with rigatoni cacio e pepe, punchy pennette arrabbiata and antipasti like Sydney rock oysters and octopus alla Luciana, alongside a tight pizza list that moves from traditional to downright luxurious. That includes the a'Marinara, topped with yellowfin tuna crudo, stracciatella and lemon zest (with optional caviar if you want to really get down). It's this balance that defines the new offering; familiar, but still unmistakably a'Mare. Next door, Vista'Mare is all about aperitivo culture, with spritzes, negronis and Venetian-style cicchetti designed for grazing by the harbour. There's also a rare Campari Seltz machine, one of only a handful worldwide, adding a direct line to Milanese drinking culture by way of frothy, ice-cold sippers. Don't fret though, none of this replaces the original experience. Downstairs, the a'Mare dining room continues as is, with its signature tableside service and dishes like trofie al pesto and cotoletta Milanese firmly leading the menu. Instead, the expansion reframes the experience. While a'Mare still sits comfortably in the anniversary and birthday camp, it now stretches across multiple formats, from a quick midweek pizza upstairs to Friday arvo knock-offs, and the full dining room experience below. For diners, this a new way in: the same kitchen, the same attention to detail, just without committing to the full-scale affair. Pizza'Mare and Vista'Mare are open now, and reservations can be made at the website here.
Have you ever needed to convey an important message to someone in a big way, but sweated to find the perfect gift to do so? Maybe you needed to say 'sorry for being a jerk', 'thanks for being a great mate', or simply 'I love you'. Well, perhaps not surprisingly, there's a store to fix that problem. Initially launching as a website in 2013, the retailer branched out into a bricks-and-mortar in Martin Place's GPO building — then moved to Westfield Sydney in 2020. The store is built around the concept of 'give different'. That means sourcing items that are unique and thoughtfully designed, so you're in very little danger of doubling up on gifts. Products include knives carved from deer antler, hand-woven scarves and handmade resin jewellery from Dinosaur Designs. Gourmet goodies include wheels of Bruny Island cheese and premium single malt whisky distilled in highland Tasmania, which you can taste test in the store. You'll also find colourful wares from the iconic Finnish design brand Marimekko. Images: Joey Clark.
The best spot in Australia for a picnic is hotly contested. Melbourne has some good ones. So do Sydney and Brisbane. Mount Buffalo, a picturesque mountain surrounded by green valleys roughly a four-hour drive from Melbourne, is now coming for the title — as long as you're not afraid of heights. The Bright Adventure Company is offering secluded picnics for thrill-seekers suspended off the cliff face of Mount Buffalo, on a platform 300 meters off the ground. For $449, you'll get a set up on the suspended ledge suitable for two people, a delicious picnic hamper and all the safety equipment and training required. Then you can relax with your partner or picnic buddy as you take in the views of the Mount Buffalo National Park. All you need to bring is warm clothes, sturdy shoes, a water bottle and a total lack of fear of heights. The experience goes for three hours with sunrise, lunch and dinner packages all available. If you have a group of four you can organise a set of two edges side-by-side so you can share the experience with your besties. Book a cliff picnic through the Bright Adventure Company. Before heading interstate, check the relevant state's COVID-19 guidelines.
Of all the new TV shows that are heading to streaming in 2023, only one has a groove and a meaning. Well, only one is based on a movie with a theme song that claims that, at least. And yes, you now have that tune stuck in your head — because 'Grease', the track, is that much of a catchy and persistent earworm. The entire Grease soundtrack is, and perhaps the tunes that come with Grease: Rise of the Pink Ladies will be as well. This new prequel series steps back into the 70s-made, 50s-set musical rom-com's world, giving its titular girl gang an origin story. Based on both the initial teaser and the just-dropped full trailer, Rise of the Pink Ladies is hopelessly devoted to taking that task seriously. Here, in a ten-episode series set to stream via Paramount+ in Australia from Friday, April 7 — with New Zealand airing details yet to be revealed — it's the 1954–55 school year. It's also when the eponymous young women are given words of warning about appropriate behaviour. "Ladies, you must be careful with whom you associate," Assistant Principal McGee (Jackie Hoffman, Only Murders in the Building) tells them in the first trailer. "A girl's reputation is all that she has." Welcome back to Rydell High, clearly, but before Danny (John Travolta) and Sandy (Olivia Newton-John) walked its halls. If the OG Grease and its tale about an Australian transfer student falling in love with an American high schooler in California is the one that you want — always — then you'll know that this franchise hasn't ever just been about the hit 1978 movie anyway. Before it became a silver-screen classic, it was a popular stage musical. After the first film's success, it spawned a 1982 Michelle Pfeiffer-starring sequel, too. Pink jackets, T-Birds, dance scenes (including while wearing mechanics' overalls), a new take on a familiar track advising that Grease is indeed the word: they're all included in show's two sneak peeks so far. Cast-wise, Marisa Davila (Love and Baseball), first-timer Cheyenne Isabel Wells, Ari Notartomaso (Paranormal Activity: Next of Kin) and Tricia Fukuhara (Loot) play the four teens who start the Pink Ladies, and are joined on-screen by Shanel Bailey (The Good Fight), Madison Thompson (Emergency), Johnathan Nieves (Penny Dreadful: City of Angels), Jason Schmidt (FBI: Most Wanted) and Maxwell Whittington-Cooper (The Photograph). This isn't the last time that all things Grease will pop up again, either — not including the stage musical and OG movie's enduring popularity, of course — with a Danny and Sandy-focused prequel flick Summer Lovin' also in the works. Check out the full trailer for Grease: Rise of the Pink Ladies below: Grease: Rise of the Pink Ladies starts streaming via Paramount+ in Australia on Friday, April 7. New Zealand release details haven't yet been revealed — we'll update you when further information comes to hand.
Balmain scores a new all-day dining bistro and live music hang-out, as Elliott's opens on an iconic corner in the heart of the buzzing neighbourhood. The venue that was once home to Casa Esquina has been entirely reimagined with a new layout and design, a reenergised team, a fresh culinary direction, and a bar reworked into a standalone destination. The vision of evolving from a regular dining space to a hybrid social and dining entertainment destination was sparked by the recently loosened live music laws. Michael Fegent, Director of Atticus Hospitality, says he has "imagined it as a space where people could enjoy a meal or just come in for drinks and let their hair down with live bands and vinyl DJS bringing a festive upbeat vibe. When council finally approved the courtyard cover this year and live music rules changed, it was the perfect moment to bring that vision to life." The menu, which leans into classic European technique, is designed to pair with great wine, good company and an energetic soundtrack. A dedicated kids' menu makes families feel at home, while generous share plates invite relaxed group dining, whether it's leisurely lunches or lively dinners elevated with Elliott's signature cocktails. Classic dishes are refreshed with thoughtful amendments, such as steak tartare served with crisp rice, garlic and chives, oysters dressed with ponzu mignonette or a cheeseburger sandwiched between a croissant bun. Elliott's live music program officially launches in September, however, surprise acts will roll out from opening day. Jordan McDonald, Director of NITE-RITE Entertainment, who heads up the music program, is thrilled that the team behind Elliott's have taken advantage of the new music reforms so quickly. "The atmosphere in this place is pretty special, it's that blend of buzzy service, high calibre food and drink and masterful performance that you don't often find hanging out under the one roof. I think the neighbourhood's gonna [sic] love this, but I'm excited to give music-fans another compelling reason to visit Balmain". Guests can expect DJs on the decks every weekend from lunch until late, with some of Australia's most celebrated funk, soul, boogie and blues personalities set to curate bespoke sets for Elliott's courtyard showcase act each Saturday. Images: Leigh Griffiths.
The Swillhouse team has done it again. The crew behind heavy-hitting Sydney spots like Frankie's (R.I.P), Shady Pines, Restaurant Hubert and Alberto's Lounge lived out the dream of many Australians and bought a pub, taking over the reins at The Rocks stalwart The Phillip's Foote back in 2021. After a summer pop-up and a series of hiccups, we now have Le Foote, a combination wine bar, restaurant and pub adaptable to just about any situation. A good wine bar is something The Rocks has been pining for during its post-lockdown resurgence. If you're on the hunt to drop dimes on a standout cocktail, the waterfront suburb has a plethora of sleek spots from Doss House and Maybe Sammy to Alice and the Hickson House Distillery. But, what Le Foote brings to the area is a cosy spot to sample some of the world's best vino. European wines and minimal-intervention producers are the preferred selections on the refined but comprehensive drinks list that you can taste your way through from within the moody front bar or out in the paved al fresco street front. Next time date night rolls around or that promotion you've been waiting for finally hits, you can reserve a spot out the back of Le Foote where you'll find a playful, Mediterranean-influenced dining menu. Share one of the highlights from the grill — crispy roasted lamb belly, brown butter barramundi and Jack's Creek Black Angus striploin with salsa verde. Or you can opt for one of the two banquets. Option one moves through house focaccia, taramasalata, beef tartare, octopus with potatoes, the barramundi, bitter greens with an orange panna cotta to close it all out. The huskier set menu swaps the fish for the Black Tyde rib eye, adds in a cheese pie with native berries, and closes the meal out with a pairing of rum baba and banana parfait. There's also plenty of starters and snacks that you can enjoy with your dinner, or simply paired with a chilled red in the bar area. Sydney rock oysters, pork rillettes and scallop carpaccio all make appearances on the cold selections alongside mid-sized dishes like calamari and pancetta skewers and charcoal wild mushrooms with fetta. All of this is housed within the old two-storey timber pub on George Street, giving the entire experience a feeling that you're still squarely in your local watering hole (just taken up several notches). As with all of the Swillhouse venues, the impressive food and drink offerings at Le Foote are balanced out by a feeling that nothing should be taken too seriously. You're free to have fun, whether you're swinging past for a two-sip martini or settling in for the grand banquet. Images: Kristoffer Paulsen Appears in: The Best Pubs in Sydney
If seafood and fries is your idea of a perfect culinary pairing, then drop by Surry Hills' Loluk Bistro on Thursdays to enjoy as many mussels and fries — or, moules frites — you can stomach for $29. The stuff-your-face food event may not be a Harry Potter or Willy Wonka-themed brunch, but hot and fresh mussels is a pretty great way to help cure the midweek blues. The Bourke Street bistro — known for its southern French fare — is piling plates high every Thursday with steamed mussels and pommes frites, of course. Mussels come with your choice of one of three sauces: provençal, with tomatoes, garlic and black olives; mariniere, with shallots and white wine; and bleu, with roquefort cheese and cream. And you can keep ordering (endlessly) until you're full. Well, until the clock hits 10pm. But four hours should be more than enough time for you to get your mollusc fix. If you prefer your all-you-can-eat on the cheesier side, head in between 6–10pm on Tuesday or Wednesday night. The bistro is serving up unlimited raclette (and profiteroles for dessert) for $49.
When you're picking a sky-high drinking spot, one factor sits far above the rest. Obviously, that's the view. At Lady Banks Rooftop, a 360-degree panoramic vista awaits, boasting vantages as far and wide as the Sydney skyline and the Blue Mountains. Whether you're heading by for a mezze board or a drink from the 'spritz your way' lineup — the choose-your-own-adventure of spritzes, basically — that's something to say cheers to. Also on the menu here: a grazing-style spread of dishes that heroes local produce, whether you're keen on roasted beet salad, low-cooked lamb shoulder tagine with labneh and pomegranate or one of seven different types of pizza. And, while it may be located on Restwell Street in Bankstown, the rooftop bar doesn't actually take its moniker from the area. Instead, it's named after the Lady Banks rose, which is named in turn after Lady Dorothea Banks — wife of botanist Sir Joseph Banks, who does indeed give Bankstown its name. Appears in: The Best Rooftop Bars in Sydney
There's no time like the present to explore your own backyard, and if you're feeling like getting off the mainland Tasmania's mountain ranges, white sand beaches, lush wineries and fresh farmer's markets are all ripe for exploring. We've done the hard work for you and pulled together 20 of the most stunning stays scattered around the island. Find your ideal getaway nestled among the trees or backing onto a beach, pack the car and head down for a blissful retreat from your day-to-day routine. Recommended reads: Seven Unexpected Things You Can Do and See in Tasmania Your Essential Guide to Hobart The Best Places to Go Glamping in Australia Blackwood Park Cottage, Mole Creek This beautifully restored 1800s farm cottage provides cosy comfort among the Tasmanian mountain ranges. Relax in a super-scenic countryside setting and stare out at the rolling hills — including while enjoying your complimentary breakfast. From $170 a night, sleeps two. The Ocean Retreat, Falmouth Travelling in a bigger group? Don't shy away from a hefty price tag? This four-bedroom oceanfront retreat is fitted with a heated pool, an outdoor fire pit and floor-to-ceiling windows providing stunning uninterrupted ocean views. If you're lucky, you may even catch sight of a whale or dolphin from your living room. From $850 a night, sleeps eight. Aplite House, Friendly Beaches Run on solar energy and built from Tasmanian materials, Aplite House is an eco-friendly stay on the far east coast of Tasmania, just north of Swansea. Decorated with pieces from local artists and sitting on a 200-acre property within the Freycinet National Park, this is a uniquely Tasmanian stay. From $663 a night, sleeps six. Evandale Cottage, Evandale This recently renovated cottage is full of homely charm. It sits 20 minutes from Launceston, so holidaymakers can bask in the rural country feel of the town while still being a stone's throw from one of Tassie's most exciting cities. From $150 a night, sleeps four. Cressy House Estate, Longford Dating back to the 1800s, this history-rich estate is situated within the town of Longford. Find yourself among farm animals, far-reaching greenery and uninterrupted views of the Great Western Tiers. Make sure to pack your racquets as the estate comes equipped with a tennis court. From $310 a night, sleeps four. Captain's Rest, Strahan Sip coffee or mulled wine on the pier at this ultra-quaint waterfront property. Its remote location and minimalist aesthetic pairs well with the misty Tasmania atmosphere — and makes it perfect for a secluded getaway. From $575 a night, sleeps two. The Stable Lofts, Launceston Find the best of everything Tassie has to offer at this Launceston lodge. You'll be surrounded by a lush garden, and also just a short drive from some of the island's best rivers and reserves while still central to the city. Picnic along the River Tamar, hit up the Queen Victoria Museum and relax beside the property's sequoias — all in one day. From $293 a night, sleeps two. The Trig Studio, Lilydale This one-bedroom eco-friendly lodge on the slopes of Mount Arthur comes with everything you need to unwind and enjoy your holiday. It comes fit with an outdoor bathtub, organic breakfast items, Tassie wines, a wood fireplace, a library and a record player with records, so you may find yourself too comfortable to take on the scenic hikes and bushwalks surrounding the property. From $320 a night, sleeps two. Clock Cottage, New Town Inject some history into your trip to Hobart by staying in the former base of the Tasmanian Watch and Clock Company. This refurbished 1832 building sits across from a bakery, and is also a short distance from both MONA and the River Derwent. From $140 a night, sleeps two. Beehives on Denison, Douglas River This rustic cabin combines the best of the beach and the bush. Listen to the sound of the waves from the deck while surrounded by native Australian trees. From $180 a night, sleeps five. Coldwater Cabin, Miena You'll be hard-pressed to find a better-located stay in all of Australia than this cabin, which is hidden among the trees, looks out onto The Great Lake and is surrounded by superb wineries. Pack for the cold, though, as it's known to snow down here. From $283 a night, sleeps two. Black Wattle Coastal Retreat, Four Miles Creek This three-bedroom bushland property is an ideal stay for bigger groups looking to get away. It comes with stunning water views, a fire pit and an affordable price tag. From $460 a night, sleeps eight. Oceanfront Villa, Falmouth Situated just 50 metres from the ocean, this villa is perfect for a romantic couples retreat. Breathe in the sea air as you enjoy breakfast from the property's bench, then relax in the deep bathtub or take a leisurely stroll along the beach. From $313 a night, sleeps two. Whale Song Oceanfront Escape, Falmouth Originally built by a local fisherman in the 80s, this oceanfront house has been transformed into a comfort-first stay in Tasmania's northeast. It's all here: panoramic ocean views, indoor and outdoor fireplaces, an outdoor bathtub, and a range of beautiful local beaches and hikes. From $458 a night, sleeps four. Sea Stone, Swansea This newly built modern cottage provides panoramic views of Tasmania's east coast, as well as a perfect home base for exploring the beachfront or relaxing from the comfort of the private patio. From $825 a night, sleeps six. Candlebark Ridge, Saint Marys Craving a Tasmanian tiny home experience? Look no further than this off-grid, compact dwelling nestled on 18 acres of bushland. Enjoy the panoramic view of the Tasman Sea from the comfort of the luxurious king bed - uninterrupted by the bustle of civilisation. From $295 a night, sleeps two. At the Bay, Coles Bays At this sleek east Tassie stay, you can gaze upon the mountains surrounding Coles Bay from the comfort of your bed each morning — then hit the water via the local kayak hire. From $780 a night, sleeps four. Hazards Rim, Coles Bay Find this architectural beauty hidden amongst Freycinet National Park, just a short walk from Wineglass Bay. Escape the city to live among the trees with all the comforts of home. From $480 a night, sleeps four. Hobart Hideaway Pod, Kingston This environmentally friendly one-bedroom pod sits at the foothills of Mount Wellington, just 20 minutes drive from Hobart. Its simplicity — and its spot among nature — make it an ideal place to relax on a trip to the island's capital. From $198 a night, sleeps two. The Barn, Hobart This charming converted barn will find you smack-bang in the middle of the Hobart CBD, within walking distance from some of its best cafes, restaurants and bars. Here, you can experience the city without compromising the quaint cottage experience of the Tasmanian countryside. From $353 a night, sleeps two. All images courtesy of Airbnb. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
With his first feature, Samoa-born, New Zealand-based writer/director Miki Magasiva is living the filmmaking dream, all by championing what's important in his culture. Tinā, about a grieving mother who takes a job at a private school after the Christchurch earthquakes change her life forever, premiered at the Hawai'i International Film Festival late in 2024. Just over six months later, it's a homegrown hit that's earned so much affection from audiences in Aotearoa that the picture is now one of the most-successful NZ films in history. Sitting in sixth place as at mid-April 2025, Tinā is behind only Taika Waititi's Hunt for the Wilderpeople and Boy, then The World's Fastest Indian, Once Were Warriors and Whale Rider. For the year so far overall, it's second to A Minecraft Movie at the New Zealand box office. Taking on her first lead role after decades as an actor — on-screen, see: The Market, One Thousand Ropes, The Changeover, Filthy Rich, The Breaker Upperers, The Justice of Bunny King, Our Flag Means Death, The Rule of Jenny Pen and more — Anapela Polataivao wasn't envisaging this reaction, after she initially came onboard Tinā to help with the movie's development process without knowing that Magasiva had plans for to star. "Let's just say I did not anticipate this kind of response," she tells Concrete Playground. "You do the work and then you walk away and hope for the best, but this has been a continual — the response has been incredible, and mainly from our people, who are so appreciative of the work. And also a lot of the comments also are about their pride in the work, and visibility and for them being seen in our stories. So that's a great compliment." Did Magasiva foresee that Tinā, which takes its title from "mother" in Samoan, would strike such a chord? "Yes and no," he advises. "We were confident we had an initial script that people would enjoy watching. And then once we did the first round of edits, we knew we were onto something good that people would want to go and watch. However, having said that, the eventual response that we've gotten so far has been far beyond what we expected." "Touching on what Bels has just said before, you make these films and then you think 'that's it, my job's done. I'll just send it off — and if people go watch it, great. And if people don't go watch it, well, that's fine, too. We can't help that.' But having people come up to us and talk about their experiences, transformational experiences with family members and themselves, having gone through watching the film, is just way beyond what we ever expected. And so it's just been this really massive surprise for us that we're just so overwhelmed by and thankful for." Screening in Australian cinemas since Thursday, May 1, following its NZ release on Thursday, February 27, Tinā's origins mirror plenty of other movies in one regard: art imitating life. That said, Magasiva combined inspiration from IRL choir contest The Big Sing, the New Zealand choral festival for high schools that's been running for over 30 years, with not only tapping into Samoan culture but paying tribute to both the importance of connection and the leadership role of mothers. Mareta Percival, the heartwarming film's fictional protagonist, dotes on her daughter when the feature begins, encouraging her to make the most of her singing talents. Then tragedy strikes. While grappling with her loss, substitute teaching at a wealthy school becomes a necessity — and starting a choir that croons Samoan tunes proves a much-needed move for Mareta and her new pupils alike, even if some in the privileged community that's barely letting her in are vocal in their opposition. Tinā sits on Magasiva's resume after decades in the business as well, including earning acclaim for his shorts — Rites of Courage arrived in 2005, then Uso in 2006 — and working in television. The Panthers, of which he helmed two episodes, was the first-ever New Zealand TV drama series to screen at the Toronto International Film Festival. On We Are Still Here, an anthology feature directed by Indigenous filmmakers from New Zealand and Australia that opened the 2022 Sydney Film Festival, he was one of the behind-the-camera talents. His success with Tinā is far from overnight, then, but it might not have happened if he hadn't been so moved by online The Big Sing footage. With Magasiva and Polataivao, we also explored the journey from Tinā's first sparks to the tale that viewers are now being so touched by in cinemas — a story that puts the importance of moving forward collectively at its core; that is shaped by grief, and understands how mourning is so personal yet universal; and that also centres navigating cultural differences as a warm, hopeful film, while not shying away from the impact of attitudes of prejudice. And, we unpacked how Polataivo came to be its lead, what that achievement means to her, how Magasiva built Tinā's cast around its star and more. On Finding Inspiration for the Film in Online Footage of High School Choirs Miki: "It was hearing the choir performing. We grew up in churches, Samoan churches, listening to choirs, so we know it well. We have this sort nostalgic memory anytime we hear all of our old church choir songs. And so when I saw that, I was just so emotionally moved. I almost cried watching that video or that YouTube clip. I just thought that would make a great premise. I thought 'if I can just recreate some of the emotion that I'm feeling at the moment, I think we're on to something really special here' — and so I think luckily we've done a little bit of that." On the Path From Watching New Zealand's The Big Sing Competition to a Story About a Grieving Samoan Mother Getting a Job in a Private School in Post-Earthquake Christchurch Miki: "Well, it's a story process, much like you go through when you when you create stories. And what's always good is we had the end in mind, and so we wanted just to build towards that moment, that end. We were always working our way towards the end. So it's about 'who's the main character?'. And it's a drama, and so we try to create situations and journeys for her to get to that end — and put her into situations that challenge her, and put her into situations where she has relationships with others that really drives her towards the end there. And then when you're piercing these things together, you source techniques that you like yourself. There's a lot of comedy in the film, and so I wanted to infuse the storyline with a bit of comedy. And it seemed to work well, because it has this sort of mother-teacher relationship that I always find funny, and I think that that can be a really rich ground for comedy. Add into that a bit of emotion, add into that music, and then just drive the story towards the end — it's a really fun part of the process." On Polataivo's Initial Response to the Project — and Being Asked to Help Develop the Film Without Knowing That Magasiva Wanted Her to Play the Lead Anapela: "Yes, this guy — let's not go there." Miki: "I tricked her." Anapela: "He did. Because these things, I'm just so used to working as part of the team, being the assistant or coach or stuff like that. So when I come in to help, I don't have any other thoughts or any other preconceived anything. It's just like 'I'm going to help my friends'. So when these guys got the green light, and then I get the call saying 'hey, we had you in mind for it' — gosh, I was just like 'you little ...', all of the things. And then, of course, I think we did our first read — I had said yes after that, and then we did our first read where everyone was a mess and we were all in tears. And that's just when you know it's a family affair and it's going to work." On Polataivo Scoring Her First Lead Film Role After Decades as an Actor Anapela: "I think this is different. This was a different one, because it was more personal — so it wasn't like 'oh my goodness'; it was really like 'okay'. I didn't even think about being in the lead, either. I just felt like I was just part of the fabric of the story. There's so many moving parts. Yes, you may be driving the thing, but you understand, well I understand, you'll be able to play that — and to be helpful and to assist in the purpose of it. So it was not an 'oh my goodness' moment. It was an 'oh my gosh', because it's personal, it's family, and you just know. My partner would always say to me 'Bels, it's one shot, one shot for Miki, let's go' — with that tone. And I get it. It is. Any shot we get, it is a shot. And we don't take those things lightly, either. So we go and you pour all of yourself in there. And we do have a big sense of responsibility, as well, to continue." On the Importance of This Being a Movie About Community and About Moving Forward Collectively Miki: "It's everything. It is what we are to be Samoan or Pacific. It's just how we see the world. So right from the way we run our sets to the way we run our production, to the themes of our story, that's how we communicate — and that's how we see the world, and that's how we work. So it is everything to us. And so to have a film reflect those themes, it's really important and allows us to highlight our culture in a way to the world that communicates what it is like to be Samoan and what it is like to be a Pacific Islander, what it's like to live in New Zealand and Aotearoa. And I think a lot of communities around the world can resonate with that, can see something in that, that they connect with as well. So I think it's a very human condition." On Making the Specific and Personal Universal Through the Film's Story of Grief and Connection Anapela: "It's not a thing — it just is. It's only when we talk about these things and analyse, but they are just a way of being. It's like with Miki talking about in Samoan, we're talking at very young age about sharing, and also that you're not the most-important person in the line. If anything, you're the last, you're supposed to help. It's never ever about you. There's this quote that says 'I is we always in a Samoan village'. So it's that mentality. That's how we're born. We're born into religion. We're born into all these things that make us Samoan. That goes more into the nitty gritty of what it's like. But when you try to find all those nuances in her, to not only explore but to allow those things about her being Samoan to breathe on-screen, to bring life and to evoke — let's just say, some of the comments that I've read, and I know it's from non-Samoan viewers, are 'we get a window, we kind of understand now what that means to be a Samoan just through that story'." Miki: "And it is things that we think about when we're piercing it together as well, so that will be the heart of it. But we've tried to create a story that does feel universal, that everybody can connect with. So we're telling a story from a Pacific perspective, but we're telling a story that's a universal story. Those who go and watch the film will see that it's not all about just being a Pacific Islander. And we've had great success back home in New Zealand because the entire country has found something to connect with. And we've tried to build that into the story, when we pieced it all together — that it is about community and coming together, and cultural acceptance. A large part of our European community back home have connected with the film because it has those things in it, and it does deal with things that they can connect with and they find funny, and they can find some sort of connectivity back to how they grew up as well. So hopefully it is a universal story for everyone." On the Movie's Approach to Navigating Cultural Differences Miki: "I tried to put it this way: we're not trying to hide from our past, and we are saying that these things did happen — and actually continue to happen, let's face it. And we've dealt with a lot of that stuff both on the nose, both directly and a little bit more subtly in the film, too. But you have to have that backdrop to it. You have to have some sort of setup for the entire film to end up in a place that we hope everybody ends up, which is inclusiveness and working together and coming together despite our differences — that we can celebrate a culture and the richness of it, we can say that we have been through this and some of us continue to go through these, but we can work our way through it through cultural acceptance and working together as a community." On Building the Cast and the Choir Around Polataivo Miki: "It's an exciting part of it. So, all of our students had to sing in their auditions. They all sung songs to audition for it. We went through the natural casting process. But we got really lucky when we came across Antonia [Robinson, Mystic], who has a musical background herself. She's a great singer anyway. She sings in her real life. But she's also a wonderful actress. We absolutely love Antonia. She's very hard-working, she's super talented. We know she's going to go on to great stuff after this. And then we managed to also find and create students next to her, in Zac [O'Meagher, Uproar] and Talia [Pua, Happiness Is the Path] and Tania [Nolan, The Convert] who had their own unique traits that they could bring to the group as a whole. Outside of that, we also have lots of wonderful New Zealand actors in there. Beulah Koale [Next Goal Wins] is in there, and Nicole Whippy [Shortland Street] is in there. Jamie Irvine [Literally Dead] is in there." Anapela: "Alison Bruce [The Gone]." Miki: "Alison Bruce as well. So we've got all of these well-known and really experienced New Zealand actors that not only are around Bels, but also help support and stand next to Bels." Anapela: "And our guy from Perth." Miki: "And Dalip Sondhi [Better Man] as well, who I think is a wonderful Australian actor — from England originally as well, the UK. So it was just special to be able to build a cast to support that. And they were all just so wonderful and embracing the community spirit of what we were trying to create. They're all amazing in the film, so it's quite lucky — super lucky and grateful." Tinā opened in Australian cinemas on Thursday, May 1, 2025, and in New Zealand cinemas on Thursday, February 27, 2025.
If you love mezcal and Mexican fare, you need to add the high-end Oaxacan restaurant and artisanal mezcal bar Santa Catarina to your list. At this laneway locale, lit by soft lamps and natural light through its large streetside window, you'll find an outrageous collection of mezcal — with some expressions so rare you'd even struggle to find them in Mexico. The cosy booths feature tiling that evokes traditional Oaxacan interior design and velvety seats. Traditional woven plates adorn the walls to give the chic eatery a more relaxed feel. This is elevated further with live music every Saturday night. For $49 per person for a starter, main and side, the Fixe Lunch Menu includes guacamole, crispy squid, roasted chicken breast with coloradito mole and black angus flank steak with chimichurri. Dinner time offers more deliciousness with the extensive a la carte menu. There's a raw bar offering ceviche and fresh oysters, five types of taco, four iterations of traditional moles and a range of share plates, including lamb shoulder barbacoa, smoked duck breast and charred prawns. There are also two set menus if you want to avoid making decisions and instead focus on making your way through the six margarita styles.
Amidst the Qantas Centre, TNT head office and other similarly industrial commercial buildings, on the decidedly less cool (read: south) side of the city, lies a graffitied beacon of hope for the workers and residents that share the suburb of Mascot. For one thing, it's the first wine bar in the area. But it's also attracting a devoted daytime crowd for the Mediterranean-inspired menu, De Gabriel coffee and the contagious energy of owner, Elizabeth Woods (don't get her started on the coffee; she's what you'd describe as 'passionate'). On a corner site, it enjoys great exposure on the intersection of two main roads just up from the train station. The configuration is awkward but Woods and designer UI Building Studio have used it to create three different zones, each with its own feel — from the people-watching front counter to the restaurant-style banquette seating along the length of the venue and the relaxing bar/lounge area at the back (with balcony). It was nearly two years in the making but it's been a labour of love, with Woods' personality stamped all over it (and recorded in her blog). The small venue is made bright and inviting with a minimal materials palette — concrete and plywood punctuated by graffiti art by Alex Lehours, whose work Woods spotted at the Outpost exhibition on Cockatoo Island in 2011. We go after work to see it in its wine bar state and it's pretty packed. We start with one of the specials, prawn and corn fritters ($10), which is unusual and interesting, as are the grilled chorizo chips with spiced apple puree ($8.50). The Renegades Plate — an easy share option with grilled bread, tzatziki, tomato chutney and diced egg mayonnaise ($12) — is a winner when you pile some of each into a mouthful. The Mojito ($11) is well balanced and the 2010 Mandala Pinot Noir from Yarra Valley ($10 glass) just okay, but the winner is the 2010 Sons of Eden, Kennedy GSM from the Barossa Valley ($8 glass). Something that sets The Renegades apart is the forward-thinking focus on technology. They have an engaging social media voice and have just launched an app (Woods' husband was formerly in the IT industry). The app allows mobile ordering — perfect for an office worker who's running late. Simply choose from the menu, pay on credit or put it on your tab, and it's ready for pick up when you get off the train. Pretty neat. Renegade: An outlaw; a rebel. They definitely got the name right.
Newtown's 28-seat no fuss cafe One Another has garnered quite the following since opening in March 2019. Its casual 'non-trendy' vibes are matched by an accessible menu that locals can't seem to get enough of — the place is packed most weekends. "We want it to be a place with quality food where everyone can find something to eat, but without slavishly following trends," says co-owner and chef Louis Spangaro-McAllan, who jokes he's cooked at over 40 cafes in Sydney. He's joined by Mitchell Antman, who has made the rounds through some of the best cafes in the city, including Fleetwood Macchiato, Cornersmith and Sample Coffee — which now supplies the coffee for One Another. The duo has been through the ringer trying to open this joint, having first shown interest in the building back in early 2016. Both owners live nearby, and saw this as an opportunity to open a quiet neighbourhood spot on the back streets of Newtown, tucked away from bustling King Street. Though the cafe's '$20-and-under' menu has received much press, it is by no means a mantra at One Another. "We're lucky enough to have Mr. Shane Roberts as our veg merchant, which allows us to get away with serving a vegetable-heavy menu without compromising quality, and this has kept the price point below $20 so far," says Spangaro-McAllan. "But this is by no means our mission statement and I'm sure at some point there will be dishes over $20." At the moment, that menu includes regularly changing weekend specials. Take the wild asparagus — it's pan-roasted in miso butter and tarragon oil, paired with crispy potatoes and a poached egg, then sprinkled with pretty purple chive flowers. Other specialties include the burrata with cavolo nero salsa and chickpea pangritata, and the lamb sausage with roasted dutch carrots, black barley and a poached egg. The cafe's signature hot-smoked ocean trout can become a protein accompaniment to any dish — the gents recommend adding it to the potato croquettes with charred brussels sprouts, capers and anchovy dressing. Staples that have stood the test of the cafe's (short) time include bacon and egg rolls, silken tofu rolls and smashed avo on toast, topped with granny smith apples, pickled ginger and coriander. Simple comfort dishes like the cheese and pickle sandwich also makes the cut. One Another's version is stuffed with melted maffra cheddar and swiss cheese, piled high with bread and butter pickles and schmeared in house mustard. The attractive tables, chairs and stools have been lovingly made from recycled Australian hardwood, sourced from old warehouses down the coast. Images: Kimberley Low.
Right in the middle of Oxford Street, the Paddington Berkelouw bookstore reigns supreme as a drawcard for booklovers of all types. There are three storeys of new, secondhand and rare books ready for you to lose yourself in — and the best part is there's a cafe and wine bar upstairs, so that you can settle in for a hot chocolate and cosy up with a new book for hours on end. Aside from the latest Max Porter or Oyinkan Braithwaite fiction, the store has an extensive kids' book section when you're in need of a smart gift for new parents, plus there's a cabinet of curious face masks, body lotions and candles for last-minute self care or that rushed birthday gift. There's also a wall of locally crafted cards, a counter of indie magazines and every recent hardback you'd expect from a leading bookstore. Images: Destination NSW.
When you think about getting some culture, your first thought might be to dust off the ol' passport and hop on an eyeball-drying flight across the globe. But with tens of thousands of years of rich and complex Indigenous history in Central Australia, it's high time we appreciate the culture present in our own country. We've teamed up with Tourism Central Australia to highlight ten of the most soulful experiences the majestic Red Centre has to offer, from dot-painting against a backdrop of sheer red cliffs to candid conversations with First Nations artists. Want to plan your very own adventure to the Red Centre? Take a look at our handy trip builder to start building your custom itinerary now.
Arriving in a flurry of new openings for the Sydney CBD in the closing days of 2023, King Clarence marks the Sydney return of acclaimed chef Khanh Nguyen who's teamed up with the award-winning hospo crew Bentley Dining Group (the team behind Monopole, Cirrus and, of course, Bentley Restaurant + Bar). It's a case of the prodigal son returning home, Nguyen rejoined the group after cutting his teeth at the team's restaurants early in his career before moving down to Melbourne to open his wonderful restaurant Aru. The expansive venture celebrates Chinese, Japanese and Korean cuisine in a 100-seat space that co-owner Brent Savage describes as "fun, loud, and busy". The menu is designed around the kitchen's custom-built barbecue and live seafood tanks. Impressive highlights pulled from the tanks or placed on the grill include the signature grilled rock lobster, 14-day aged duck, whole roasted pork belly ssam and grilled miso eggplant. Choose your poison and pair it with a cucumber salad and spanner crab fried rice. Or, order a selection of lighter dishes, including the signature fish finger bao, woodfired edamame, lime and nori scallops, pork and prawn dumplings, and Spencer Gulf kingfish collar. Hate to choose? Never fear, there's a pair of set menus available for $95–154, depending on how extravagant you pictured your night. The next-level Signatures Menu runs through plenty of the above items, plus oysters, beef tartare, chicken liver skewers and coffee parfait for dessert. Matching the ambition of the King Clarence menu is the drinks on offer, especially the vino. Polly Mackarel, former Head Sommelier at Cirrus, is curating and guiding you through a wine list that's equal parts approachable and comprehensive. There are more than 40 drops available by the glass and plenty of bottles on offer for $100, with the list placing particular focus on rieslings, chardonnay and medium-bodied reds. Those looking to impress can even dip into the Bentley Wine Vault for a rare drop if the budget allows. This is one to get on your new restaurant hit list ASAP.
The crew behind the beloved pizza shop My Mother's Cousin is carving out a claim to be the go-to hospitality group for anything dough-related in Sydney's south. Not content with running one of the area's best pizzerias, the team is back with another standout venue in the form of Self Raised Bread Shoppe. Decked out in retro signage and awnings accompanied by a chequered lino floor and wood panelling, this welcoming cafe and bakery has just arrived on Jubilee Avenue in the Sydney suburb of Carlton. After perfecting the art of pizza dough at My Mother's Cousin, the team has brought their skills ten minutes further south to this bustling street just down from Jubilee Stadium. On the counter, you'll find a sizeable glass cabinet with that day's baked wares for sale. Expect kouign-amanns, croissants, filled doughnuts, tarts and cinnamon buns all ready to satisfy your carb-centric morning cravings. Those with less of a sweet tooth can opt for focaccia topped with tomato and ricotta, sausage rolls or a selection from the made-to-order sandwich menu. If you're heading in before 10.30am and on the hunt for something hot and hearty you have two choices. The first is the egg, cheese and potato hash on a milk bun with your choice of peppered ketchup or the specialty house sauce plus the optional addition of sausage — a perfect combo for a Sunday morning after a big night. The other option is your classic sourdough grilled cheese with mushroom as an optional added extra. From 10.30am until close, the sandwich selection expands to include mortadella, turkey, ham, and salami hoagies; tuna sandwiches loaded with dill, onion, cheese and pickles; a vegetarian delight that loads up ciabatta with artichoke, onion, rocket, parmesan and mayo; or a classic panko-crumbed schnitzel sambo on white bread. The final element of this hub for all things tasty is a four-door fridge and a set of shelves loaded up with deli good and refreshing drinks. Hot sauces, cold meats, sardines, olives, burrata, eggs, coffee beans and cans of iced tea — whatever you're on the hunt for, Self Raised is stocked up for your smallgoods needs. Self Raised Bread Shoppe is located at 45 Jubilee Avenue, Carlton. It's open 7am-2.30pm Wednesday–Saturday and 8am–2pm Sunday. Images: Melanie Colwell
Compared to the likes of Sydney, Melbourne and Brisbane, the Central Coast may not come to mind as a specialty coffee destination. Yet, away from the city crowds, close to the water and without the urban dwellers, are a number of local cafes serving freshly roasted brews in a sustainable and ethical manner. The best Central Coast cafes have not only brought the community together through a shared interest in specialty coffee and honest food, some have even helped revitalise certain parts of the coast.
Perusing the menu at Mentmore & Morley, one thing is very clear: the team behind this Rosebery eatery know its cafe fare. The menu is an expert curation of top morning meals; think ricotta pancakes, dukkha eggs and bacon and egg rolls. It's also punctuated with some left-of-field additions like bolognese mince on toast served with a poached egg and parmesan. What's more, it's gone full-steam on the classic brunch offering with a lengthy list of drinks. There are the obvious teas, coffees and juices, plus a most welcome addition of cocktails, wines and beers if you're so inclined. With a neutral palette, the fit-out is sleek, accented by indoor greenery and bold copper hanging lights. All in all, the cafe offers a fresh take on familiar territory, which is likely to see you want to visit again and again. Images: Kitti Gould.
Low and Lofty's doesn't pretend to be anything other than what it is: a destination for down and dirty good times. This no-nonsense spot is a riot of colour, music and kitschy Americana which is reflected in the food and drinks menu. The name of the game here is fried Texan-style finger food — think popcorn shrimp, hot wings, smoked BBQ ribs and poutine potato gems (deep-fried, bite-sized potato bites lathered in melted cheese, pulled beef brisket and gravy). There are a couple of salads on the menu, but then you'd be missing the point. The drinks inspiration shifts to the Caribbean, with rum the star of the drinks menu. Expect bottles from all over the Caribbean as well as more unusual selections from Australia, New Zealand, United Kingdom, Italy and France. The fun travels through to the cocktail menu, where the approach to ingredients is 'more is more'. Grab a cup and start your weekend off on a bright note. Images: JSR Visuals
Marrickville might already be home to some of the best pubs in Sydney, but Illawarra Road newcomer The Montague is doing things a little differently. The two-level hangout — formerly The Ritz — brings together the best of both pub culture and late-night bar life, with a nod to Sydney's ever-growing love affair with multi-venue hospitality precincts. The venue comes from Public House Management Group (also behind Paddington's The Royal Hotel and The Toxteth in Glebe), with interiors by Venari Projects and a focus on delivering two distinct but connected experiences. Downstairs, The Monty is a smart take on the modern Aussie pub — think local beers, elevated comfort food and space for everyone from footy fans to families. Upstairs is Harriet's, a velvet-draped cocktail lounge that swings from sultry midweek date nights to bottomless brunches, DJs and disco balls on weekends. [caption id="attachment_1016126" align="alignnone" width="1920"] Ethan Smart[/caption] There's a focus on food across both levels, and Executive Chef Scott Greve (Hatch) and Head Chef William Lesmana (ex-Hatch, 6HEAD) have crafted menus that reflect each venue's personality. At The Monty, you'll find pub classics — parmies, dry-aged steaks and nostalgic desserts — alongside more creative takes like charred prawns with salsa verde and chilli butter, fried cauliflower lifted with korma sauce, and a chargrilled pork chop with caper butter and smashed potato salad. It's still very much a pub at heart, though, with a host of weekly specials like $20 steak frites and free pool on Mondays, wings by the kilo and live sport on Thursdays, and a Sunday roast platter for two to round out the weekend. Things get a little fancier — but no less inventive — at Harriet's, with a snacks-smalls-and-shares menu that's just as suited to a low-key date night as it is to a lingering Sunday session. Here, you'll find the likes of wagyu beef tartare with pani puri, black garlic aioli and fermented green chilli; an 800g pork tomahawk with burnt apple, fennel and fermented herb salsa; and wagyu skewers with sous vide pineapple. It's confident yet eminently approachable, with pub trivia on Wednesdays, long-lunch specials on Fridays and bottomless brunch — with dishes like crab benedict, and fig and ricotta hotcakes — on weekends. The volume gets turned up on Saturday nights when the space becomes BAD Harriet's, which sees a rotating lineup of DJs spinning everything from soul and disco to big-room house from 9pm until midnight. [caption id="attachment_1016124" align="alignnone" width="1920"] Katje Ford[/caption] The drinks are just as considered for each venue. The Monty keeps things classic with rotating taps, a tight wine list and crowd-pleasing cocktails, while Harriet's brings the drama with tipples such as the Watermelon Sugar High, a mix of vodka, lime, watermelon syrup and pineapple juice that's as bright as the song it's named for, or the brooding After Hours, which layers Hennessy, cab merlot and dark chocolate with citrus and spice. If you're planning your visit around a drink or two, you're in luck. Weekday punters can take advantage of happy hour from 4–6pm, with $6.50 house schooners and vinos on offer. Swing by from 9–11pm on a Friday or Saturday night for two-for-$20 Hugo, limoncello or Aperol spritzes to cap off (or even kickstart) your evening. [caption id="attachment_1016120" align="alignnone" width="1920"] Ethan Smart[/caption] Images: Ethan Smart, Katje Ford.
Like show, like trailers: that's the approach that HBO is taking with getting everyone excited about House of the Dragon's return for season two. Fiery feuds are this show's baseline — this franchise's as well, since Game of Thrones was also full of them — so the Targaryen-focused series has scored not one but two new sneak peeks at what's to come. HBO is calling them "duelling trailers", in fact, in a first for the US network. There's also a trailer for the duelling trailers — because this pair of promos is all about getting audiences to choose a side. Given that the green and black councils are doing battle, one for King Aegon II (Tom Glynn-Carney, Rogue Heroes) and the other for Queen Rhaenyra (Emma D'Arcy, Mothering Sunday), the pair of House of the Dragon trailers also split their allegiances. Accordingly, viewers get a glimpse of the tale that's set to unravel from each camp's perspective. Just like winter, which is when House of the Dragon season two will hit Down Under — HBO also announced a Monday, June 17, 2024 premiere date with its new sneak peeks — the Targaryen civil war known as the Dance of the Dragons is coming, then. In the initial teaser for this season, Rhaenys Targaryen (Eve Best, Nurse Jackie) told her niece Rhaenyra that "there is no war so hateful to the gods as a war between kin — and no war so bloody as a war between dragons". Because this is the Game of Thrones realm, expect the events that unfurl in House of the Dragon to make good on that observation. Also returning in season two as the fight for the Iron Throne continues: Olivia Cooke (Slow Horses) as Alicent Hightower, Matt Smith (Morbius) as Prince Daemon Targaryen, Rhys Ifans (The King's Man) as Ser Otto Hightower and Steve Toussaint (It's a Sin) as Lord Corlys Velaryon, plus Fabien Frankel (The Serpent), Ewan Mitchell (Saltburn) and Sonoya Mizuno (Shortcomings). HBO is also adding new faces to the mix, with Clinton Liberty (This Is Christmas) as Addam of Hull, Jamie Kenna (Gran Turismo: Based on a True Story) as Ser Alfred Broome, Kieran Bew (Warrior) as Hugh, Tom Bennett (Black Ops) as Ulf, Tom Taylor (Love at First Sight) as Lord Cregan Stark and Vincent Regan (One Piece) as Ser Rickard Thorne. They join Abubakar Salim (Napoleon) as Alyn of Hull, Gayle Rankin (Perry Mason) as Alys Rivers, Freddie Fox (The Great) as Ser Gwayne Hightower and Simon Russell Beale (Thor: Love and Thunder) as Ser Simon Strong among the season two newcomers. When it premieres in June, House of the Dragon's second season will arrive two years after the first debuted in 2022. Game of Thrones was always going to spark spinoff shows. Indeed, when HBO started thinking about doing a prequel six years ago, before the huge fantasy hit had even finished its run, it was hardly surprising. And, when the US network kept adding ideas to its list — including a Jon Snow-focused series with Kit Harington (Eternals) reprising his famous role, novella series Tales of Dunk and Egg and an animated GoT show, to name just a few prequels and spinoffs that've been considered, but may or may not actually come to fruition — absolutely no one was astonished. So far, just House of the Dragon has hit screens; however, A Knight of the Seven Kingdoms: The Hedge Knight, the Dunk and Egg adaptation, is now due in 2025. WithHouse of the Dragon, Game of Thrones' first spinoff jumps back into House Targaryen's history. When it initially roared into streaming queues, it became an instant success. Accordingly, as it delivered more complicated GoT realm relationships, flowing long blonde hair, dragons, stabbings and fights for power — and plenty to fuel a drinking game, as we created — it was quickly renewed for season two. The series kicked off 172 years before the birth of Daenerys and her whole dragon-flying, nephew-dating, power-seeking story, and gave HBO its largest American audience for any new original series in its history when it debuted. If you're thinking that House of the Dragon is basically a case of new show, same squabbles, as it was easy to foresee it would be, you're right. It's pretty much Game of Thrones with different faces bearing now well-known surnames — and more dragons. If you haven't yet caught up with the show so far, it dives into the battle for the Iron Throne before the one we all watched between 2011–19. Paddy Considine (The Third Day) started the series King Viserys — and it's exactly who should be his heir that sparked all the Succession-style fuss. The words "succession" and "successor" (and "heir" as well) got bandied around constantly, naturally. Also, Australian actors Milly Alcock and Ryan Corr were among the stars. This latest adaptation of George RR Martin's popular fantasy books — based on Fire & Blood, specifically — is bound to continue on for more than just two seasons, but that's all that's confirmed for the moment. Check out the duelling trailers (and the trailer for the duelling trailers) for House of the Dragon season two below: House of the Dragon streams Down Under via Foxtel and Binge in Australia, and SoHo, Sky Go and Neon in New Zealand, with season two arriving on Monday, June 17, 2024. Read our full review of season one. Images: HBO.
Going to an AFL game on a Saturday afternoon is about much more than those two hours of on-field action — and it all starts with having a drink and a feed beforehand. After all, you're going to need all the energy you can muster to cheer on your team. So, we've teamed up with the Sydney Swans to round up a bunch of venues near the team's home ground, the Sydney Cricket Ground, that are perfect for a schooner and spot of dinner before a night game. All of these pubs and restaurants are within a few minutes of the SCG so you can round up the troops and get to the game with a full belly and ready to cheer on your favourite players in red and white.
It was a sad day in March when Ramen Ichibandori, one of Sydney's most loved ramen shops, closed its Neutral Bay restaurant. Now, having just wrapped up a pop-up at Gateway's Tokyo Laundry, the brand is officially closed for business. But Owner Libras Ting and Chef Hideto Suzuki have already moved on to their next venture, and it's fast becoming a lower north shore favourite. The initial idea for Sekka Dining was to showcase regional Japanese cooking, with a specific focus on Suzuki's hometown in the far north of Honshu island, near Hokkaido. But, with the hospitality scene the way it is at the moment, Suzuki has instead moved toward a simple izakaya set up. Ting and Suzuki do not plan to remain 'just another ramen shop', though, and expect to offer yakitori and à la carte dining in the coming months. For now, Sekka focuses on two main types of ramen broth — chintan (light and clear) and paitan (thick and cloudy) — split across five options: shoyu, shio, tonkotsu, black garlic tonkotsu and a vegan tomato ramen. Each comes topped with classic pork chashu and an umami egg. The tonkotsu varieties are offered in limited quantities and have been selling out each night, so be sure to get in early if you can. [caption id="attachment_777059" align="alignnone" width="1920"] Leigh Griffiths[/caption] To accompany the ramen, there are traditional izakaya snacks like karaage chicken with yuzu-chilli mayo, pork gyoza with house-made XO dipping sauce, smoked edamame and lotus chips. For drinks, the focus is on beers and highballs, with the former including Asahi, Hitachino Nest and Tassie's Moo Brew, and the latter ranging from the classic whisky version to an Aperol and bitter lemon spritz and an ume-groni. Sake, shochu and wine lists also make the cut. The interior is still in its humble beginnings, as the team is more focused on staying operational than the on the fit-out. Instead, they're using the top-notch food offering and Japanese hospitality to create the vibe. It seems to be working so far, with the restaurant's 30 seats currently booking out for dinner every night since the restaurant opening four weeks ago. More seating will become available as governmental restrictions continue to ease, too. Suzuki and Ting are holding off planning too far ahead, as COVID-19 keeps the industry on its toes, but down the line, expect to see a yakitori menu, along with one-off collaborations and Sekka-branded products to boot. Images: Leigh Griffiths
First, the obvious fact: everyone watched plenty of films over the past year. We all ploughed through our streaming queues, checking out everything and anything that each and every platform served up — and we did it for the bulk of 2020. What we didn't do, however, is spend as much time watching big-screen blockbusters. Cinema closures and postponed release dates will do that. Accordingly, unless Tenet whips up a huge box office windfall across the rest of December or Wonder Woman 1984 does hefty business when it releases at the end of the month, 2020's top movie moneymakers worldwide will end up being Chinese action epic The Eight Hundred and, from way back in January, the abysmal Bad Boys for Life. In one rare pleasant side effect of 2020, the lack of supersized Hollywood flicks has meant that a plethora of smaller movies have reached audiences since cinemas reopened Down Under. Some of them might've hit the silver screen anyway, but some wouldn't have — and there are gems in both categories. Alas, even with more on-screen real estate available for these type of films, they didn't all draw crowds. There are many reasons for that, because this hasn't been an ordinary year. But if you're wondering which absolute must-sees you didn't catch in 2020 but should've — including titles released both before and after the pandemic changed this year forever — we've run through the ten best flicks that didn't set the box office alight, but you should add to your catch-up viewing list. https://www.youtube.com/watch?v=mRMPdhQBlWs QUEEN & SLIM No one knows how a Tinder meetup will eventuate, but the events that unfurl in Queen & Slim don't fit into anyone's idea of a dream date. One of the points of this crime drama — which also doubles as a romance and a road movie — is that, for Black Americans, being hassled by the police for no reason isn't an unlikely outcome of a simple night out. After an unnamed criminal defence attorney (Jodie Turner-Smith, Jett) and a Costco employee (Daniel Kaluuya, Widows) chart the above path, they're forced to go on the run across the US, with law enforcement on their trails. The debut feature from music video director Melina Matsoukas (a Grammy-winner for her work on Rihanna's 'We Found Love' and Beyonce's 'Formation'), Queen & Slim knows that it's leads will always evoke comparisons to Bonnie and Clyde. In fact, the script by Master of None star Lena Waithe namechecks the figures in its dialogue. But as its titular characters' lives change drastically, this potent film combines a powerful message, dynamic performances and intoxicating imagery into one supremely stylish, textured and outrage-filled package. It'd be nice to say that Queen and Slim's world changes, too; however, they've always been forced to inhabit a space where their very existence was precarious due to racism, prejudice and police brutality, as every second of this haunting movie stresses. Read our full review. https://www.youtube.com/watch?v=1Qn70iqo-4Q MONOS Set in a camp of teen guerrillas, Alejandro Landes' Sundance's Special Jury Award-winning third film Monos follows gun-toting rebels that have barely said goodbye to childhood, but are still tasked by their unseen leaders with holding an American woman (The Outsider's Julianne Nicholson) hostage. Unsurprisingly, even with nothing around but fields, jungle, a cow to milk and occasional enemy fire, little goes according to plan. The relentlessness of modern life, the ongoing unrest in Colombia, and the ceaseless trials and tribulations that plague all teens facing adulthood — they all sit at the centre of this stunning South America-set thriller. Echoes of William Golding's Lord of the Flies are evident (and Joseph Conrad's Heart of Darkness, the book that inspired Apocalypse Now, too), but Monos firmly tells its own story. Engagingly lingering between a dark fairytale and a psychological treatise on war, combat and humanity's dog-eat-dog nature, the result is one of the definite standouts of recent years (of 2019, when it premiered overseas and did the rounds of the local festival circuit, and of 2020, when it finally released in Aussie cinemas). That status is assured thanks to everything from the eye-popping landscape cinematography to the needling tension of Mica Levi's (Under the Skin) score and the commanding performances from the young cast. https://www.youtube.com/watch?v=biHUTtV4K40 IN FABRIC Anyone can make a movie about a haunted house, as many a filmmaker has shown. Peter Strickland could, too — but a feature about an eerie piece of clothing is far more intriguing, fascinating and entertaining. Viewers should expect nothing less from one of cinema's inimitable auteurs, of course, with the lauded British writer/director not only conjuring up narratives that no other helmer ever would or could, but also consistently bringing them to the screen with a distinctive sense of style and mood. It was true of his last two festival circuit hits, Berberian Sound Studio and The Duke of Burgundy. That observation remains just as accurate with In Fabric, aka his haunted dress flick. In London clothing store Dentley & Sopers, bank teller Sheila (Marianne Jean-Baptiste, Fatman) finds the perfect red dress for her first blind date. It both fits and looks a dream; however, despite her initial delight, she discovers that the fabulous frock has quite the dark side. Fashion items can live many lives, so that's just the start of In Fabric's story — and, also starring Game of Thrones' Gwendoline Christie, I, Daniel Blake's Hayley Squires and The Mighty Boosh's Julian Barratt, this sartorial-focused horror-comedy is a lurid, imaginative and mesmerising gem. It's also the kind of movie you haven't seen before, and won't again. https://www.youtube.com/watch?v=atKsEdLKPLo&feature=emb_logo THE WOMAN WHO RAN Combine alcohol, conversation and a scene-stealing cat in one equally melancholy and charming movie, and not only is South Korean great Hong Sang-soo firmly in his element, but he delivers exactly the type of film that has won him a legion of fans. Given how prolific the director is, it'd be easy to assume that he'll soon run out of ways to combine his usual trademarks. Or, to expect that he'll eventually exhaust all of his ideas. But Hong's features never stop finding new ways to twist his favourite touches, themes and inclusions together (see also: Hill of Freedom, Right Now, Wrong Then and Yourself and Yours). In The Woman Who Ran, booze flows freely. Drinking plenty of it is Gamhee, as played by Hong regular Kim Min-hee (On the Beach at Night Alone). She's enjoying her first time away from her husband in five years, visiting friends around Seoul while he's off on a business trip. In Hong's typical fashion, much of The Woman Who Ran unfurls as the characters simply chat — about their lives, hopes, dreams, problems and, with a pesky neighbour in the movie's funniest moment, about feeding stray felines. His penchant for long takes, playful repetition and expertly timed crash-zooms are all used to winning effect, in a movie that slots perfectly into his busy oeuvre and yet always feels uniquely insightful. Also, and it cannot be stressed enough, look out for one helluva kitty. Read our full review. https://www.youtube.com/watch?v=srPas4PqCkw BEATS Beats knows how to start with a bang, letting the sounds of Ultra-Sonic's 'Annihilating Rhythm Part 1' echo from the screen in its opening moments. It's a savvy move — if viewers are going to understand just what electronic music means to the film's protagonists, early 90s-era Scottish teenagers Johnno (Cristian Ortega, One of Us) and Spanner (Lorn Macdonald, Shetland), then they need to not only see and hear it, but feel it deep in their souls. The delight on the duo's faces as they listen to the song down the phone to each other says more than swathes of dialogue ever could. Whether you're a fan of the same kind of tunes or not, you'll instantly be brought into the moment and the elation with them. And, from there, you'll ride every up and down this black-and-white film delivers, as the stage-to-screen adaptation from filmmaker Brian Welsh (The Rat Pack) peers into the broader scene just as the UK government was passing legislation to effectively ban raves. Johnno and Spanner are desperate to attend the very events the powers-that-be are trying to stamp out and, when they get their chance to head to what might be their first and last dance music festival, they go for it. Featuring a thumping soundtrack of old-school tracks, Beats serves up an insightful exuberant coming-of-age film from there, as well as a as a thoughtful and reflective social-realist drama. https://www.youtube.com/watch?v=lYl1DVIgbAg SHIRLEY Elisabeth Moss has had a great year. While the Mad Men and The Handmaid's Tale star has enjoyed a fantastic past decade, she turned in two of her best performances yet in 2020. First came The Invisible Man, which twisted the classic horror tale in modern directions, including exploring gaslighting and the lack of willingness to believe women. Then, in Shirley, she stepped into the shoes of horror and mystery novelist Shirley Jackson. This is a movie by Madeline's Madeline director Josephine Decker, though, so it as never going to be a standard biopic about the The Haunting of Hill House author. Indeed, Shirley is drawn from a fictional novel by Susan Scarf Merrell, focusing on Jackson's home life with her husband Stanley Hyman (Michael Stuhlbarg, Call Me By Your Name) during a 1964 period when teaching aide Fred Nemser (Logan Lerman, Hunters) and his wife Rose (Australian The Daughter star Odessa Young) come to stay. An agoraphobic, Jackson's routine is unsettled by her new houseguests, although an unexpected connection springs with unlikely kindred spirit Rose. In telling this story, Decker is far more interested in capturing the essence of Jackson and her sensibilities than slavishly sticking to facts, and her film all the better for it. Indeed, this subjective and engaging character study is daring, disarming, dark and, unsurprisingly, anchored by a pitch-perfect lead performance. Read our full review. https://www.youtube.com/watch?v=RMB7SpEvxOI RIDE YOUR WAVE When 19-year-old surfer Hinako (voiced by former Japanese pop idol Rina Kawaei) frolics around a seaside spot with her boyfriend Minato (fellow local pop star Ryota Katayose), it's a scene that's familiar from many a film. In the picturesque Japanese city of Chiba, the pair chat, laugh, stroll and see the sights, as plenty of couples have in similar situations. Actually, this duo does so twice. The first time plays out exactly as expected but, occurring well into Ride Your Wave, the lovestruck duo's repeat romantic rendezvous has a twist. In the kind of image that can only really be brought to the screen via animation, Hinako isn't spending time with Minato in the flesh the second time around — instead, she's dragging around an inflatable porpoise filled with water that, when she hums the pair's favourite song, manifests her boyfriend's spirit from beyond the grave. While Ride Your Wave hails from a different filmmaker to big Japanese hits Your Name and Weathering with You, this Masaaki Yuasa-directed film falls in the same heartfelt, gorgeously animated, emotionally sweeping realm. It clearly also has an element of the supernatural to it, focuses on a star-cross'd romance, and delves into love and loss as well. Sweet, charming, sensitive and a joy to look at, it's especially thoughtful when it ruminates on the latter, tackling tough emotional terrain with unflinching, heart-swelling honesty Read our full review. https://www.youtube.com/watch?v=hroo3-sKc0w HONEY BOY Following a child star's journey both as a 12-year-old actor (The Undoing's Noah Jupe) in a hit TV show and as a young man (Waves' Lucas Hedges) grappling with his time the industry, Honey Boy boils down easily to a one-sentence description — but this isn't an easy or straightforward film. Just what its protagonist Otis experiences at both ages, and how his youthful time with his ex-rodeo clown and Vietnam veteran dad James Lort (Shia LaBeouf, The Peanut Butter Falcon) leaves an imprint, proves complex, messy and resonant in this intimate feature. It feels personal, too, because it should. LaBeouf isn't just playing any father figure. He's stepping into the shoes of a version of his own dad. And, he's starring a movie that he wrote, that's based on his own journey from Even Stevens to Transformers and beyond. Brought to the screen by first-time feature director Alma Har'el, Honey Boy is raw, reflective and expressive as it wanders through LeBeouf's heart and soul, and it's an intense but rewarding work from everyone involved. This isn't an idealised, nostalgic look backwards, or a work of unfettered anger. Honey Boy, like LaBeouf himself, pinballs between multiple extremes. It should come as no surprise that this frank and sincere movie was penned while LaBeouf was in rehab himself — where Otis heads as well — and that it always feels like he's confronting issues he knows will never completely be resolved. Read our full review. https://www.youtube.com/watch?v=IZvrlkF4TjM&feature=emb_logo LUCKY GRANDMA Lucky Grandma might be the second American-produced film about a Chinese grandmother in as many years, but no one should mistake Sasie Sealy's feature debut for The Farewell. Both offer up something special, and their similarities are truly only superficial. Here, the titular elderly woman (Tsai Chin, Now You See Me 2) is first seen chain-smoking and glaring her way through a fortune teller's appointment. When Grandma Wong is told that luck is coming her way on a specific day, she's quickly on the bus to Atlantic City. And when she spies a hefty stash of cash in the bag belonging to the gentleman sitting next to her on the return ride home, she barely hesitates. This string of events comes with consequences, however, with local Red Dragon gangsters soon following her every move. To cope, the feisty senior enlists the help of their rivals, and pays the towering Big Pong (Hsiao-Yuan Ha) to stick by her side as her bodyguard. Chin, who has featured in everything from You Only Live Twice to The Joy Luck Club, is such a gruff, no-nonsense treasure to watch in Lucky Grandma — and Sealy smartly lets audiences peer her way closely and regularly. Sometimes, Lucky Grandma is a drama about a widowed woman trying to make the most of what's left of her life. Sometimes, it's a crime caper that's hopping around Chinatown with glee. In Sealy's hands, that combination always works. Read our full review. https://www.youtube.com/watch?v=wLmvs9Wrem0 COLOR OUT OF SPACE If you're going to task anyone on this earth with finding a blazing rock that has plummeted from the heavens and crashed down at a remote New England property — and in a big-screen adaptation of a short story by horror and sci-fi writer HP Lovecraft at that — you may as well give the job to Nicolas Cage. If you're going to ask any actor to run an alpaca farm and profess their love for the animals, too, you also know that he's just perfect. Thanks to its story about the fallout from said meteor, which turns the sky an otherworldly shade, unleashes both radiation and shape-shifting aliens, and sparks quite the wave of strange events, a film version of Color Out of Space would always garner interest. Cage has made some out-there and seemingly intentionally terrible movies in his career, especially over the past two decades, but this weird and wonderful effort doesn't fall into that category. It's bettered by his presence, because no one does unhinged and manic quite like the Vampire's Kiss, Face/Off and Mandy actor; however, filmmaker Richard Stanley (The Island of Doctor Moreau) turns this wild tale into an off-kilter, hallucinatory, kaleidoscopic, vibrantly pink and purple-hued spectacle. It occasionally lets it get a little too lost in its own delirium and can threaten to become a bit weighed down, but letting Color Out of Space's gleefully bonkers sights, sounds and story developments wash over you is all part of the experience. Read our full review.
Group getaways can often be social highlights of the year. But, between the group chat admin, Airbnb cleaning fees and boring, overpriced hotel rooms, deciding where to stay on a friend's trip can suck the fun right out of it before you've even arrived. In Bendigo, a new type of accommodation has landed, designed with group getaways in mind. Tasman Holiday Parks Bendigo has just launched its fleet of vintage-style caravans that are full of personality. Nicknamed Patty, Selma, Thelma and Louise, these four retro caravans are designed for travellers seeking accommodation with character. While the caravans look perfectly vintage on the outside, the insides are decked out with comfortable, modern amenities, including a queen bed, private bathroom, and kitchenette. Each caravan also comes with its own vinyl record player, lawn games, and access to a private fire-pit precinct to help you switch off and connect with your mates. The campsite includes access to a communal resort pool, laundry facilities, a camp kitchen, and a games room. Ultimately, the glamping caravans help you and your mates focus on making memories — all without the hassle of pitching your own tent or sleeping in a swag. The caravans are best suited to small groups, including low-key hen getaways, couples' trips or a quiet family holiday. Plus, given the parks' central Bendigo location, holidaymakers also have easy access to the Victorian city's incredible food and wine scene, galleries and botanic gardens. So, if you're looking for a glamping-style holiday that's full of character and a chance to log off and make some memories, consider booking a stay at Tasman Holiday Parks brand new vintage caravans in Bendigo. Book your stay now. Image Credit: Supplied
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.
