One day, glowing plants might provide enough energy to light up entire buildings. At least, that's the hope of Antony Evans, Kyle Taylor and Omri Amirav-Drory. They have the science to justify it, and the support behind their Kickstarter campaign to attempt its realisation. Their plan has been made possible by developments in synthetic biology over the past 30 or so years. Back in 1986, scientists cultivated the very first radiant seeds but discovered that their effectiveness required the addition of luciferin (the pigment that illuminates fireflies). Three years later, the luciferase-luciferin gene was sequenced. However, it wasn't until 2010 that researchers at the State University of New York managed to add the gene to plants, giving them a dim glow. Around the same time, on the other side of the Atlantic, the University of Cambridge's iGem team was recycling luciferase to create bacteria that beamed with the ferocity of Kryptonite. Fast-forward three years, and the aforementioned trio of scientific talents is building on these developments to hatch a plan that has the dramatic reduction of CO2 at its heart. They've already raised the $65,000 necessary to achieving their initial aim — the cultivation of Arabidopsis plants. Now, they're on the cusp of reaching their first stretch goal — $400,000, which will enable the development of glowing roses. So far, 6,981 backers have committed funds, to the tune of $395,135. Supporters who pledge $40 or more are promised a batch of seeds, meaning they'll be able to grow their own glowing plants at home. $150 or more buys a bioluminescent rose. The project has received the backing of some of the highest fliers in the fields of Genetics, Biotechnology and Biochemistry, including George Church (Head of Genetics at Harvard Medical School), Andrew Hessel (Autodesk Distinguished Research Fellow) and Austen Heinz (Founder of Cambrian Genomics). [Via Inhabitat]
In Sydney, we're blessed with an abundance of excellent places to eat. Whether it's a spot for date night, somewhere to catch up with your crew or just to break up your mid-week routine, you generally don't have to go far to find a great meal. Harris Park, a buzzing multicultural neighbourhood with a friendly village-like atmosphere, is certainly one such place. It punches above its weight when it comes to great places to eat in this suburb that sits just south of Parramatta. In partnership with the City of Parramatta, we've put together this list of the six must-try dishes in Harris Park. BYO stretchy pants. BUTTER CHICKEN DUMPLINGS Where to find them: Momozz, 104-108 Wigram Street What they are: Some of the greatest combinations in life are often the most unexpected. Did ice cream and fries walk so freshly steamed momos luxuriating in butter chicken sauce could run? Possibly. This signature serve from bustling diner Momozz is one of those dishes that makes you wonder why nobody thought of it sooner. Your choice of veggie or chicken momos are steamed to order, before being tossed in the restaurant's special butter chicken sauce — which itself hits the sweet, earthy and creamy notes you want it to — and finished on the plate with a generous helping of raita to bring the flavours together. We'd say these packages of pure pleasure do what they say on the tin, but that'd be underselling them. MEETHA PAAN Where to find it: Durga Paan and Falooda House, 3/14-20 Station Street East What it is: As one of the most ubiquitous snacks in the subcontinent, paan is everywhere in India — but it's a lot harder to track down in Australia. For the uninitiated, paan is a betel leaf stuffed with an assortment of ingredients and folded up into a bite-sized morsel (a lighting-fast yet hypnotic process which can elicit an ASMR response in some viewers), typically consumed as a post-meal treat or palate cleanser. Paan has such a legacy in India that it's endorsed by Ayurveda practitioners thanks to its being rich in carotene, calcium and vitamins, and also makes an appearance in the Kama Sutra. You can try the delicacy at Harris Park's Durga Paan and Falooda House, one of the very few spots in Sydney dedicated to the treat (and a TikTok favourite, too). There's a sweet (meetha), savoury (sada) and chocolate version available, but we love the sweet version. It's a texture-laden flavour bomb in which a fresh betel leaf envelops a colourful array of crunchy tidbits, dried fruits, fennel seeds, sweet chutney and desiccated coconut. Durga has also become known for its fire paan, which is by no means a hyperbolic misnomer. ZNOUD EL SETT Where to find it: SweetLand Patisserie, 55 Wigram Street What it is: This legendary Lebanese dessert — also known as a lady finger — is a bona fide indulgence. Especially popular during Ramadan as a post-iftar treat, these creamy and crispy pastries are a perfect pairing for a cup of coffee or tea. The version from family-owned SweetLand Patisserie is an excellent rendition of the classic dessert. Expect a beautifully rich and delicately flavoured ashta — which is similar to clotted cream — encased in layers of filo pastry which is wrapped into a finger-sized cigar, baked until perfectly golden and doused in a fragrant rose and orange syrup. It's then finished with a dollop of ashta and a drizzle of crushed pistachio. Stopping at just one might be a challenge. DAHI PURI Where to find it: Chatkazz, 14-20 Station Street East What it is: The clue's in the name here, folks. Think of dahi puri as the zingy cousin of the much-loved chaat pani puri. This one-bite wonder might be less well known than pani puri, but it is still definitely worthy of your attention. And Harris Park institution Chatkazz is one of the few places in town where you can get it. So, how does it differ from its similarly named sibling snack? The base of puffed, deep-fried bread filled with a layer of boiled potato is the same, but that's where the similarities end. Dahi puri sees hearty chickpeas packing out the crunchy base which is then topped with yoghurt, various chutneys, sev for extra crunch and finished with a pomegranate seed for an extra bit of depth. A true delight. MANGO KULFI Where to get it: Rocket Kulfi, 84/65 Wigram Street What it is: Perhaps one of the subcontinent's best-loved desserts, kulfi is often thought of as India's answer to ice cream — but that's not quite the case. Where ice cream is whipped before being frozen, kulfi is not, and the result is a more solid, dense dessert that's more like a frozen custard. Its density also causes it to melt more slowly than ice cream, making for less sticky fingers (at least in theory). As its name would suggest, Harris Park go-to Rocket Kulfi specialises in the frozen treat and uses a traditional recipe to create its range of classic and contemporary flavours. You'll likely want to work your way through the whole list of flavours, but you can't go wrong with the sweet, creamy mango. Bonus: the icy-pole sticks are made with 100% pure Australian milk and are also free of gelatin, artificial flavours and preservatives (Apk Ticket). LAMB CHOWMEIN Where to get it: Chulho, 59-61 Wigram Street What it is: Nepal's incredible cultural and geographic diversity means that its cuisine is really more like several cuisines under the one proverbial banner. There are a few dishes that are enjoyed throughout the mountainous, landlocked nation though — and chowmein is one of them. Thought to be introduced to Nepal by Tibetan settlers, chowmein has become one of the country's most popular and ubiquitous fast food items. The Nepali take on the Chinese stir-fried noodle dish doesn't stray too far from the version you've likely already had, but that doesn't mean it's not worth your time. Wigram Street restaurant and live music venue Chulho prepares its version with expertly cooked thin egg noodles wok-fried with a medley of fresh vegetables, soy sauce and a secret homemade sauce that adds a whack of umami. We love the lamb version, with the tender protein adding a layer of subtle sweetness to the palate. To discover more excellent eats and things to see and do in Harris Park, head to the website. Images: Nikki To
Through their Fresh Ink program, the Australian Theatre for Young People (ATYP) has been giving Australia's finest emerging writers space to play on stage, page, film and online. Their latest development under the banner of the Voices Project is worth checking out. It takes two heartbreaking monologues about first love and turns them into different but equally heartbreaking short films, which can be viewed online. Bat Eyes by Jessica Bellamy will give you a whole new appreciation of WH Auden, as it hones in on the fleeting bond shared between a teenage bully and his visually impaired, poetically charged target. The optometrist's office has never before seemed so romantic. Bat Eyes and its counterpart, Boot — about teenage recklessness and tense girl best-friendships — have been beautifully shot by director Damien Power. The great thing about the Voices Project is that it brings together young people from different backgrounds and disciplines, and it makes writers and viewers think about how storytelling changes from medium to medium. As well as the adapted short films, you can watch the original monologues (directed by Laura Scrivano) and see how they've changed while making the jump out of just one person's head. If you're under 26 and have your own thoughts on love to share, you can enter Fresh Ink's current Love Bytes competition, open until Friday, May 4. https://youtube.com/watch?v=qyDEEQoVqjY
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE INNOCENTS Thanks to his Oscar-nominated work co-penning The Worst Person in the World's screenplay, Eskil Vogt has already helped give the world one devastatingly accurate slice-of-life portrait in the past year. That applauded film is so insightful and relatable about being in your twenties, and also about weathering quarter-life malaise, uncertainty and crisis, that it feels inescapably lifted from reality — and it's sublime. The Innocents, the Norwegian filmmaker's latest movie, couldn't be more different in tone and narrative; however, it too bears the fingerprints of achingly perceptive and deep-seated truth. Perhaps that should be mindprints, though. Making his second feature as a director after 2014's exceptional Blind, Vogt hones in on childhood, and on the way that kids behave with each other when adults are absent or oblivious — and on tykes and preteens who can wreak havoc solely using their mental faculties. Another riff on Firestarter, this thankfully isn't. The Innocents hasn't simply jumped on the Stranger Things bandwagon, either. Thanks to the latter, on-screen tales about young 'uns battling with the supernatural are one of Hollywood's current favourite trends — see also: the awful Ghostbusters: Afterlife — but all that this Nordic horror movie's group of kids are tussling with is themselves. Their fight starts when nine-year-old Ida (debutant Rakel Lenora Fløttum) and her 11-year-old sister Anna (fellow first-timer Alva Brynsmo Ramstad), who is on the autism spectrum, move to an apartment block in Romsås, Oslo with their mother (Blind's Ellen Dorrit Petersen) and father (Morten Svartveit, Ninjababy). It's summer, the days are long, and the two girls are largely left to their own devices outside in the complex's communal spaces. That's where Ida befriends Aisha (Mina Yasmin Bremseth Asheim) and Ben (Sam Ashraf), albeit not together, and starts to learn about their abilities. One of The Innocents' most astonishing scenes — in a film with many — springs from Ida discovering what the sullen, bullied Ben can do solely with his brain. Indeed, one of Vogt's masterstrokes is focusing on how she reacts to the boy's telekinesis, as demonstrated by flinging around a bottle cap. Ida is almost preternaturally excited, and she's lured in by the thrall of what Ben might be able to do next, even though she can visibly sense that something isn't quite right. Another series of unforgettable moments arises shortly afterward when her new pal, lapping up the attention from his only friend, cruelly and sickeningly shows off without even deploying his superpowers. It's a deeply disturbing turn in a movie that repeatedly isn't afraid to find evident terrors in ordinary, everyday, banal surroundings, and Ida's response — horrified, alarmed, yet unwilling to completely cut ties — again says everything. Vogt doesn't shy away from intimating something that society often doesn't, won't or both: that childhood and innocence don't always go hand in hand. En route to their new home in the film's opening sequence, Ida is already spied pinching the non-verbal Anna just to glean what she'll do. Later, as conveyed in economical imagery lensed by stellar cinematographer Sturla Brandth Grøvlen — who already has Another Round, Last and First Men, Shirley, Rams and Victoria to his name, and uses blood here with haunting precision — she's seen escalating that pain-fulled experimentation in a gutwrenching fashion. This side to the girl's personality isn't played as a twist or shock, and neither are Ben's skills and proclivities, or the friendly Aisha's telepathic powers (including the ability to communicate with Anna). Instead, The Innocents is positively matter of fact about what its pint-sized characters are capable of, and also steadfastly avoids trading in simplistic ideas of good and evil, or offering up neat rationales. Read our full review. HOW TO PLEASE A WOMAN When Magic Mike stripped its way into cinemas a decade ago, it didn't just turn Channing Tatum's IRL background into a movie and give his chiselled torso oh-so-much attention; it understood that women like sex, boast libidos and have desires, too. Its sequel, Magic Mike XXL, doubled down on that idea, and winningly so — even if the saga dances with a notion so blatant that it definitely shouldn't feel revelatory to see it thrust front and centre in a big-budget Hollywood film. There's no trace of Tatum in How to Please a Woman, and it has nothing to do with the saucy franchise that has a third flick on the way, but this Aussie comedy nonetheless follows in Magic Mike's footsteps. Here, women also like sex, boast libidos and have desires, and that's something that the stuck-in-a-rut Gina (Sally Phillips, Off the Rails) turns into a lucrative business. When first-time feature writer/director Renée Webster begins her sunnily shot, eagerly crowd-pleasing leap to the big screen — following helming gigs on TV's The Heights and Aftertaste — Gina's relationship with sex is non-existent. She has long been wed to lawyer Adrian (Cameron Daddo, Home and Away), but he still thinks that having a tumble on their last holiday years ago is enough bedroom action to keep their marriage going. Gina's resigned to that fact, too, until her ocean swimming club pals book her a stripping surprise for her birthday. Tom (Alexander England, Little Monsters) shows up at her door, starts gyrating and undressing, and says he'll do whatever she wants. Although her friends are later horrified — and its their eagerness to truly take Tom up on his offer that inspires a brainwave — Gina asks him to clean her house instead. Men doing housework shouldn't be revolutionary or subversive either, but How to Please a Woman still uses it as a doorway to exploring other female yearnings that are often left unsatisfied. It's as cliched a move as Webster makes — and her movie makes plenty — but it's also part of the film's devotion to celebrating what women genuinely want. Here, a comedy can be overt, easy and obvious (all things that Gina's sex life isn't), and also delightfully well-intentioned in embracing a fact of life that's rarely given much attention, especially if women past their 30s are involved. Indeed, when a suddenly unemployed Gina, devastated by being the only one downsized out of the insolvency firm she dutifully works for, spots a removalist company she thinks she can save — by turning it into a male escort service, covering scrubbing and shagging alike, and both if customers would like — How to Please a Woman is both broad and joyous. There's a caper attitude to Gina's operations from there, after convincing Tom's removals colleagues Anthony (Ryan Johnson, Doctor Doctor), Ben (Josh Thomson, Young Rock) and Steve (Erik Thomson, Coming Home in the Dark) to widen their professional repertoire. She's skirting the law, Adrian's none the wiser, and the customers (including characters played by Blacklight's Caroline Brazier, Mystery Road's Tasma Walton, Rams' Hayley McElhinney and The Heights' Asher Yasbincek) keep coming. Sometimes, those between-the-sheets antics are clumsy, and Gina's new stable of prostitutes need a few pointers. That applies to getting their paying clients' homes spick and span, too. And, it also covers How to Please a Woman overall, which is always cosier and less risqué than its sex-positive, age-positive and female-focused premise implies. It also leans on the expected rather than takes risks, but remains wonderfully cast — especially Phillips — and gleefully wears its message about finding happiness by knowing what you need and going for it. LAST SEEN ALIVE Perhaps the most positive thing that can be said about Last Seen Alive is this: it's definitely a Gerard Butler-starring kidnapping thriller. That isn't meant as praise, though; rather, the film simply manages to be exactly what viewers would expect given its star and premise. There's clearly far less cash behind it than the also-terrible trio of Olympus Has Fallen, London Has Fallen and Angel Has Fallen — or Geostorm, Den of Thieves, Hunter Killer and Greenland among the Scottish actor's career lowlights over the past decade, either. There's visibly less effort, too, and more of a phoning-it-in vibe. The second collaboration between actor-turned-filmmaker Brian Goodman (What Doesn't Kill You) and producer/writer Marc Frydman after 2017's Black Butterfly, it plays like something that a streaming platform's algorithm might spit out in an AI-driven future where new movies are swiftly spliced together from pieces of past flicks. Yes, among Butler's output and with its abduction storyline, it's that derivative. Butler plays Will Spann, a real estate developer who already isn't having a great day when the film begins — but it's about to get worse. He's driving his unhappy wife Lisa (Jaimie Alexander, Loki) to her parents' home, where she's keen to decamp to find herself and take a break from their marriage, and Will is desperate to convince her to change her plans en route. His charm offensive isn't working when they stop at a petrol station mere minutes away from their destination, and he has zero charisma for anyone when Lisa unexpectedly disappears while he's filling the tank. Fuming that local police detective Paterson (Russell Hornsby, Lost in Space) hasn't just dropped everything immediately, and that he also has questions about their relationship, Will decides to chase down any lead he can himself. Meanwhile, Lisa's unsurprisingly wary parents (Queen Bees' Cindy Hogan and Master's Bruce Altman) direct their suspicions his way. Perhaps the most backhanded compliment that can be given to Last Seen Alive is this: it'd make a better Liam Neeson movie. Both Frydman's script and Goodman's execution feel like they're aiming for Taken; instead, even this year's dismal Blacklight looks better. With Butler in the lead, Will comes across as overbearing and insufferable rather than concerned and committed to doing whatever it takes — and nothing that the character does makes much sense as a result. He refuses to let the cops investigate because, basically, he's played by an angry Butler. He can't even wait at the petrol station that Lisa disappears from for seemingly the same reason. When he gets a tip about a suspect, he takes matters into his own hands rather than tells Paterson because, you guessed it, he's played by an angry Butler. Accordingly, the entire movie is little more than an exercise in answering the same question over and over again: what would a jerk of a character played by an angry Butler do in any given situation? It doesn't help that Last Seen Alive is shot as if the bane of every recently made television's existence, motion-smoothing settings, were already set in-camera. There's low-budget naturalism and then there's the flat, dull, soap opera-style look that this film sports. And, the special effects used for explosions simply demonstrate how vast the gap between unconvincing CGI and the real thing can be. Similarly doing the film no favours: the complete and utter absence of tension that stems from its central casting, and also its eagerness to prove as generic as possible. Little that Spann does is logical, but it's also ridiculously predictable because it's exactly what has to happen with Butler in the part. That he's easily and quickly overshadowed by Ethan Embry (First Man) in a thankless supporting role says everything it needs to. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31; April 7, April 14, April 21 and April 28; and May 5 and May 12. You can also read our full reviews of a heap of recent movies, such as Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke, Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara and This Much I Know to Be True.
UPDATE, April 19, 20201 The Invisible Man is available to stream via Amazon Prime Video, Binge, Foxtel Now, Google Play and YouTube Movies. In the latest version of The Invisible Man, Universal unwraps the bandages from one of its iconic horror figures in an astute, unnerving and thrillingly contemporary fashion. But it almost didn't happen, with the studio originally pursuing completely different plans. Let's all take a moment to thank the cinema gods that Tom Cruise's stint as The Mummy didn't work out. If his time dallying with Egyptian spirits had been a success, we'd now be watching Johnny Depp as The Invisible Man instead. That's what Universal's 'dark universe' — aka the studio's modern-day remakes of its old 1930s monster movies — had in store. Then the 2017 version of The Mummy proved a flop, forcing the company to change course. Suddenly, Depp's slated film disappeared into thin air just like the imperceptible man he was supposed to play. So too did an Angelina Jolie and Javier Bardem-starring take on The Bride of Frankenstein. And that left Universal with a gap — which Australian writer/director and Saw co-creator Leigh Whannell fills grippingly and convincingly with his top-notch update of cinema's most famous see-through character. In the Upgrade filmmaker's hands, The Invisible Man has been through some significant changes since HG Wells' 1897 novel and James Whale's 1933 first film adaptation. In fact, this movie doesn't really tell the eponymous figure's story, but that of the woman terrorised by the unseen guy. After years of suffering through an abusive relationship with hotshot optics pioneer Adrian Griffin (Oliver Jackson-Cohen), Cecilia Kass (Elisabeth Moss) works up the courage to leave him. Fleeing from his remote mansion in the middle of the night with the help of her sister (Harriet Dyer), she's petrified that he'll track her down and retaliate. But, as she hides out with a cop friend (Aldis Hodge) and his teenage daughter (Storm Reid), word arrives that Adrian has committed suicide — although when strange things start happening around Cecelia, she's convinced that he's still somehow messing with her. To not only make The Invisible Man today, but set it in today's world too, two areas needed to be addressed. The first is technology, recognising that turning a person invisible is far more plausible than it once was — and that being involved in someone's life without being physically present isn't just possible these days, but commonplace. The second is gender politics. Watching a man terrorise a woman sight unseen has very different connotations in the 21st century, as does the stalking and gaslighting that comes with it. Crucially, Whannell embraces the complexities of both areas in this thoroughly modern take on the tale, switching focus from villain to victim, and bolstering his narrative by pondering the underhanded capabilities of technology as well as the ongoing problem that is domestic violence. Accordingly, this slow-building version of The Invisible Man isn't an account of a scientist corrupted by his latest discovery, as seen in its predecessors. Rather, it's a portrait of a woman at the mercy of a man who'll do anything and use any means to get what he wants. The end result: psychological horror mixed with futuristic science-fiction and layered with a piercing societal statement, and it's as effective as it sounds. Of course, anyone who saw Upgrade will realise that this is the only interpretation of The Invisible Man that Whannell could've made. The Aussie filmmaker continues his fascination with body modification and tech-enabled surveillance, as well as his fondness for hyper-kinetic action, a pervasive mood of dread and tension, and a sparse, sleek look — plus his interrogation of the kind of society that, with not too many imaginative tweaks needed, we just might be headed for. Forgetting the terrible Insidious: Chapter 3, the only blip on his directorial resume to date, Whannell is swiftly establishing a reputation as a genre filmmaker with smarts, style and something to say — as well as the skill to combine all of the above into a thrilling, harrowing and engaging package. He also has canny casting instincts, with The Invisible Man as much Moss' movie as Whannell's. The Handmaid's Tale and Her Smell actor has had more than a little practice in this terrain of late — aka battling insidious enemies, navigating persecution, and devolving into distress, distrust and paranoia — and she draws upon that experience here. Indeed, watching someone face off against an unsighted foe can play as hokey or unintentionally comic, but not with Moss and her haunted yet determined stare taking centre stage. This definitely isn't the movie that Universal imagined when, high on dreams of building its own megastar-studded, monster-fuelled universe, the studio announced its now-defunct Depp-led project. That's something else to continue to thank the movie gods for — because no one needed Depp's usual daffy schtick wrapped in gauze, but cinema definitely does need Whannell's savvy, unsettling, spirited and refreshing The Invisible Man remake. Great horror movies have always reflected and responded to the times they're made in and, in the same vein as Jordan Peele's Get Out and Us, The Invisible Man helps lead the charge as the 21st century reaches its third decade. This is a socially conscious, savagely creepy, supremely clever reinterpretation of a classic scarefest that takes every part of that equation seriously. https://www.youtube.com/watch?v=KLAJyugYEiY
Her Banana's delicate handmade jewellery is the perfect way to treat yourself — or gift a friend, if you have the self-control. The small boutique store and studio focuses on minimalist designs that have a timeless quality, showcasing a collection of reasonably-priced rings, earrings and necklaces made of stirling silver and 14k gold. This is the sort of understated jewellery that will transcend seasonal trends. There's also the alluring opportunity to personalise your own piece, through lettering, length, engraving — or just about anything else you can think of. Visit the King Street shop and studio to purchase your own dainty design; or bring your special someone and not-so-subtly peruse the custom-designed engagement ring section together. Whatever your intention, staff go the extra mile to ensure you walk out the door happy.
Honestly? I've never considered a cruise holiday before. So when an opportunity came up to see New Zealand by boat I jumped at the opportunity, but given that my only reference for travelling on water was a round trip on a Sydney ferry, I truly didn't know what to expect. In the end, it turned out to be the voyage of a lifetime — being greeted by bottlenose dolphins as we coasted by Milford Sound's soaring cliffs at sunrise, sipping Aperol Spritz while gazing at ocean sunsets from the ocean, and eating our weight's worth of meals on the ship's many restaurants. Here's an account of how the trip went down here. FIRST IMPRESSIONS When me and my partner boarded the ship, we made a beeline straight to our new home-away-from-home: a surprisingly spacious room with a luxurious king size bed, cosy living space, fully stocked mini bar and private verandah which served as home base for many room service breakfasts and sunset drinks. After settling in, we were ready to explore the labyrinth of amenities. If you're anything like me (a complete cruise novice), you probably hazard a guess that a cruise ship is akin to a large resort with a pool, some snazzy restaurants and a few shops. What you might not realise — and what I quickly discovered on board the Celebrity Eclipse (the vessel I traveled on, one of many from the Celebrity Cruises fleet) — is that the inside of a cruise ship is more comparable to a mini floating city. It had everything from a giant broadway theatre, spacious grass lawn, basketball court, and more pools, spas, restaurants, bars and shops than you could count on your fingers and toes. CRUISE CUISINE When it came to its dining options, the Eclipse really blew my expectations out of the water (pardon the pun). From immersive 3D concept dining at the Le Petit Chef, to ocean-fresh sashimi and caramelised gingerbread with wasabi gelato at Sushi on 5, to the fully stacked and ever-changing buffet that you'd anticipate on a cruise. The Le Petit Chef 3D projection dining experience was a strange highlight — watching a tiny 3D-animated chef prepare tomato tartine in front of you while you are 100km away from land was a surreal experience to say the least. Another culinary highlight was Murano, a restaurant where chefs masterfully prepared traditional recipes like lobster bisque in front of your very eyes. This is clearly a difficult thing to express in words and kind of just needs to be experienced. The all-inclusive dining options were also well worth writing home about. Between the crowd-pleasing menu at the chic Moonlight Sonata with well-executed retro classics like prawn cocktail, creme brulee and New York cheesecake, to the clean eating options at Blu, which boasted biodynamic wines and dishes like Beyond burgers, black truffle gnocchi and tuna tataki with spicy mango scallions. [caption id="attachment_900893" align="alignnone" width="1920"] Room service breakfast on the balcony of a Celebrity Cruise cabin[/caption] And when it came to drinks, you couldn't find a more picturesque place to sink back a beverage. From the breezy Sunset Bar with sweeping ocean views, to the cosmopolitan Martini Bar with top-notch bartenders, or the premium concoctions at Blu with names like Nightfall Elixir and Garden Breeze and tasting notes of fresh crushed strawberry, maple and Veuve Clicquot. (We had the classic drinks package which entitled us to unlimited drinks in the 'classic' category, which included everything from beers to bubblies). ENTERTAINMENT AT SEA (AND LAND) If you've ever wondered what one does on a 12 day cruise besides eating and drinking, I was surprised to discover it's a whole lot more than you might expect. Cruise guests are encouraged to download an app that surfaces a menu of entertainment and experiences for each day of the journey. The seemingly endless list of activities included everything from Broadway shows with acrobatics to rival Cirque Du Soleil, to an endless supply of luxury treatments and massages at the spa and salon. If you want to get your daily steps in, the Eclipse features a substantial running track, a premium gym and fitness centre and plenty of workout options from barre to boxing. Which brings me to my next point, which everything that happens onboard it's surprisingly easy to forget that you actually get to visit the incredible travel destination that is New Zealand. We had a whole host of New Zealand cities on our cruising agenda - from the staggeringly beautiful Milford Sound, to the cultural hub of Wellington - and each city we saw came with a curated list of Celebrity's shore excursions. Our most memorable excursion saw us hopping on board a WWI-era train through New Zealand's wine country, beginning in Picton and travelling through Marlborough's lush hills and valleys where 85% of New Zealand's wines are made. We enjoyed complimentary wine tasting, lunch and views that could only be described as cinematic. This was definitely one for the proverbial picture books, or Instagram Story highlights. [caption id="attachment_900843" align="alignnone" width="1920"] The view from on board the train during the shore excursion in Picton[/caption] WOULD I CONSIDER FUTURE CRUISES? Overall, going on a cruise was one of the most unique and memorable holidays I can recall. While being away from land was something I'd never experienced, the whole encounter made being away from home feel very homely indeed from the ultra lush rooms to the endless entertainment, and some of the kindest hospitality and staff I've encountered on any type of holiday. If you want to be the main character on your next trip, satisfy your wanderlust without having to pack and unpack your bags, and eat and drink to your heart's content a cruise holiday is an option I would definitely consider again. If you're curious about doing some cruise-based exploring of the Southern Hemisphere yourself, Celebrity Cruises has announced the arrival of one of its most luxurious ships yet: the Celebrity Edge which will debut Down Under in late 2023 or early 2024, allowing you to traverse the coastlines of Australia, New Zealand and the tropical South Pacific including Bali. Set to rival the world's most luxurious land-based resorts, the 2023/24 intake promises to reimagine cruise travel with some of the world's most indulgent on board amenities. Concrete Playground travelled as a guest of Celebrity Cruises. Main image: The view from Celebrity Eclipse near Dunedin on the South Island of New Zealand
Since opening its first shop in Taiwan in 2006, Gong Cha has already grown to 1500 stores globally. And, because that's clearly not enough, the brand also operates the first boba tea shop at sea. Gong Cha's luxury cruise liner — dubbed the Majestic Princess — sails all around the world, from Alaska and Europe to Tahiti and the Panama Canal. It also offers guests 15 different teas to choose from, including a trio exclusive to the cruise. If you'd rather get your Gong Cha fix on land, you can choose from a whopping 36 stores in Sydney, stretching from Campbelltown to Castle Hill to Penrith and everywhere in between. It's a big menu, so newbies should go for one of the top ten — which includes milk tea with pearls, mango and jellies, matcha red bean and milk foam green tea. Plus more unusual items like rosella plum tea with white pearls and lemon-roasted melon with basil seeds.
No one loves long-haul flights. If you don't have the cash to upgrade your seat, no one loves trying to get some sleep when you're soaring through the air for nine, 13 or even 17-plus hours. But thanks to Air New Zealand's new economy skynest, getting some shuteye midair is about to get a whole lot easier — come 2024, when the airline's new Dreamliners will take to the skies. First announced back in 2020, and now confirmed to come into operation in just two more years, Air NZ's economy skynest is a first-of-its-kind option that'll feature six lie-flat pods. Yes, they look like bunk beds on a plane, and you'll be able to slumber in them while zooming to your destination. If it sounds like a game changer, that's because it is. Back in 2020, Air NZ announced the pods as part of filing patent and trademark applications, and noted that it'd make a final decision on whether they'd come into effect within a year. That go-ahead might've arrived a bit later — aka now, not in 2021 — but that doesn't make it any less exciting. "New Zealand's location puts us in a unique position to lead on the ultra-longhaul travel experience. We have zeroed in on sleep, comfort and wellness because we know how important it is for our customers to arrive well-rested. Whether they are heading straight into a meeting or to their first holiday hotspot — they want to hit the ground running," said Air New Zealand Chief Executive Officer Greg Foran. "It's a proud moment to finally unveil five years of hard mahi, in what truly is a cabin of possibility. One that will provide customers with options to get some shut eye wherever they're sitting." While the full details are yet to be revealed, when they were first announced, the pods were intended to include a full-size pillow, sheets, a blanket, ear plugs, privacy curtains and lighting designed for sleep. The airline also said it was exploring other features such as separate reading light, personal device USB outlet and ventilation outlet. Also on the way: new business premier luxe suites and business premier seats, if you are flush with cash. The former will include a door that closes, plus a space to dine; the latter will let you share your nest with a friend if you're in the middle row. The new Dreamliners will also feature premium economy seats, with more protected space to recline without annoying the person behind you; economy skycouch, so you can spread out, lie down and sleep; and economy stretch, with more leg room than a regular seat. And, those usual seats will get more storage space, a 50-percent bigger entertainment screen, and bluetooth audio and pairing. Also, the aircrafts will feature care stations in the premium economy and economy cabins, letting travellers stretch their legs, grab a bite to eat and get a drink whenever they wish. Design-wise, the planes' interiors will take cues from Aotearoa in a number of ways, too — such as carpet inspired by the forest, and nodding to the tūī in the seats. Air New Zealand's Economy Skynest will be available from 2024. For more information in the interim, visit the airline's website.
As Dale Kerrigan in the iconic Australian comedy The Castle, Stephen Curry famously dug a hole. Twenty years later, in Hounds of Love, he's splashing blood around, kidnapping young women, and just generally digging his character into trouble. Curry has popped up in everything from Neighbours and The Wog Boy to The Cup and Save Your Legs! in the years since his breakout role, but you've never seem him quite like this. His utterly against-type turn is just one of the factors than ensures this serial killer thriller makes for extremely jolting viewing. Set in Perth during the sultry summer of December 1987, and inspired by real-life crimes in the area at the time, Hounds of Love steps inside the turbulent marriage of John and Evelyn White (Curry and Emma Booth), a couple that likes to lure teenagers into their car and house. There's no mistaking John's sinister motives, or that Evelyn is not quite as willing a participant as she pretends. When they pick up 17-year-old Vicki Maloney (Ashleigh Cummings) as she's sneaking out of her freshly divorced mother's home one evening, their new captive is quick to spot the imbalance at the heart of their relationship. Exploiting that rocky dynamic will prove crucial for the young woman after she's drugged, chained to a bed and forced to fight for her life. While Curry turns in an astonishing performance that no one will forget in a hurry, this isn't a one-man show. Booth and Cummings are even more commanding and revelatory as two women immersed in a hellish domestic nightmare not of their own making – one equally fragile and determined, the other an enterprising survivor. Together, the actresses help illustrate the film's real thematic focus. Indeed, first-time writer-director Ben Young isn't merely concerned with the sociopathic underside of a seemingly ordinary-looking man; many a movie has been there and done that before. Hounds of Love still features a few predictable twists and turns, but at its heart the film is a deeply unsettling exploration of the way that men dominate and victimise women — be it their long-term partner or a fresh-faced stranger. Violent deeds fill the movie's frames, some seen and others only hinted at. But it's the savage psychological damage brutally inflicted on Evelyn and Vicki that ultimately has the strongest impact. Of course they're not the only ones left feeling uncomfortable, and that's putting things mildly. Dread and unease seeps through the film, with Young setting out to evoke the same kind of distress in the audience. If Snowtown tested your mettle, consider yourself warned. It's a handy reference point. Like Justin Kurzel's first feature, Hounds of Love is a highly unsettling debut that heralds the emergence of a promising new Aussie filmmaking talent. https://www.youtube.com/watch?v=SqCXqWdlKrk
Pack your bags, book a flight, grab your winter woolies, and get ready to head to Hobart. For yet another year running, the Museum of Old and New Art is making Tasmania the place to be with events more weird and more wonderful than ever before. Yep, they've unveiled their stellar Dark Mofo 2016 lineup. From June 10 to 21, the museum every mainlander wishes was in their home city is unleashing its unique brand of large-scale art, food, film, music and just general light, noise and mayhem upon the apple isle. It's the kind of cultural pandemonium that has inspired more than 130,000 people to make the trek to Tassie in previous years. Now that's how you celebrate the winter solstice. One-off installation Asylum, set inside a historic mental institution, includes a 72-hour, non-stop performance by artist Mike Parr — and it only accepts mirrors (yes, those shiny things you can see your own reflection in) as an entry fee. It's the type of event most festivals can only dream of, so, naturally, it's on the Dark Mofo program. So is Ryoji Ikeda's supersymmetry [experience], which springs from his 2014-15 residence at the European Council for Nuclear Research, the home of the Large Hadron Collider, and will become the latest addition to the MONA collection. With the Juliana Engberg-curated exhibition Tempest bringing a blend of piracy and wild weather to the Tasmanian Museum and Art Gallery at the same time, that's part of the Dark Mofo shenanigans as well. And it includes Event for a Stage: the Australian premiere of a new stage-to-film exploration of the acting and the creative process made by Turner Prize-winning Young British Artist Tacita Dean OBE, starring Game of Thrones' Stephen Dillane, and shot live during the nineteenth Biennale of Sydney. If that's not enough to inspire a mid-year pilgrimage, then perhaps a public art playground filled everything from swinging pendulums to LED light drawings that transcribe the patterns of the wind will be. Yep, the dockside Dark Park is the place to find Divination, Nancy Mauro-Flude's thirties-era cabaret crossed with a cypherpunk internet cafe; A Galaxy of Suns, where Michaela Gleave and the Tasmanian Symphony Orchestra Chorus turn constellations into scores; and the disorienting chamber of kaleidoscopic reflections that is Christian Wagstaff and Keith Courtney's House of Mirrors, too. We're noticing a theme here. [caption id="attachment_567185" align="aligncenter" width="1280"] The Bacchae. Image: Pia Johnson.[/caption] And really, that's just the beginning. Performance-wise, pop-up space Block Box will play host to a whole heap of pieces — although it depends if Lustmord's dark ambient tunes or hallucinatory theatrical event The Bacchae, a dream-like invocation of excess and violence as told through the eyes of teenage girls, is your kind of thing. Music fans will want to flock to Hymns to the Dead, where death metal gets its due, or to Rivers and Streams, the only Aussie show by Ukrainian maestro Lubomyr Melnyk, aka the fastest concert pianist in the world. Anyone fond of costume balls can don their best gothic threads for The Funeral Party — and given that it's set at Turnbull Family Funerals, it's certain to be as dark as it sounds. Plus, film buffs should expect another fright-inducing feast of sinister cinematic delights, such as heavy metal horror effort The Devil's Candy. Dark Mofo isn't just about all things new and exciting, though, with a couple of old favourites also returning. Late-night event Blacklist will turn both weekends into an art party, and the Winter Feast will serve up another communal banquet. Don't forget to purge your fears with the annual burning ritual of the ogoh-ogohs, and take part in the Nude Solstice Swim after the longest night of the year. Basically, whatever type of activity floats your boat, you'd best get on one — or another type of landmass-hopping transport — to take part. With a lineup this killer, you know you're going to kick yourself if you miss it. Dark Mofo runs June 10 to 21 in various locations across Hobart, Tasmania. Tickets are on sale from 10am on Monday, April 20 from the festival website.
There's an international day for everything these days, but regardless of this saturation of the market, we're still pretty damn happy there's an International Hummus Day. And seeing as it's today, we thought there was no better time to dig into a mass bowl of the stuff. But before you go to Woolies to buy a tub of hummus and a packet of corn chips, just hang on for a seccy. We've convinced the guys from Thievery to slip us their burnt butter paprika hummus recipe. If you've had this at their Glebe restaurant, you'll know it's about as out of this world as hummus could possibly be. So before your mates come over for a few glasses of plonk tonight, whip this baby up — you'll just need a blender, a packet of chickpeas and a few other basic ingredients. While you're at it, you might want to make their baba ghanoush too. Thievery's Burnt Butter Paprika Hummus 1kg dry chickpeas 1500ml water 16g fine sea salt 80ml fresh lemon juice 80ml extra virgin olive oil 4g crushed garlic 120g tahini For the paprika burnt butter 100g butter 10g paprika Method Soak the chickpeas in water overnight and cook until soft and tender. This will take about two to three hours. In the morning, strain the chickpeas and then blend until the consistency is relatively smooth. Reserve some of the liquid to add back into the mixture (about one cup will be enough). Blend the chickpea puree with the oil, salt, lemon juice and garlic. If the mixture is too stiff, add a little of the liquid to ensure the hummus comes out with a smooth and silky consistency. In a bowl, whisk together the tahini and any extra salt to taste. For the burnt butter, melt the butter over a low heat until the milk solids separate. Leave it until the butter turns a golden brown (this usually happens at about 150 degrees celsius). Whisk in the paprika. Pour the burnt butter paprika mixture over the hummus. Then get stuck in. Image: Nikki To.
Marrickville locals and Sydneysiders who love sweet treats, we've got devastating news: Donut Papi has announced that it'll be shutting its doors at the end of July. Renowned for its inventive flavours and extremely high turnover rates, the Marrickville Road spot will no longer be slinging its coveted Asian-leaning doughnuts, which have secured a spot on our best doughnuts in Sydney list many a time. Kenneth Rodrigueza, the man behind the spot, and the Donut Papi crew announced the heartbreaking news on Thursday, June 13 via Instagram. View this post on Instagram A post shared by DONUT PAPI SYDNEY DOUGHNUTS & COFFEE (@donutpapi) "To be completely honest, it's a tough game out there," said Kenneth via Instagram. "I am very proud of Donut Papi for making it to nine years and for obvious reasons why we are closing, I think we want to celebrate this little donut business of ours." Including from its former home in Redfern, the beloved eatery has made its way into the hearts of Sydneysiders since 2015. Its wide-spanning doughnut selection — which isn't afraid to be bold, raunchy and boundary-pushing — stars flavours from calamansi poppyseed to pandan coconut and Thai milk tea, as well as the classic cinnamon-dusted variety and an original glazed option. Plus, Donut Papi's energetic social media presence has catapulted its popularity, with weekly flavour launches gathering further excitement among its fans. To honour its final days, Donut Papi will continue to drop its weekly specials, but will bring back popular flavours from the graveyard. This range will include the likes of its Indomie-starring creation, and has been titled as the dessert eatery's greatest hits. Find Donut Papi at 139 Marrickville Road, Marrickville, open from 10am–5pm Wednesday–Sunday, until the end of July 2024.
Not once, not twice, but three times during the 21st century, movie-goers have watched Peter Parker get bitten by a radioactive spider. We've witnessed the aftermath more times than that, too, thanks to three different Spider-Man franchises, all with multiple entries, starring three different actors as the web-slinger. But whether you prefer Tobey Maguire, Andrew Garfield or Tom Holland's version of the character, every single live-action Spidey film pales in comparison to 2018's dazzling animated effort Spider-Man: Into the Spider-Verse. The Oscar-winner is the movie that gave us a spider-woman, spider-robot and spider-pig, as well as Nicolas Cage as a 30s-era spider-vigilante, so it was always going to be a delight — and it's getting a sequel. Even better: it's getting two follow-ups, because Spider-Man: Across the Spider-Verse will hit cinemas as two films — starting with Part One in October 2022. Once again filled with multiple Spideys, the first part has just dropped its initial trailer alongside that multi-flick announcement. And yes, the animation still looks spectacular. While Holland's take on Parker, and Spider-Man, is about to dabble with multiverse madness in Spider-Man: No Way Home, the Shameik Moore (Let It Snow)-voiced Miles Morales already went there in Into the Spider-Verse. So, in the sequel to the latter, Morales is spinning back into familiar territory — although, based on the first sneak peek, he's heading into other Spidey realms rather than welcoming different web-slingers into his. Also returning in Across the Spider-Verse: Hailee Steinfeld (Hawkeye) as Gwen Stacy/Spider-Woman, as seen in the trailer, and Oscar Isaac (The Card Counter) as Miguel O'Hara/Spider-Man 2099. If you're wondering about Isaac's character, he first turned up in the post-credits section of Into the Spider-Verse, and he's an alternate version of Spidey from a specific Marvel Comics imprint. Across the Spider-Verse will see Morales, Stacy and other Spider-People join forces to deal with a powerful villain — so some standard Spidey stuff, but with more Spideys and, again, those eye-popping visuals. Here's hoping it also keeps the sense of humour and playfulness that made Into the Spider-Verse such a treat, and keeps doing what only this animated Spidey franchise can. Check out the first Spider-Man: Across the Spider-Verse (Part One) trailer below: Spider-Man: Across the Spider-Verse (Part One) will release in cinemas Down Under in October 2022 — we'll update you when an exact date is announced.
No matter the season, we can introduce some Italian sunshine into our golden hour tipples with a classic cocktail—and it's a lot cheaper than flying to Europe. Italy's most popular liqueur is arguably amaretto, and the world's favourite way to enjoy it is in a classic amaretto sour cocktail. Read on to discover everything you need to know about this sweet-and-sour drink that has delighted cocktail lovers for decades. What Is Amaretto? Literally translated, amaretto means 'a little bitter' and that's exactly what this luscious liqueur is: a little sweet and a little bitter. There are numerous amaretto liqueurs on the market, but the originator is Disaronno, from the municipality of Saronno in the Lombardy region of northern Italy. Depending on the brand, it can be made from apricot kernels, bitter almonds, regular almonds or peach stones. These all contain a natural compound that imparts the liqueur's almond-like flavour. Like with many liqueurs, it can be enjoyed solo, with some ice, added to coffee, poured over ice cream, used in desserts like tiramisu (yum) or marinade for meat dishes, and, of course, in cocktails. What Is Disaronno? This Italian amaretto liqueur can trace its heritage back to the renaissance in 1525. Legend has it that Bernardino Luini, an artist from the Leonardo Da Vinci School of Art, was tasked with painting a fresco of the Madonna in the Santa Maria delle Grazie Church in Saronno, Italy. To complete his work, he needed a model, and he found one in the local fair-haired and beautiful innkeeper. According to the story, the innkeeper was so honoured to be chosen as the model for Madonna that she created an amber-coloured liqueur from a secret blend of 17 herbs and fruits infused in apricot kernel oil. It got its signature amber colour from caramelised sugar. She gifted this liqueur to Luini, and it caught on. The locals dubbed it 'di Saronno', meaning of or from Saronno, and eventually, that morphed into Disaronno. The liqueur is still made in Saronno, following that same recipe from 1525. How to Make an Amaretto Sour? This cocktail is believed to have been created in the 1970s and was originally known as Amaretto di Saronno. It's a twist on a classic sour cocktail that blends sweet and sour elements. It has two main ingredients: amaretto (in this case, Disaronno) and lemon juice. The inherent sweetness of Disaronno beautifully complements the tart lemon, but if you like it sweet you can always add a touch more simple syrup. For an extra touch of luxury, you can also add egg white, which imparts a silky texture and rich mouthfeel. Ingredients: 60ml Disaronno 30ml fresh lemon juice 5ml sugar syrup (optional, to taste) 1 egg white (or 15ml vegan-friendly option such as aquafaba) Ice Method: Put ice into a cocktail shaker. Pour in 60ml of Disaronno. Add the egg white (or vegan option if using) and freshly squeezed lemon juice. If you like it sweet, add the simple syrup. Shake the shaker and strain it into a chilled tumbler over ice cubes. Garnish with a slice of lemon, and enjoy. Where Can the Amaretto Sour be Enjoyed? In the summer sun, fireside in winter – an all year round tipple. But in all seriousness, we don't always want to be the ones mixing our cocktails. There are plenty of professionals out there who can do a better job than us. Simply go to your favourite bar and order an authentic amaretto sour made only with Disaronno.
Huge news! Out of nowhere, everyone's favourite chaotic electronic musician Fred again.. is performing at the Sydney Opera House tonight, Tuesday, February 27. The English producer and DJ posted to his Instagram, showing him boarding a flight with his buddy and collaborator Joy Anonymous, teasing that they'd be performing wherever the plane landed. Now, Fred again.. has popped up on top of the Sydney Harbour Bridge, announcing an ultra last-minute performance at the Sydney Opera House Concert Hall. Tickets are already available with tens of thousands of people jumping into the queue within minutes of the announcement. They're also limited to just two per person, to deal with the high demand. [caption id="attachment_943139" align="alignnone" width="1920"] Maclay Heriot, Laneway 2023[/caption] Fred was last in town for Laneway 2023 alongside Haim, Joji and Phoebe Bridgers, at which time he created pandemonium by performing at a slate of pop-up DJ sets around Australia and New Zealand alongside his festival appearances. Whether he'll be heading anywhere else in the country is yet to be confirmed. All we know is he'll be bringing his catalogue of hits to the Sydney Opera House Concert Hall from 9.30pm tonight. So, if you want to catch 'Delilah (pull me out of this)', 'Marea (we've lost dancing)' and 'Rumble' in the hallowed halls of the recently renovated Sydney icon, this is your chance. To stay up to date with any more shows that might be announced, you can follow along at Fred again..'s Instagram account. [caption id="attachment_943136" align="alignnone" width="1920"] Daniel Boud, Laneway 2023[/caption] [caption id="attachment_943137" align="alignnone" width="1920"] Daniel Boud, Laneway 2023[/caption] Fred again.. is performing at the Sydney Opera House on Tuesday, February 27. Tickets are now on sale. Head to the Sydney Opera House website for more information. Images: Daniel Boud, Laneway 2023.
While you may have been spoilt these holidays, with a scented candle or an adult colouring book, you may not have gotten what you really wanted for Christmas. As the festive season comes to a close and we head into the new year, you can treat yourself to some new cruelty-free makeup, exceptionally soft linen and bottles of wine for just $8.50 a pop, thanks to a heap of online Boxing Day sales. We've rounded up some of the biggest right here.
Following Bondi Pavilion's massive seven-year transformation, Now House Made Hospitality, the team behind Circular Quay's luxurious multi-level venue Hinchcliff House, has set up shop with its multi-dimensional venue Promenade. This luxurious all-day cafe, restaurant and bar brings Lana's affection for ethically sourced seafood right to the beach, serving up picked mud crab ($10) and snapper curry ($42) to a dining room soundtracked by the sound of the waves crashing just outside. But, the menu expands far past just seafood, accommodating takeaway coffee, light snacks, quick drinks and lavish lunches. There are several defined areas within Promenade. The kiosk is on hand for on-the-go morning coffee. Inside, there's a 67-person dining room perfect for a long lunch or celebratory dinner. If you want to soak in the sea breeze, you can nab a spot on the al fresco verandah. There's a 140-person walk-in-only terrace that's designed to accommodate quick and casual visits. Or, if you're after something a little more secluded, there are several private dining areas including 12-seat space The Grotto — which offers water views and a semi-private terrace. Alongside the aforementioned mud crab and curry, there are toothfish skewers ($18 each), wagyu rib eye (market price), spatchcock with fermented chilli ($39), and a collection of pasta dishes such as squid-ink calamarata with pippies and XO jamon ($34). There's plenty on offer for vegetarians too, with Turkish peppers paired with tarragon mayonnaise ($14), potato galette with black garlic ($16), charred zucchini ($22), and roasted cauliflower ($23) all making appearances on the menu. The menu differs over at the expansive Front Yard, the more laidback 400-square-metre, 140-person outdoor dining area. Here, among the native plants and olive trees, you can order a nostalgic Sunnyboy Spritz made with strawberry, ginger, Aperol and white wine ($20), alongside beachside classics like flatbread topped with garlic king pawns ($23) and crumbed fish burgers ($24). The Apollonia negroni ($23) has also made its way over from Hinchcliff House and landed on the drinks list. It sits side by side with a collection of frozen cocktails ($23) for those hot summer days, as well as Bondi Brewing Co beers and an expansive wine list featuring a range of drops handpicked by the team as the House Made selections.
The director of Seven, Fight Club and The Girl with the Dragon Tattoo, David Fincher has made a career out of stylish, devilishly entertaining pulp. His latest film, Gone Girl, is absolutely no exception. Adapted from Gillian Flynn's bestselling novel of the same name, it's a dark and twisting tale that presents itself as both a biting commentary on relationships and media frenzy, and a subversion of procedural film conventions. And at the same time, it fully embraces the sleaze and exploitation of that which it critiques. Despite his superhero physique, Ben Affleck looks decidedly schlubby as Nick Dunne, an out-of-work writer from a small town in Missouri whose wife, Amy (Rosamund Pike), goes missing on their five-year anniversary. Signs of a struggle indicate she might have been abducted, and before long the entire country is following the case. But as more and more evidence comes to light, including a six-figure life insurance policy and a string of expensive credit card purchases, suspicion is soon cast upon her husband. And as a series of flashbacks told from Amy's perspective expose a marriage that had begun to turn sour, we're forced to confront to possibility that Nick may be a killer. Of course, it's nowhere near as simple as all of that. Gone Girl is the sort of movie that is very difficult to review, because so much of what makes it interesting lies in its second and third act revelations — each more deliciously silly than the last. Viewers unwilling to suspend their disbelief may struggle with the film, which really pushes the boundaries of plausibility. Then again, lurid, outlandish plot twists go part in parcel with the genre, as Fincher fans would well know. Although the movie plays fairly straight, there is definitely an element of subversion here, along with a jet-black sense of humour that manifests itself in unexpected ways. For example, it's hard not to snort when Nick complains, with a completely straight-face, that he's tired of "being picked on by women." The film's representation of gender and marriage could be the subject of an essay in and of itself. Suffice it to say, any movie that can be read as both a bloody tale of female empowerment and a twisted fantasy that implicitly exonerates domestic abusers is worthy of critical attention. Affleck, to his credit, gives what is probably the best performance of his career. One suspects that the casting choice was a self-aware one, given how much of the actor's life has been scrutinised in the tabloids. In a film full of unlikeable characters, the most repugnant are the likes of talk-show host Ellen Abbott (Missi Pyle), quick to condemn Nick's awkward, emotionless television appearances as evidence of his guilt. The film is very much a double-edged sword though. It condemns us for our obsession with violence while funnelling it down our throats. Once again, Fincher is dressing up trash as serious art, wanting to have his cake and eat it too. And frankly, we wouldn't take it any other way. https://youtube.com/watch?v=2-_-1nJf8Vg
Perhaps it’s the simplicity of this practical, environmentally-friendly and rather smart looking pallet garden that’s so inspiring. It looks like something every urban dweller should be doing - it’s neat, space-saving, and an ideal solution for maintaining a herb, flower or veg garden in the city. Better looking than the average window box too. The new trend is popping up on balconies, aside garages and on roof tops. It’s such an achievable way to recycle unwanted crates or pallets that can be found at local supermarkets and factories, yet it looks so good - we only wish we’d thought of it ourselves. [Via Lost At E Minor]
Whether you want to stay rustic and pitch a tent, find the best spot to park your hippie van or lounge around in a luxe, beachfront bungalow sipping margaritas, there's a place on the Coral Coast for you. Here, we take a look at five of the best accommodation options between Perth and Exmouth — from the lush yet earthy Novotel Ningaloo to the friendly Kalbarri Seafront Villas to the laidback Dongara Tourist Park. LUXURY: NOVOTEL NINGALOO, EXMOUTH Novotel Ningaloo's primary bragging point is that it's the only accommodation on Sunrise Beach. But rather than imposing itself on its pristine surroundings, the resort aims to blend in effortlessly. That means earthy colours, natural materials and organic shapes. Rooms feature king-size beds, spa baths, high ceilings and private balconies, and vary from standard doubles to two-bedroom bungalows. Go for the latter if you're after uninterrupted ocean panoramas. Hit the onsite restaurant and bar for sunset meals and cocktails. HOME AWAY FROM HOME: KALBARRI SEAFRONT VILLAS These neat villas are located on the Kalbarri waterfront. They come with free use of dinghies, so you can explore the Murchison River at your leisure, and should you need any tips, your friendly hosts will help you out. Accommodation varies from studios to villas to a two-storey townhouse, with most rooms offering excellent water views. Plus there's an outdoor pool and a barbecue area. As far as value for money goes, this is one of the best options on the Coral Coast. HOMEY HIDEAWAY: OCEANSIDE VILLAGE, DENHAM, SHARK BAY If you were any closer to the water, you'd be sleeping in a submarine. Oceanside Village is on absolute beachfront, meaning that your door is literally 20 metres from the surf. Accommodation consists of free-standing, self-contained villas. Opt for one-bedroom or get fancy with the two-bedroom arrangement, complete with private balcony and panoramic views. Free Wi-Fi, free Foxtel, barbecue facilities and a pool are all part of the deal. COMFORT: BROADWATER MARINER RESORT, GERALDTON Stroll just 50 metres from Broadwater Mariner Resort and you'll find yourself at peaceful Champion Bay, a favourite swimming spot among Geraldton locals. The resort's 107 guest rooms are beautifully decorated and dotted among landscaped gardens. Choose accommodation to suit you — from studios to spacious, three-bedroom apartments. Next door, the L'attitude 28 Restaurant offers a menu inspired by local produce and a long wine list, with an emphasis on vintage and boutique drops. BUDGET: DONGARA TOURIST PARK Bring a tent, roll up with your caravan or book into a deluxe cabin — whichever way you want to holiday, Dongara Tourist Park can make it happen. You'll find its acres of green, rolling grass right on the coast at Port Denison, 3 kilometres south of the cute, sleepy village of Dongara. The marina is just three minutes away, for easy launching of boats, and during lobster season, you can buy fresh crustaceans direct from local fishers. If, however, you'd rather someone else do the cooking, there's a great restaurant just a short walk away.
Hold onto your various HP merchandise, kids, because there are two new books comin' atcha. To celebrate 20 glorious years of making a generation of pessimistic adults low-key believe in magic, Bloomsbury publishing house has announced two new Harry Potter books. They'll be released as part of a long-ass exhibition titled "A History of Magic" that will run from October 2017 to February 2018 hosted by the British Library in London. The books are named Harry Potter: A History of Magic – The Book of the Exhibition and Harry Potter – A Journey Through A History of Magic. So, not exactly canon but still jolly good. The former is about the curriculum offered at Hogwarts and an exploration of its glorious subjects, from herbology and transfiguration, all the way through to the OHS nightmare that is Care of Magical Creatures. The latter is a more general history of magic and ancient creatures. Both include sprinklings of previously unseen bitties from J.K. Rowling and illustrations by Jim Kay (the illustrator behind the book covers). Look, it's not as exciting as a real new Harry Potter story (we're still not sure if the Cursed Child even counts) and now we'll have to sell our organs for a trip to see this exhibition, but we're cool with that. We'll just quietly continue to hold out hope that the Harry Potter empire never crumbles and/or turns out to be real all along. Via Reuters.
They played the first game of their 2023 Women's World Cup campaign in Sydney. They took on Denmark there in the round of 16, then England in the semi-final loss. The next reason that the Matildas will hit the Harbour City: a match against China PR on the way to the 2024 Paris Olympics, and also for goalkeeper Mackenzie Arnold and coach Tony Gustavsson to take to the Vivid stage. The duo have just joined the already-packed Vivid Sydney 2024 lineup for a Vivid Ideas session at Sydney Town Hall on Monday, June 10. At Champions of Change: Mackenzie Arnold and Tony Gustavsson, the pair will have plenty to talk about — all things Matildas, of course, including the team's achievements over the past year, the challenges along the way, the squad's impact, the pressures and the coach-athlete dynamic. "This Vivid Sydney event is an awesome opportunity to connect with fans and reflect on the incredible ride we've had with the Matildas over the last couple of years. The highs and lows, the pressure and the triumphs, what it means to represent your country on the world stage — this is more than just a game. It's a chance to inspire the next generation and make a difference for women and girls on and off the field," said Arnold about the session. "The Matildas have had an incredible journey over the last 12 months, and it's a proud moment for me as a manager to celebrate and reflect on this at Vivid Sydney alongside Mackenzie," added Gustavsson. "I want to shed light not only our achievements on the field but also the incredible spirit and resilience behind the scenes, how much each of these players gives to this game. This conversation is also a chance to delve into the strategies that shaped our team's success and to touch on the broader implications of our journey for women's sport and society at large." Arnold and Gustavsson's addition to the Vivid lineup comes after Amy Poehler recently also joined the bill, to discuss her career and the upcoming Pixar sequel Inside Out 2. "We're so proud to be bringing two modern-day superstars of sport to the Vivid Sydney 2024 program. This discussion with Mackenzie and Tony will explore humanity through the lens of sport and bring a relatable and inspirational touch to their world class achievements on the field. You do not want to miss this opportunity to hear from two of Australian football's most influential and inspiring figures," said Vivid Sydney Festival Director Gill Minervini. Champions of Change: Mackenzie Arnold and Tony Gustavsson takes place on Monday, June 10, 2024 at Sydney Town Hall, with tickets on sale from 9am on Thursday, May 9, 2024. Vivid Sydney runs from Friday, May 24–Saturday, June 15 at various locations around Sydney. Head to the festival website for further details and tickets.
Forty years after first forming, Cirque du Soleil still knows how to notch up firsts among its lineup of dazzling circus shows, especially for Australian audiences. In 2023, the Montreal-based company headed Down Under with CRYSTAL, its first-ever ice production on ice. In 2024, it's following that up with LUZIA, which takes inspiration from Mexico, and also marks Cirque du Soleil's first touring performance that features rain in its acrobatic and artistic scenes. LUZIA's name is a combination of the words 'lux' and 'lluvia' in Spanish, with the first translating as light and the second as rain. What that means in the production will be unveiled to Sydney audiences from Sunday, November 24, at the Entertainment Quarter. While it has been four decades since Cirque du Soleil was created back in 1984, 2024 is the 25th anniversary of the troupe's performances in Australia, making LUZIA the tenth big-top show to hit our shores. So, although it's already an ode to Mexican culture, the production has even more to celebrate as it spends the bulk of 2024 and into 2025 making its way around the nation. Packing their bags to help: a team of 120 people, which includes 47 artists from 26 countries. First staged in 2016 and becoming Cirque du Soleil's 38th original production at the time, LUZIA has already been seen by 4.5-million people, a number that'll grow in Australia. Audiences are in for a trip to an imaginary version of Mexico, where the performance gets playful and surreal amid the light and rain. Some of the settings include an old movie set, the desert, the ocean and a dance hall, all backdropping the company's acrobatics, trapeze displays, contortionist feats, juggling and more. In the Cyr wheel, artists will roll and spin through the rain. And that trapeze work? That happens through showers. LUZIA also spans hoop diving on giant treadmills, a natural sinkhole, seven pins being flung in the air by jugglers and street dancing that includes footballs. Daniele Finzi Pasca wrote and directs the production, which begins with a parachutist falling into a field of cempasuchil flowers, turning a huge metallic key, then taking a magical journey. From there, the clown antics give LUZIA a beach clown and clown scuba diving, the acrobatics even take to a bike, a luchador mask makes an appearance in the swing segment — 1000-plus costumes are seen across the show in total — and a hair-suspension act features. Images: Anne Colliard.
Remember when going on holiday meant asking your travel agent for impartial advice on where to stay, play or party? And though you suspected that Gladys Hamby had never actually stayed in that beachfront cabana soaking up cosmopolitan Broadbeach and throwing back stiff Long Islands, she scored you a free daily continental breakfast so you booked it anyway? These days you’re more likely to do your own research when planning an escape, but even better than scanning through an acquaintance’s holiday snaps on Facebook is new social travel website Hooroo. Enticing pictures are accompanied by untold stories, inside tips and destination inspiration, all from real people who really want to share their travel adventures. Once you’ve decided where to go and what to do once you’re there you can choose from thousands of discounted accommodation options all over Australia, from Melbourne and the Gold Coast to Kangaroo Island and the Fleurieu Peninsula. Get your name on their list before the site goes live on July 18 and those deals will be even sweeter. Go here and start hoarding annual leave. Sponsored post
For almost four decades, Hans Zimmer has given cinema a distinctive sound. The German composer helped put the bounce in The Lion King's score and the droning in Inception's memorable tunes, and has loaned his talents to everything from Thelma & Louise to Christopher Nolan's Dark Knight trilogy to Blade Runner 2049. It's an impressive list that just keeps going — and it'll sound even more impressive played live and accompanied by an orchestra. As well as working his music magic on a wealth of movies — Hidden Figures, The Boss Baby, Dunkirk, Widows, X-Men: Dark Phoenix and the upcoming Lion King remake are just some of his recent credits — Zimmer has been taking his show on the road over the past few years. After touring his Hans Zimmer Revealed concert series in 2017, including to Australia, he's returning to our shores with Hans Zimmer Live, which'll echo through arenas in Brisbane, Sydney and Melbourne this October. While the Oscar, Golden Globe, Grammy and Tony-winner obviously isn't going to play every single one of his iconic film scores, expect to hear plenty of your favourites from a lineup that also includes Wonder Woman, Gladiator, Pirates of the Caribbean, 12 Years a Slave, Sherlock Holmes, Mission Impossible II and Pearl Harbour — plus the small screen's The Crown and Blue Planet II as well. Zimmer will be joined not only by a massive orchestra, but a full band and a huge stage production, complete with a luminous light show and other eye-catching visuals. [caption id="attachment_724806" align="alignnone" width="1920"] Hans Zimmer, Los Angeles, LA, Tour, Concert, Performance, April 14 2017, EVI[/caption] Hans Zimmer Live will hit the Brisbane Entertainment Centre on Thursday, October 3, Sydney's Qudos Arena on Saturday, October 5 and Melbourne's Rod Laver Arena on Monday, October 7. Tickets go on sale at 10am on Monday, June 17 — for further details, visit the promoter's website. Top image: The World of Hans Zimmer Berlin by Frank Embacher Photography.
If you haven't watched Nicolas Cage pour a bottle of vodka over himself while growling with sorrow and menace, have you truly lived? If you haven't seen him milk an alpaca, get creepy about eating peaches or lend his voice to a black-and-white film noir-style Spider-Man (yes, really), then you probably should ask yourself the same thing. And if you haven't witnessed him chase a terrible CGI white jaguar around a hijacked ship, fight space ninjas, battle demonic animatronics and seek revenge over a stolen pig, well, you know you now want to after reading that sentence. The same applies to Cage playing Cage as well, naturally. That's the thing about Cage — sometimes his films are fantastic, sometimes they're terrible, but he's always compellingly, intoxicatingly watchable. He's the type of actor that no one wants to stop watching and, for better and for worse, his mighty prolific career just keeps delivering more and more movies. Currently got a Cage-sized itch that desperately needs scratching? Don't we all, and always. Indeed, there's plenty to watch from his 100-plus on-screen credits. That's a lot of flicks to choose from, so we've picked out 26 of his weirdest, wildest and most wonderful films, paired them up in double features, and basically planned out your next 13 nights of movie-watching. Consider this the viewing marathon you didn't know you needed. MANDY AND COLOR OUT OF SPACE One features Cage as a heartbroken lumberjack wreaking havoc with a chainsaw while chasing down demonic bikers. The other initially puts him in kooky dad mode, until a strange meteor unleashes mayhem and monsters — and Cage's unhinged best, of course — on a rural property. If these descriptions didn't already make it obvious, when it comes to excellent recent Cage flicks that pair out-there premises with excellent performances from their leading man, both Mandy and Color Out of Space sit at the top of the pile. They also provide quite the mind trip filled with psychedelic visuals and vivid soundscapes, all thanks to filmmakers Panos Cosmatos (Mandy) and Richard Stanley (Color Out of Space). Mandy is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Color Out of Space is available to stream via Shudder, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. CON AIR AND FACE/OFF If you're a Cage-loving movie buff, then you probably know exactly when cinema reached its peak. Back in June 1997, two films hit the big screen within weeks of each other, delivering a double dose of Cage action, chaos and craziness that people still watch and rewatch today. Yes, Con Air and Face/Off made their way to cinemas in the same month — and yes, that's a whole lotta Cage to soak up in a darkened room in short succession. In Con Air, he plays a former army ranger-turned-paroled convict who's trying to head home when his prison flight is hijacked by fellow criminals. In Face/Off, he's a sociopathic terrorist who switches faces with the FBI agent (John Travolta) on his trail. Unsurprisingly, neither film is subtle. Face/Off is available to stream via Disney+, iTunes and Prime Video. Con Air is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. RAISING ARIZONA AND ADAPTATION Often, when you're watching a Cage film, laughter is inevitable — even if you're not watching a comedy. So when Cage flexes his comic chops on purpose, the results are usually genuinely spectacular. In the case of Raising Arizona, Cage and the Coen brothers make a perfect pair. Also mighty fine: the movie's premise, following an ex-con and his wife's (Holly Hunter) zany scheme to kidnap a baby (and a quintuplet at that) so that they can start a family. With Adaptation, Cage pairs up with Being John Malkovich's Spike Jonze and Charlie Kaufman, and they also make quite the team — as you'd expect with Cage playing a version of Kaufman, as well as Kaufman's fictional twin brother. Raising Arizona is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Adaptation is available to stream via ABC iView, Google Play, YouTube Movies, iTunes and Prime Video. WILD AT HEART AND MOONSTRUCK Speaking of Cage and phenomenal director combos, Wild at Heart boasts one of the very best there is. The movie David Lynch made between Twin Peaks' initial run and the series' big screen prequel and sequel Fire Walk With Me, it features one of Cage's greatest performances — because Cage playing one half of a couple on the run (opposite Laura Dern), singing Elvis tunes like he was born to and navigating a Lynchian crime-romance flick is what dreams are made of. The actor also dabbles in affairs of the heart in Moonstruck, this time as an opera-obsessed baker who falls for his brother's (Danny Aiello) fiancee. It's the movie that won Cher a Best Actress Oscar, too, as the object of Cage's affection. Wild at Heart is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Moonstruck is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. THE UNBEARABLE WEIGHT OF MASSIVE TALENT AND PIG If there's one thing that's been a constant in Cage's career, it's range: you name it, he's probably played it. His two most recent big-screen releases demonstrate that perfectly — including taking on the part he was born to, and also turning in one of his best-ever performances. In The Unbearable Weight of Massive Talent, Cage is Cage. Yes, this Cage-loving film tasks him with jumping into his own fictionalised shoes, and he has a blast doing so. In Pig, he's seeking vengeance against the people who stole his beloved truffle pig, and he's as phenomenal as he's ever been on-screen. It sounds like the kind of premise that'd be a joke in other hands, or just a John Wick ripoff, but not with Cage at his finest and debut feature writer/director Michael Sarnoski behind this revenge thriller. The Unbearable Weight of Massive Talent is available to stream via Google Play, iTunes and Prime Video. Read our full review. Pig is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. WILLY'S WONDERLAND AND JIU JITSU Sometimes, we all just want to see Cage fight things. Clearly, that's an easy sell to get film financing, too. Otherwise, there's no justification for either Willy's Wonderland or Jiu Jitsu to exist — because both films' entire concepts revolve around Cafe going fist to fist with improbable adversaries. In Willy's Wonderland, he faces off against possessed animatronic mascots at a family-friendly restaurant. He also put in a silent performance for the ages, with his drifter character grunting and growling rather than speaking. Then, in Jiu Jitsu, he's part of an ancient order of skilled martial artists who have to do combat with vicious aliens every six years. No, we didn't make all of this up — but, in each case, someone else did. Willy's Wonderland is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Jiu Jitsu is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. LEAVING LAS VEGAS AND JOE Never forget that Cage, when he wants to be, is a truly talented actor. His resume can scream otherwise at times, but an exceptional Cage performance is a sight to behold. Exhibit A: his Oscar and Golden Globe-winning work as a suicidal alcoholic in Leaving Las Vegas. Exhibit B: his role as a troubled man who gives a similarly tormented 15-year-old (Tye Sheridan) a job in Joe. Made almost two decades apart, this pair of films show that Cage always has a great performance in him, no matter what else he's been acting in lately. And, while he's often known for his wild and wacky ways — in no small part due to his resume over the past decade or so — he's impressively attuned to telling bleak tales. Leaving Las Vegas is available to stream via iTunes. Joe is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. BRINGING OUT THE DEAD AND THE ROCK Speaking of Cage's absolute best performances, Bringing Out the Dead features a powerhouse effort from its main star. He's directed here by the great Martin Scorsese, so how could it not? As a paramedic who works the graveyard shift, has his own demons, and is wearied by life and the world, this is one of the greatest films on both Cage and Scorsese's resumes. It sits in stark contrast to The Rock, but sometimes a good double is all about contrast — and seeing someone at the height of their powers in two different ways. Working with king-of-the-overblown Michael Bay (the Transformers franchise), Cage tries to break into Alcatraz to diffuse a hostage situation, and he hits every mark he's asked to. He also makes a great double act with Sean Connery. Bringing Out the Dead is available to stream via Disney+. The Rock is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. MOM AND DAD AND MATCHSTICK MEN In Mom and Dad, Cage is no one's ideal father. Along with Selma Blair as his wife, he's trying to kill his kids. So are all the other parents in town, all thanks to a violent and murderous bout of mass hysteria. That means horror-comedy antics aplenty, as well as a whole heap of over-the-top expressions from Cage — the kind that only he can do justice to, of course. He grapples with being a dad and gives his facial muscles a workout in the entertaining Ridley Scott-directed drama Matchstick Men, too, although in a completely different scenario. This time, Cage plays a conman who discovers he has a teenage daughter (Alison Lohman) just as he's about to pull off a big job with his protege (Sam Rockwell). Mom and Dad is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. Matchstick Men is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. KICK-ASS AND SPIDER-MAN: INTO THE SPIDER-VERSE Still getting fatherly, Cage isn't just a dad in Kick-Ass — he's a former cop-turned-crime fighter called Big Daddy, and he's training his 11-year-old daughter (Chloe Grace Moretz) to follow in his footsteps. Focusing on their run-in with the eponymous wannabe superhero (Aaron Taylor-Johnson), this caped crusader flick isn't always as funny as it thinks it is, but Cage consistently delivers. And, if you've always fantasised about hearing Cage as Spider-Man, he delivers in the sublime and surreal Spider-Man: Into the Spider-Verse. He's just one of many webslingers in this animated delight (and the best Spider-Man movie out of the lot); however he's a great one: Spider-Man Noir, a black-and-white Spidey from a 1930s universe. Kick-Ass is available to stream via Binge, Google Play, YouTube Movies, iTunes and Prime Video. Spider-Man: Into the Spider-Verse is available to stream via Disney+, Binge, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. VAMPIRE'S KISS AND GHOST RIDER If you think you've witnessed Cage at his most manic but you haven't experienced Vampire's Kiss, we have some news for you: you're wrong. Nothing in the actor's filmography compares to this 80s comedy-horror film. We'll say that again: nothing. In terms of out-there Cage performances, this is ground zero. You'd expect that given that Cage plays a literary agent who starts to believe he's a vampire, and begins acting accordingly. After you've watched it, you'll spot shades of Vampire's Kiss in every other Cage film — including in Ghost Rider, where Cage blazes away as the titular bounty hunter of the damned. Adapting a Marvel comic, Ghost Rider isn't great, but like Vampire's Kiss, it's the type of movie that really has to be seen to be believed. Vampire's Kiss is available to stream via iTunes. Ghost Rider is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. BAD LIEUTENANT: PORT OF CALL — NEW ORLEANS AND PRIMAL Let these five words tell you all you need to know about Bad Lieutenant: Port of Call — New Orleans: Nicolas Cage and Werner Herzog. One acts, the other directs, two inimitable titans of their fields combine, and the movie that results — a crime thriller about a corrupt cop — firmly marches to its own beat. It also features a memorable iguana scene, which might've prepared Cage for his role in Primal. There, he plays a big-game hunter stuck chasing a white jaguar around a hijacked ship, all as a deranged murderer also stalks the crew and passengers. One of Cage's most recent movies, it turns out exactly as you expect it does (and with oh-so-much awful CGI). Bad Lieutenant: Port of Call - New Orleans is available to stream via Stan, Google Play and YouTube Movies. Primal is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. KNOWING AND DRIVE ANGRY When it comes to Cage, there's no avoiding the obvious: he has made a whole heap of ridiculous and trashy movies. Lately, they've been going direct to streaming — but, in the late 2000s and early 2010s, these kinds of Cage flicks were still hitting cinemas. The Australian-shot Knowing is one of them. Made in Melbourne, co-starring Rose Byrne, Ben Mendelsohn and Liam Hemsworth before they were Hollywood fixtures, and proving a box office hit, it casts Cage as an astrophysics professor certain he's found a code that predicts the future. Or, there's Drive Angry, where Cage escapes hell with a gun stolen from Satan, all so he can get revenge on the cult leader who killed his daughter. Knowing is available to stream via Binge, Google Play, YouTube Movies, iTunes and Prime Video. Drive Angry is available to stream via iTunes and Amazon Video.
Pyrmont's not exactly known for its food and drinks scene but if you know where to look there are gems to be found. Mister Percy is one such place. An inviting wine bar and restaurant hidden within the sandstone walls of the Ovolo 1888, Mister Percy has had a few iterations over the few years that it's been open but the seductive mood and inspired wine list remain the common threads. Mister Percy is named in honour of Percy Ewart, a former wool classer who worked in the site's original wool store — hints of which remain among the blend of leather, marble, plush fabrics and paintings, paying homage to its history while simultaneously celebrating the contemporary. If you settle in for dinner, the offering from the kitchen is a blend of Mediterranean cuisine, Japanese flavours and mainstays of contemporary Australian menus (I see you burrata and flash fried calamari!). You don't have to skim far on the menu, created by Head Chef Carmela Cordero, to encounter the influence of Japan — from the soy mirin glaze on the risotto to the miso dashi sauce served with the grilled fish. The snack selection of the menu is a particular stand-out for accompanying an evening experimenting with the wine list (more on that shortly) but another option is the four-course 'feed me' menu which, at $75 per person with paired wines for an additional $50, is a pretty reasonable decision-free date night. But ultimately, at its heart and in execution, Mister Percy is a wine bar and it is the drinks list that makes the biggest impact thanks to the thoughtful curation of Sommelier Luis Manzanares. The wine list is surprisingly dynamic with heaps of unexpected drops you rarely see in a standard hotel bar, including a great range of Spanish wines, skin contact by the glass and bottle, and some lesser-represented Australian producers. Expect to kick back with excellent drops like the 2021 Neldner Road shiraz or the elegant Remelluri reserva tempranillo, many of which are available by the glass. Impress your date with your own selections or leave yourself in Mr Manzanares's safe hands.
Here's an incredibly obvious but still always true statement: the finest sushi you'll ever eat is found in Tokyo. That's just a delicious reality, but so is struggling to get into the best sushi joints during your Japan holiday because they're impossible to book. Thanks to Melbourne eatery Uminono, however, there's now a tour jetting out of Australia this spring that'll let you spend five nights eating your way through Tokyo's finest sushi restaurants. And yes, it takes care of all the reservations for you — including to quite the selection of exclusive spots. First, you'd best check your bank account. The Uminono x Plan Japan Luxury Sushi Discovery Experience doesn't come cheap, costing $9600 if you're willing to share a room and $11,900 if you want to bunk solo. But that fat stack of cash will get you the kind of Tokyo holiday you've only dreamed of, as co-guided by Uminono sushi chef Arnaud Laidebeur. Between Sunday, September 25–Friday, September 30 — departing out of Melbourne, and presumably assuming that Japan allows tourists back in by that time — this trip will hit up the likes of eight-seater boutique Sushi Amamoto, which boasts two Michelin stars, plus acclaimed chef Masamichi Amamoto in the kitchen; and Sugita, an extremely well-known standout that uses traditional Edomae skills to make its sushi. Also on the list are Ginza's Hakkoku, a six-seater that serves up to 30 different fish varieties; and Sushi Kimura, which is all about aged sushi and non-conventional fish varieties. While sushi is the main focus, the tour also includes a range of Tokyo fine-diners with a particular focus on French-Japanese fusion. So, that means a meal at the world-acclaimed Sugalabo, as well as Florilège and Été, with the latter only seating up to four guests a day. The exact itinerary hasn't been locked in just yet, but other restaurants on the list include Arai, Shimazu, Takamitsu and Sushi Ryujiro among the sushi spots; Ode from the French-Japanese eateries; and also eight-seater upmarket seafood and steak joint Tacubo, yakitori standouts Torishiki and Yakitori Eiki, yakiniku spot Yoroniku, the wagyu-covering Wagyumafia, Toyosu market, and a heap of street food and ramen places. Only six seats are available for the tour's September dates — so if this'll let you live your sushi dreams, and you can afford it, getting in quick is obviously recommended. And, you'll be slumbering in hotels to match the luxe culinary experience on offer, such as Palace Hotel Tokyo in the Marunouchi district and Shangri-La Tokyo, which is right near Tokyo Station. The Uminono x Plan Japan Luxury Sushi Discovery Experience arrives in Tokyo on Sunday, September 25, then returns to Melbourne on Friday, September 30. For more information or to register your interest, head to the Plan Japan website.
Since first unleashing its specific flavour of festival fun back in 2014, Lost Paradise has become an end-of-year staple — and the Glenworth Valley event returns from December 28, 2019 to January 1, 2020 for another packed year. The fest's sixth annual lineup will see more than 60 acts take to the stage across a huge five days, with artistic experiences, talks, workshops and yoga classes also part of the camping festival. Of course, it's the music that'll tempt festival-goers to make the journey an hour out of Sydney. With Aria Award-winning three piece Rüfüs Du Sol, Aussie hip hop legends Hilltop Hoods, genre-blending producer Honey Dijon, indie quartet The Jungle Giants and beloved pop duo The Veronicas, there's plenty to get excited about. Attendees will dance their way between four stages, all returning from 2018. Arcadia is where the main action is, Lost Disco will focus on bass, techno and dance music (and eye-catching visuals by 3D mapping artists), and Paradise Club will party on right into the night with DJs and surprise guests. Then there's My Mum's Disco, which not only features a digital jukebox pumping out 15,000 nostalgic beats and party favourites, but sing-alongs and more to accompany the tunes. In-between catching live sets and making shapes, Lost Paradise offers patrons a heap of other activities, including yoga, talks and workshops at the fest's Shambhala Fields. Or, head to Lost Village to refuel or shop the fashion and art markets. The food and drink hub boasts communal tables for dining and an array of cuisines for feasting upon. The full lineup of eats will drop soon as will the camping options, which will range from rent-a-tents to luxury glamping. LOST PARADISE LINEUP 2019 Rüfüs Du Sol Hilltop Hoods Golden Features Matt Corby The Jungle Giants Methyl Ethel Cub Sport The Veronicas Lime Cordiale Mallrat Hobo Johnson & The Lovemakers Mansionair Confidence Man Furnace & The Fundamentals Dear Seattle The Chats Kwame The Vanns Crocodylus Fritz Pacific Avenue Cry Club Seaside Eagle Eye Jones Chymes The Moving Stills Nelipot Georgia June The Buoys Stumps Teen Jesus & The Jean Teasers The Zilzies Chase Zera OKA Green Velvet Dom Dolla Honey Dijon Denis Sulta Michael Bibi Heidi Set Mo Patrice Baumel Late Night Tuff Guy 16BL Motez Luke Million Human Movement Cassian Skepsis Haai Made in Paris Sama Kettama S.A.M Conspiracy Crew Black Loops Loods Flex Mami Shantan Wantan Ichiban Dena Amy James Pepper Luen Lex Deluxe Ebony Boadu Uncle Ru Dar Purple Sneakers DJs Cassettes for Kids Mincy Willo Sideboob Lost Paradise returns to Glenworth Valley from December 28 to January 1. Pre-sale tickets are available from Tuesday, August 20 with general tickets from Wednesday, August 21. Image: Ruby Boland
It's a familiar setup: a remote house, a family haunted by decades-old troubles, a murky history that's still leaving an imprint and tension levels rising when, naturally, strange things start to happen. As it has been for countless scary flicks before it, that's the broad overall premise of new Australian horror movie Relic; however this Sundance-premiering film has more than a few tricks up its sleeves. Emily Mortimer (Mary Poppins Returns), Robyn Nevin (Top of the Lake), and Bella Heathcote (Bloom) star as three generations of a Victorian-based family — with Mortimer's Kay called back to her family home when her widowed elderly mother Edna (Nevin) disappears. With her own daughter Sam (Heathcote) in tow, Kay first endeavours to find her missing mum. Then, when Edna reappears suddenly without any explanation for her absence, Kay and Sam try to ascertain just why Edna's house — and, increasingly, Edna too — seems so sinister. The feature directorial debut of Japanese-Australian filmmaker Natalie Erika James — who cowrote the script with fellow first-time Christian White — the instantly disturbing but still slow-burning Relic takes its creepy, eerie look and feel seriously, as the film's trailer shows. As it trifles with the supernatural and provides many a well-executed jump, bump and unnerving sensation, the smart and thoughtful movie also uses its concept and plot to ponder the physical and emotional impact of ageing, including dementia. Aussie audiences can get unsettled — including by the film's labyrinthine main setting and its nerve-rattling soundscape — when Relic hits Stan on Friday, July 10. Across the ditch, it arrives courtesy of the NZ International Film Festival. It follows this year's also excellent Aussie-made release The True History of the Kelly Gang in making the leap from international festivals to local streaming. Check out the Relic below: https://www.youtube.com/watch?v=Atqf47wM5Gg Relic starts streaming via Stan from Friday, July 10. You can also watch it as part of the NZ International Film Festival from 25 July.
UPDATE, January 25, 2021: The Australian Dream is available to stream via Google Play, YouTube Movies and Amazon Video. When the crowd roars, cheers or applauds at an AFL game, the sound can be deafening. Caught in the moment, thousands of people watch the sport they love and vocalise their immediate feelings, with the resulting racket echoing through football stadiums around the country. For much of his Aussie Rules career, Adam Goodes experienced that joyous onslaught of noise — as he played 372 matches for the Sydney Swans, became the all-time Indigenous games record-holder until just this past month, kicked 464 goals, won two premierships, earned the code's highest individual honour not once but twice, and was even anointed Australian of the Year. But, as the champion's on-field days came to an end, he also became the target of merciless booing. Reverberating across multiple seasons, those jeers were thunderous, too. Anyone who heard them won't easily forget them, nor should they. It's hardly surprising that Goodes decided to take a break from playing when the taunting wouldn't stop, then retired not long afterwards. The ins and outs of the behaviour directed towards him were discussed at length at the time, as were the supposed reasons for the booing, but the basics really couldn't be more simple. One of this country's greatest Indigenous athletes was shunned for embracing his culture, speaking out against racism and calling out specific attacks against him — and, instead of hearing his eloquently stated position, empathising with his suffering, and affording him the respect and decency that everyone deserves, AFL crowds voiced their displeasure in a primal and abusive way. Even when Goodes explained that he found the ordeal deeply hurtful, as anyone would, it didn't stop. Rather, he was bluntly told to toughen up. It's a bleak chapter in Australia's history — even more so because it happened so recently, between 2013–15. It's also a damning indictment of our society, indicative of defensiveness rather than a willingness to evolve, and illustrating that racial prejudice remains part of our everyday lives. From the moment that Goodes enraged some portions of the population by drawing attention to vilification hurled at him by a young Collingwood supporter, his loud-mouthed detractors have tried to rationalise their position. Contending that they oppose his supposed 'bullying' (by asking that the young girl who insulted him be removed from the match), and decrying his playing abilities and sportsmanship, their excuses have always fallen flat. But if any further evidence of their futility was needed, The Australian Dream lays bare the situation. An emotional account of Goodes' AFL career directed by experienced British sports documentarian Daniel Gordon and written by Australian journalist Stan Grant, the film offers both an intimate and an overarching view of the footballer's experiences. As well as chronicling his rise from quiet kid, to reluctant superstar, to determined anti-racism activist, it places Goodes' plight in historical and social context. Walkley Award-winner Grant also provides the movie's narration, title and thesis, and inspires its shape and structure. "The Australian Dream is rooted in racism. It is the very foundation of the dream," he announced during a rousing address back in 2015. "It is there at the birth of the nation. It is there in terra nullius," he continued, with his speech quickly going viral. It's this sentiment that the documentary unpacks. To explore Goodes' story, why the tide of public opinion turned on him in some quarters and why he still sparks heated debate, is to explore Australia's treatment of its first peoples for more than two centuries. The parallels aren't hard to spot. Indeed, in making this point, The Australian Dream isn't a subtle film. It doesn't wait for the audience to join the dots, but instead shouts its message at every turn. It tells the bulk of the nation what we already know, especially arriving so soon after fellow Goodes-focused doco The Final Quarter (which relived his final three years in the AFL solely through media footage from the time). But a subject as important as racial discrimination — including casual racism, aka comments with a racist impact even if they're not intended that way — warrants force. A documentary so thoughtfully stitched-together also justifies such bluntness, with The Australian Dream taking a broad and detailed look at its topic. Childhood photos, family recollections and archival clips combine with face-to-face chats with Goodes today, evocatively shot sequences of him traversing the country's sprawling landscape, and glimpses of the champ and his ex-Swans teammate Michael O'Loughlin attending Australia Day gatherings. When needed, historical primers fill in the gaps. So does a hefty roster of talking heads that features Goodes' loved ones, former footballers Nicky Winmar and Gilbert McAdam, and past and present Swans coaches Paul Roos and John Longmire. Polarising figures such as Eddie McGuire and Andrew Bolt, both of whom have made unacceptable comments about Goodes in the past, are also interviewed — and if giving them screen-time seems strange, it demonstrates The Australian Dream's wholistic approach. It also exemplifies Gordon and Grant's aim to weave the spirit of reconciliation into every aspect of their film. Of course, while McGuire is in somewhat apologetic mode, his appearance — alongside the typically inflammatory Bolt — provides a strong reminder. The attitudes that The Australian Dream examines, and the racist treatment of Indigenous Australians that's been part of the nation since its formation, haven't disappeared since Goodes stepped off the field. In fact, the existence of two movies about the footballer in such short succession has made this plain. The Final Quarter received a standing ovation at its Sydney Film Festival world premiere, and finally inspired the AFL to apologise to Goodes for its lack of action. And yet, when the doco aired on TV, it was followed by a national news poll once again questioning whether the booing of Goodes was racially motivated. The Australian Dream earned widespread acclaim when it opened this year's Melbourne International Film Festival, and will screen at the Toronto International Film Festival as well. And still, when Goodes revealed that he has no desire to return to the game after his traumatic experiences — speaking in a rare interview just this past weekend, to support the picture's local theatrical release — the online trolls came out in force. That's the reality that these films belong to, as The Australian Dream confronts head-on. It's also a situation that Aussies need to keep seeing and interrogating, including in this powerful and essential documentary. https://www.youtube.com/watch?v=zRJkLgl56jk
While many deem February 14 a day of corporate conspiracy, grossly over-the-top displays of affection and just all-round evil, there are still some of us out there who look forward to this, the international day of lurrrve. But there are some ways to kick it a little cooler this Valentine's Day — we're talking a little more culture, a lot less PDA. So ditch the overpriced candy and heart-cradling teddy bears, or the multiple episodes of Girls and several glasses of wine alone in bed (wait, is that just me?). Whether you've met the love of your life or not, whether you're on a date or with friends, get out there and enjoy all that Sydney has on offer this Valentine's Day. For couples Stargazing at Sydney Observatory They say the stars align when you're in love. Well now you can test out the theory — with the Valentine's Day Stellar Indulgence Sessions at Sydney Observatory. The Lunar session will see couples enjoying a glass of sparkling, live music and themed cupcakes, before checking out the almost-full Moon and planets through professional Observatory telescopes. Alternatively, the Jupiter session offers a sunset experience in the stunning Observatory marquee — with all the sparkling and music, as well as Jupiter-inspired hors d’oeuvres, before a viewing of Jupiter. In the case of wet weather, guests will be treated to a cosy planetarium session and stellar lunar projections. Lunar Lovers Session (9.30–11pm) & Jupiter Delight Session (7–8.30pm): February 14; Sydney Observatory, Watson Road, The Rocks; Adults $44.50, Powerhouse Members $38.50. Bookings essential. Snow date at In2Ski Sydney has pretty much got everything you could ever want, all year round. But the one thing we know we’ll never have is snow. The answer? In2Ski — Sydney's first and only indoor snow sports centre, now open in Alexandria. Bringing snow to the city, this state-of-the-art centre allows visitors to sharpen their ski and snowboard skillz, on what are effectively three very large, snow treadmills. In what is guaranteed to be a unique Valentine’s Day date, this one is for the thrill-seeking romantics. Oh, and the snow conditions for February 14? Perfect. Open from 11am-9pm on Friday, February 14; $75 for 1 hour group session, $265 for 1 hour private session (up to 4 people); 160 Bourke Road, Alexandria. Arabian Nights at Zeta Bar Fancy yourself a bit of Aladdin and Jasmine action this Valentine's Day? Zeta Bar at Sydney's Hilton has got you covered. Launching its new 'Arabian Nights' concept on February 14, Zeta is set to transform into an exotic palace, offering an experience both luxurious and flavoursome. Gorge the senses with an array of Arabian-inspired cocktails, a spice market bar and hookah pipes aplenty (just ask the sheesha sommelier about your smoking options). There's a loved-up couples package on offer for the evening (get four cocktails, along with a middle eastern tasting plate for $150), as well as singles deals for those boldly living up their singledom. Every Friday from February 14 to March 21 at 6pm; Zeta Bar, 4/488 George Street, Sydney. For Singles Craft Singles at Work-Shop Looking like you’ll be riding solo this Valentine’s Day? Work-Shop is a centre aimed at broadening your creativity and potential. And Craft Singles is by far some of their best work. Exactly 14 boys and 14 girls will attend, with seven crafty challenges set throughout the night, ranging from mixtape felt badges to heart-shaped garlands. Pair up, get crafty and when the bell rings move on to the next challenge, and the next equally eligible bachelor/ette. The night’s end brings a vote, and the private unveiling of your matches. Speed dating with a seriously cool twist, this is an opportunity to get creative, flirt outrageously, and enjoy the fact that you are single and mingling. February 14 at 8pm; tickets $60; register at learn@work-shop.com.au. For everyone Queer ACT/IONS With Valentine’s Day on the approach, it is important to remember that all love is the same. And with this comes QUEER ACT/IONS, presented by The Q, MKA: Theatre of New Writing and PACT Theatre. In association with the Sydney Gay and Lesbian Mardi Gras Festival, QUEER ACT/IONS is a guaranteed celebration of love and the arts. First off: A Boy & A Bean, written and performed by Nick Atkins (February 12-15). Atkins dives into the very vital debate of marriage equality in an honest and tender performance that sees a boy called Jack stray between love, legislation and folklore. Unsex Me — a performance of whispered confessions and hilarious self-mockery from Mark Wilson — will then run from February 19-22. Tickets to A BOY & A BEAN and UNSEX ME are on sale now; PACT Theatre: 107 Railway Parade, Erskineville. Breakfast at Tiffany's at Moonlight Cinema It wouldn't be Sydney in summer without a plethora of open-air cinemas. And Moonlight Cinema in particular has become a cultural mainstay, offering a range of films in the idyllic ambience of Centennial Park. And what movie is more classically romantic than Breakfast at Tiffany's? From the award-winning novel by Truman Capote comes the story of a frivolous young socialite living in 1960s New York. Audrey Hepburn shines as Holly Golightly (no matter how many times you've seen it) and whether you're with your very own Paul Varjak, or a group of lonely, cynical girlfriends, this delightful cult classic will have everyone feeling unavoidably loveable. Darrrling. Breakfast at Tiffany's: Friday February 14; Belvedere Amphitheatre, Centennial Park (on the corner of Loch Avenue and Broome Avenue) Paddington. Cinema gates and box office open at 7pm and screenings start at sundown. The Notebook also shows on Thursday 13. Tix on sale now. Kite String Tangle at Oxford Art Factory Looking for a slightly more chilled way to impress someone on February 14? The Kite String Tangle is the project of Brisbane-bred alternative electronic artist and producer Danny Harley. After being unearthed by Triple J last year and generating some serious buzz at Falls Festival, he is continuing strong into 2014 with a national tour scheduled for February. Inspired by the dreamy and atmospheric soundscapes of artists like Active Child, The Kite String Tangle offers a combination of ethereal pop and ambient electronica that's sure to have you, and that special someone, in a Valentine's Day trance. Oxford Art Factory; Wednesday February 12 and Friday, February 14 at 8pm; 38-46 Oxford Street, Darlinghurst; Tix $20.
Yakitori Yurippi is a tiny slice of traditional Japanese street eating in the most unlikely of places. Situated in the heart of Crows Nest, this hole-in-the-wall six-table restaurant has a surprisingly authentic charm thanks to some incredibly friendly staff, which includes a few Japanese yakitori veteran chefs and a sake sommelier to boot. As you'd expect with a sommelier-in-residence, the display of sake is quite impressive, as is the extensive list of Japan's finest whiskies — which, if you love whisky, you'll know is some of the finest in the world. Choose your own sake glasses amongst a hodgepodge of drinking vessels and get a tasting flight to enjoy while you chow down. A section of the dine-in menu has been seemingly created to cater for Aussie palates, but that's not what you come here for; in fact, we tend to think it should be taken off the menu altogether to let the authentic dishes truly shine. Their namesake is yakitori after all — and with an exposed charcoal grill manned by pros, it's the main drawcard. You know the drill: choose a bunch of things on sticks and eat to your heart's content. The must-trys include the succulent scallops which are served in the shell and topped with kombu butter, and the chicken and shallot, which is the most popular yakitori in Japan and is done especially well here. Pork lovers shouldn't miss the pork belly or the mochi wrapped in bacon, which is a strangely delicious combination — take our word for it. They've got adventurous eaters covered too, with everything from chicken liver, giblet and heart to cartilage and skin options. Of the specials, the burdock root chips add a crunchy, salty accompaniment to any yakitori and the Japanese omelette better resembles a melt-in-your-mouth souffle. Overall, this tiny Crows Nest restaurant is nothing short of a Lower North Shore gem and is worth a visit no matter what side of the bridge you reside.
The Rover has returned — dropping its "wild" moniker and with it, the jungle wallpaper — emerging as a sophisticated Surry Hills dining and drink destination tucked behind the same green door at the end of Campbell Street. It may have shed its dive bar energy but there are still hints of its Irish-themed past remaining with a plethora of whiskies on the drinks list, freshly shucked oysters, the repurposed train board listing and the Irish coffee on the dessert menu. The wine list — curated by Liquid & Larder head sommelier Kyle Poole — features over 50 interesting drops, highlighting complex but approachable organic and biodynamic wines. Seasonal cocktails join the drinks list curated by 2019 Australian Bartender of the Year Alex Gondzioulis. Plus, the aforementioned plethora of whiskies includes drams from America, Ireland, Scotland, Japan and, of course, Australia. It doesn't stop at the extensive drinks menu. In addition to the freshly shucked oysters, famous lamb sausage roll and fish finger sandwich on the New-England-inspired bar food menu on the ground level, you'll find a refined seafood bistro upstairs — the brainchild of British-born executive chef Pip Pratt. He explains "We wanted to elevate the restaurant experience for our guests with dishes that let seafood shine. This is fresh and fuss-free coastal fare best enjoyed with friends and great drinks in hand." Highlights of the menu include a daily rotation of crustaceans, a whole flathead served with lashings of garlic and clams, Nick's fisherman's pie with smoked trout and potato gratin and eel pate served with horseradish jelly and a glazed crumpet — a modern take on a traditional East London dish dating back to the 18th century when jellied eels were once a primary source for the city's working class. The revamped Rover is part of the Liquid & Larder hospitality group along with Grandma's, Bistecca and The Gidley. Reservations for the seafood bistro are available between 5–9pm, Monday–Saturday, as well as from 12pm for lunch on Saturday. Reservations can be made through the website or phone. Updated May 2, 2023. Images: Dominic Lonergan
It's been a long time in the making, but the first stage of the glitzy Arc by Crown development on Kent Street is finally up and running, and it seems to have made good on most of the developer's lofty, early stage promises. Making its public debut today is the 25-storey, Skye Suites Sydney multi-residential tower, designed by world-renowned architect Koichi Takada and boasting 73 luxury serviced apartments. The boutique studio, one-bedroom and two-bedroom suites — designed for both short- and long-term stays — are geared towards those with cash to splash, each kitted out with their own Vittoria coffee machine, Kevin Murphy bathroom products and even a bespoke bedding firmness menu. But perhaps most exciting is the ice cave-themed pool and lobby, with stunning curved ceilings to match the arched metal fins soaring across the top of the tower, and the building's rounded balconies. The hotel also boasts a swanky lounge and state-of-the-art gymnasium. It doesn't stop there, either. As part of the hotel's second-stage launch, slated for next month, it will score a stunning rooftop bar, and its own retail and hospitality precinct. Crown is helping to bring new life to Skittle Lane, at the building's rear. It'll play host to Reflect — a 12-metre-long public artwork by Ramus Illumination, with an ever-shifting form, brightened with thousands of LED lights. The historic laneway, which scored its name after being used as a bowling alley by soldiers and sailors in the 1880s, will be transformed into a pedestrian thoroughfare linking Kent and Clarence Streets, complete with a diverse food and retail offering. Some of the eateries set to open later this year include an izakaya and ramen bar, a multi-level restaurant dubbed Meu Jardim, a tapas spot and a new Ministry of Coffee. SKYE Suites Sydney at Arc by Crown is now open at 300 Kent Street, Sydney. Images of Skittle Lane are renders.
New South Wales' live music scene has another casualty: Central Coast's Mountain Sounds festival. A week out from the fest's 2019 event, which was due to take place on February 15 and 16, organisers have announced that it won't proceed this year. The news comes after Mountain Sounds already scaled down the festival earlier this month, reducing its number of stages as well as cutting 20 acts from its lineup. In a statement about the cancellation, the folks behind Mountain Sounds have highlighted "the government's war on festivals", particularly "newly imposed safety, licensing and security costs". The fest's powers-that-be explain that they've been "put in an impossible situation as it was unrealistic for us to pull this money together, particularly given the timeframe". The cash that the festival references is in the vicinity of $200,000, which would've covered 45 police working across a 24-hour period. Organisers also state that they were given these figures just this week, after being advised mid-January that 11 police officers would be acceptable. With drug deaths at music festivals in the spotlight in recent months, and the government ignoring increased calls for pill-testing as a harm-minimisation technique, events are increasingly being asked to change and scale down their operations. Earlier this week, dance fest Psyfari also announced its cancellation for the same reason — and also directed the blame firmly at the current political climate If Mountain Sounds had staged its fifth incarnation this year, audiences would've been treated to live sets by Melbourne-based singer-songwriter Courtney Barnett, Sydney-based electronica act What So Not and folk siblings Angus and Julia Stone, followed by a plethora of 2018's favourite acts, including Thundamentals, Middle Kids and Rolling Blackouts Coastal Fever. Organisers note that they're "devastated" about the cancellation, but "the combination of excessive costs, additional licensing conditions and the enforcement of a stricter timeline" left them with no alternative. Regarding the future, it's "unclear at this point in time but we will find a way to continue our passion and commitment in bringing music and arts to the coast," Mountain Sounds explained. Anyone booked in to attend this year's cancelled festival should expect to receive further information about their ticket purchases in the next week.
It's been a huge few weeks for Australian tour news — Kraftwerk! Meredith! Strawberry Fields! This That! Summer Camp! Paul McCartney! Harvest Rock! Pendulum! Flight Facilities! Weezer! Beyond The Valley! Field Day! Bluesfest! — but only one big announcement can whip it, whip it good. When Good Things returns for 2023, it'll hit Sydney, Melbourne and Brisbane with new-wave icons Devo on the bill. The 'Girl U Want' band will be celebrating 50 years since first forming in 1973, and also saying goodbye on a farewell tour that'll mark their last-ever Australian shows. Devo's famous energy dome hats will be on display at Centennial Park, Flemington Racecourse and Brisbane Showgrounds this December, on a jam-packed Good Things lineup that is brimming with nostalgia-inducing acts — including Fall Out Boy. A day after teasing that they were heading Down Under, the group behind 'Sugar, We're Goin Down' and 'Uma Thurman' have been confirmed as festival headliners, playing both tunes dating back to their 2000s heyday and recent tracks. From there, Good Things keeps rollin', rollin', rollin', rollin' with Limp Bizkit; will see Slipknot frontman Corey Taylor hit the stage solo; and is guaranteed to burst with punk energy thanks to Pennywise. Bullet for My Valentine, Taking Back Sunday and I Prevail are also on the bill, plus Enter Shikari, Pvris, Behemoth and Sepultura. Fresh from featuring a reunited TISM in 2022, Good Things boasts a packed roster of local names in 2023, too, celebrating Australian alternative rock with Spiderbait, Frenzal Rhomb, Jebediah and Eskimo Joe. On both the international and homegrown front, the list goes on, including Hanabie, While She Sleeps, Magnolia Park, Short Stack, Boom Crash Opera, Luca Brasi and more. And yes, this is a fest where you can likely hear 'Whip It', 'Dance, Dance', 'Society' and 'Buy Me a Pony' live on the same day, plus 'The Last Fight', 'Leaving Home', 'Punch in the Face' and a very non-George Michael cover of 'Faith' as well. GOOD THINGS 2023 LINEUP: Fall Out Boy Limp Bizkit Devo (The Farewell Tour celebrating 50 years) I Prevail Bullet For My Valentine Corey Taylor Pennywise Spiderbait Slowly Slowly Enter Shikari Behemoth Sepultura Taking Back Sunday PVRIS Bloom Boom Crash Opera Eskimo Joe Frenzal Rhomb Hanabie Jebediah Luca Brasi Magnolia Park Make Them Suffer Ocean Sleeper Royal & The Serpent Short Stack Slaughter To Prevail Stand Atlantic Tapestry The Plot In You While She Sleeps GOOD THINGS 2023 DATES: Friday, December 1 — Flemington Racecourse, Melbourne Saturday, December 2 — Centennial Park, Sydney Sunday, December 3 — Brisbane Showgrounds, Brisbane Good Things will hit the Melbourne, Sydney and Brisbane in December 2023. Pre-sale tickets go on sale from 10am, Tuesday, August 22, and general sales from 10am on Thursday, August 24. Head to the festival website for more info and to register for pre-sales. Top image: swimfinfan via Wikimedia Commons.
When any city becomes home to a brand-new art gallery, it's big news. Thanks to the NGV Contemporary, that's about to be the case in Melbourne. First announced back in 2018, and unveiling how it'll look just last month, the new 30,000-square-metre site at Southbank is set to be huge — adding a new landmark to the Victorian capital, complete with over 13,000 square metres of display space, plus a rooftop terrace and sculpture garden. Also hefty: the cash donation the in-the-works gallery has just received, as gifted by trucking magnates Lindsay and Paula Fox. Building up almost 20 years of supporting the National Gallery of Victoria, the pair has pledged $100 million to the NGV Contemporary. Yes, that's an enormous sum — the largest cash donation ever made to an Australian art museum by a living donor, in fact. As a result, the gallery now has a new name: The Fox: NGV Contemporary. When it opens its doors at 77 Southbank Boulevard in the coming years — with an exact launch date yet to be announced — that's what you'll see gracing the walls. Well, that and a whole heap of eye-catching modern art, of course. "We are truly astonished by this extraordinary act of giving from the Fox family and we are overwhelmed by the incredible generosity and support of Lindsay and Paula Fox. The Fox family should be commended on their leadership in this sector and for the real, tangible impact that their giving has, and will continue to have, on the lives of so many," said NGV director Tony Ellwood, announcing the news. "This awe-inspiring donation will ensure that Victoria remains a centre of artistic excellence for many generations to come and that The Fox: NGV Contemporary will be a source of community pride for all Victorians, as well as a meaningful cultural legacy for the Fox family," he continued. The Fox family's donation comes after the Ian Potter Foundation also committed $20 million to the NGV Contemporary — and it is hoped that both gifts will encourage more philanthropic support. "Philanthropy can transform cities and NGV Contemporary will be a true game-changer — one of the largest galleries dedicated to contemporary art and design in the world and a global architectural icon," said Victorian Minister for Creative Industries Danny Pearson. That money will go towards giving Melbourne a new must-visit gallery filled with the best and brightest in creative works, and a space that doubles as quite the spectacular site itself. Thanks to a multidisciplinary team led by Australian architect Angelo Candalepas and Associates, the NGV Contemporary will feature stunning arched entryways, as well as a spherical hall that reaches more than 40 metres in height. That arresting-looking hall, dubbed 'omphalos' (the Ancient Greek word for the centre of the earth), will spiral upwards through all levels on the building, too. So, visitors will then be able to walk around it to scope out art — like New York's Guggenheim Museum — and get up to the rooftop. Outside on that sky-high terrace, in addition to perusing the sculpture garden, patrons will be scoping out vistas over the CBD, parklands and the Yarra Ranges — views never seen by the general public before. Also among the highlights: a large cafe that'll connect to an expanded public parkland, a multi-level veranda on the building's eastern side, a new NGV design store, a restaurant and member's lounge, and educational spaces, studios and laboratories focused on conserving artwork. And, of course, there'll be large and flexible exhibition spaces that'll allow the NGV to host international blockbuster exhibitions — although with Chanel and Picasso showcases at NGV International in 2022, it hasn't been doing too badly in that department. Also, the new gallery spaces will also enable the NGV to present programs drawing upon its permanent collection of Australian and international contemporary art and design as well. The Fox: NGV Contemporary will be located at 77 Southbank Boulevard, Melbourne. For more information, head to the NGV website. Images: Renders of winning concept design for NGV Contemporary by Angelo Candalepas and Associates, by Darcstudio and Secchi Smith.
Hip hop culture, graffiti and architecture combine as one. The Hive apartment, the coolest apartment around, is graffiti inspired and located in Melbourne, the city renowned for its funky, impressive street-art. Designed by the architect Zvi Belling of ITN Architects, the Hive is the first in a series of Hip Hop buildings. Made mostly of concrete, this building symbolises the tumultuous relationship between architecture and graffiti. Whether it appeals to you or disgusts you, graffiti exists and is a common form of art around the world. Belling teamed up with old schoolgraffiti artist, Prowla RDC, to make this unusual, radical and not-so-humble looking abode. Not only is the house inovative and cool, but it is environmentally friendly, too. Fully equipped with solar panels lining the roof, the Hive is a green hip-hop home. Arrows, swooshes, and drips have been incorporated into the concrete walls but the biggest statement of all is the four meters high concrete letters spelling 'hive' across the building. Watch out for ITN's next unconventional design as it is bound to be interesting.
If you're heading to the tropical north, chances are you're going for nature. Whether it's the spectacular reefs, the captivating wildlife or the towering rainforest, if you love nature, you'll want to keep it as pristine and protected as possible during your stay. From immersive rainforest education experiences to luxury eco-stays, there are plenty of ways to lighten your footprint while on holiday in Tropical North Queensland.
Peruvian cuisine has made a splash in Sydney's dining scene, and leading the charge of representing Peru's vibrant culinary culture is this pop-up-turned-local-staple. Housed neatly on Devonshire Street, the Surry Hills eatery is co-owned by Luis Guzman, Valeriya Finogeeva and Warike's Executive Chef Hector Chunga. Using Chunga's breadth of experience, the restaurant champions a menu dedicated to the flavours and produce of the South American country. In Peru, warikes are hidden eateries and bars, often the locals' best-kept secret and reliant on word of mouth to be discovered. This 46-seat casual eatery lives up to this, boasting warm, inviting interiors adorned with Peruvian artwork and an open-plan style kitchen serving up a range of enticing bites and sips. Start your meal off with a bang — the oysters al aji amarillo is a menu highlight, packed with flavour and presented beautifully. The Ceviche Clasico is refreshing and flavour-filled, while the melted parmesan-coated scallops al pisco are perfect for cheese lovers — plus, they come with a bite of smoky duck breast. For mains, the jumbo-sized king prawns coated in a hearty, spicy parihuela soup and the tender steak paired with a citrusy lomo saltado sauce are top contenders, while the duck breast paired with eggs and resting on a bed of green rice pudding is an adventure with every bite. Round out your meal with a dessert — or two. Warike curates the ideal bite with a deconstructed approach to cheesecake, serving up a cheesecake sauce topped with fresh strawberries, figs, olive oil and bites of chocolate cake. For a combination of citrus and chocolate, opt for the spongey fondant filled with a lucuma sauce, which transforms from citrus-forward to creamy caramel, pairing splendidly with the chocolate mousse and hazelnut crumble. Indulge in a sip from Peru with the wide-spanning selection of beer, wine and Peruvian cocktails. Each cocktail features a Warike twist, with the andino old fashioned and tangy passionfruit pisco sour taking top spots on the list. When paired with lively music, dim lighting and dishes served with a friendly smile, Warike becomes the ideal atmosphere to wine and dine your next date. And, if you opt to visit in a group of six or more, you'll be served the tasting menu aptly named "Let the Peruvians Feed You" for $95 per person.
Northern Beaches residents rejoice — if you've already made your way through the area's current selection of top-notch beachside breweries, there's a fresh new spot to add to your must-try list. Freshwater Brewing Company has just unveiled a 120-capacity taproom and restaurant pouring its array of approachable craft beer creations. This fresh new face on the local brewing scene was established in 2020, releasing its first beer, the Freshie Pils, in July of last year. Since then, the Freshwater Brewing Company stocklist has expanded to include two more pilsners — the Pacific Pils and the Duke's Czech Pilsner — the Mexican-style Wedge Cerveza and the Secrets Hazy Pale. All five of these beers will be available across the brewery's 14 taps, accompanied by a bright, welcoming space and a memorable food menu crafted by Michelin-trained chef Daniel Wilson (ex-Dandy London). The eats are designed around backyard barbecue classics like prawn skewers, seafood platters, fish finger sandwiches and pork, cumin and harissa sausage rolls served with a fennel mayo. Over time, the team promises the menu will grow, with a continued focus on fresh, seasonal and locally-sourced ingredients. Behind the bar sits a range of wines, curated alongside a bright summery spritz to accompany frothy beers on warm Sydney days. "Community is in the brand's DNA, and this gives us an opportunity to create a space for our friends, family and neighbours, and create a brewery for all that embodies the Australian surf lifestyle," Freshwater Brewing Company co-founder Jonny Bucknall says. The best part of all this? Freshwater is pooch-friendly, so you'll never have to leave your best four-legged mate behind again. Freshwater Brewing Company is located at 4 Powells Road, Brookvale. Its taproom and restaurant is open 4–11pm Wednesday–Thursday, 4pm–midnight Friday, midday–midnight Saturday and midday–10pm Sunday. Images: Luisa Brimble
Before it introduced anxious teen sex counsellor Otis Milburn (Asa Butterfield, Flux Gourmet), his fellow-therapist mother Jean (Gillian Anderson, The Great), his ever-exuberant best friend Eric Effiong (Ncuti Gatwa, the next Doctor Who), and his whip-smart and rebellious crush Maeve Wiley (Emma Mackey, Emily), Sex Education's very-first episode started with trembling lights. With that debut back in January 2019, depictions of adolescent sexuality on-screen earned a welcome shake up as well. Horny high schoolers struggling with life, love and lust are such a pop culture staple that they inhabit their own genre, which this British series has always recognised. But when a show bursts onto streaming queues with a roll in the sheets that ends with a guy (Barbie's Connor Swindells as Adam Groff) faking an orgasm with his girlfriend (Living's Aimee-Lou Wood as Aimee Gibbs), it's clearly not interested in sticking with the usual tropes — and it wants its audience to know it. Candidly and enthusiastically subverting well-worn cliches about growing up and exploring all things carnal has always been Sex Education creator, lead writer and executive producer Laurie Nunn's focus in her first major project beyond the stage and shorts, as seen in that attention-grabbing premiere run, then 2020 and 2021's equally excellent second and third seasons, and now the show's big finish. Another key element right through to the series' fourth and final go-around, which hits Netflix from Thursday, September 21 to cap off its tale with as much charm, heart, humour and maturity as ever: knowing that it's far more relatable to be open, honest, warm, authentic, inclusive and diverse than to just spill out the same old coming-of-age story. Here's a third factor that's also long been crucial to Sex Education: understanding that life doesn't begin or end with surging hormones. When the series arrived with bulb-jostling sex, it pushed viewers into the thick of an existing relationship in a situation that couldn't be more intimate, and yet it didn't need to get neat or overly definitive to reach that point. That approach has thrived throughout the show, and not merely in fellow opening scenes in following episodes that've laid bare other residents of Sex Education's English village setting in various steamy states. It's there in its handling of romances, friendships and getting erotic, and in every subject that comes with each. And, when the beloved hit comes to its last-ever climax, it does so by recognising that an array of futures await Otis, his friends and his family members — even if the program they're in is saying goodbye. In other words, as it spends time with Moordale Secondary School's students, parents and teachers — and, in season four, the pastel-hued and progressive Cavendish College cohort instead — Sex Education embraces being in the moment while also appreciating that lone moments rarely define anyone forever. That's among the lessons that its characters keep learning in their own ways, all while listening to their hearts, yearning over crushes, uncovering their preferences, pondering priorities, making mistakes, amassing regrets, grappling with history and dreaming about possibilities. Also, in a series with a Degrassi-esque list of topics covered — a show that could've been called Relationship Education, except that it isn't as pithy — as Otis and company touch upon everything from pregnancy, pleasure, body image, masturbation, asexuality and addiction to assault, faith, gender identity, transitioning, mental health and prejudice. Although no longer a virgin scared of self-love who gets talked into giving his peers advice, which is how Sex Education began his tale, Otis is still as uncertain as ever when season four kicks off. With his old school shuttered and snapped up by developers, he's forced into a new start, as well as a new bid to become the on-campus sex therapist — competing with existing student O (Thaddea Graham, Wreck). While Eric doesn't want them to be dubbed outsiders from the get-go, he fits in easily when he sees "all the gays everywhere", in his excited words. The fact that Maeve is at university in the US just after they've just come to terms with their feelings for each other was always going to hold Otis back, of course. The pair are finally more than friends, but also on different continents. Sex Education's fourth season isn't short on chaos for everyone, with Maeve being overlooked by her professor (Schitt's Creek favourite Dan Levy) for a well-to-do classmate, then coping with heartbreaking loss; Eric tussling with what it means to be queer and Christian, and not wanting to hide either; Adam attempting to find a path beyond school; Jackson Marchetti (Kedar Williams-Stirling, Small Axe) confronting both his health and past; and Aimee getting closer to Isaac Goodwin (George Robinson, Perfect) as she discovers new ways to work through her trauma. Viv Odusanya (Chinenye Ezeudu, The School for Good and Evil) makes a connection that turns dark, Cal Bowman (singer Dua Saleh) is six months into taking testosterone and desperate for top surgery, and Ruby Matthews (Mimi Keene, Tolkien) is trying to carve out a new status quo now that she's no longer the resident queen bee. Also, newcomers Abbi (debutant Anthony Lexa) and Roman (fellow first-timer Felix Mufti) beam with positivity as Cavendish's golden couple but have intimacy issues, while Aisha (Alexandra James, Backstage), who is deaf, helps fight for better treatment of pupils with disability. Among the adults, Jean finds being a new single mum to an eight-week-old baby filled with challenges, especially when her sister Joanna (Lisa McGrillis, Last Night in Soho) visits with good intentions but plenty of drama. After separating, Adam's parents Michael (Alistair Petrie, Funny Woman) — also Moordale Secondary's ex-headmaster — and Maureen (Samantha Spiro, The Pentaverate) are still working on who they each want to be. With such a wealth of folks familiar and fresh filling its frames — even with adored faces such as Ola (Patricia Allison, His Dark Materials) and Jakob Nyman (Mikael Persbrandt, Foundation), Lily Iglehart (Tanya Reynolds, Emma), Olivia Hanan (Simone Ashley, The Little Mermaid) and Anwar Bakshi (Chaneil Kular, Atlanta) absent — Sex Education's swansong has much to juggle. Balancing its various players and their plights has never been this astute and engaging series' problem, though, and neither has fleshing out its characters, their emotions, and their ups and downs. In fact, Nunn and her writers, directors and exceptionally cast actors have always taken the opposite route. The more amusingly and affectionately rendered mess that has surrounded Otis, Eric, Maeve and the like, the more realistic, resonant, sincere and meaningful they've all proven. This crew will be deeply missed, but perhaps the biggest compliment that season four inspires springs from the show's legacy: its young stars are already popping up everywhere (not just Swindells but also Gatwa and Mackey were in Barbie), and the series that thrust them to fame won't ever be forgotten. Check out the full trailer for Sex Education season four below: Sex Education season four streams via Netflix from Thursday, September 21. Images: Samuel Taylor / Netflix.
There's nothing small about Dark Mofo, the wintry music and arts festival hosted by the Museum of Old and New Art. With everything from rainbows to the Chernobyl score played live in an immersive industrial setting on its initial 2022 program — a doll house, The Kid LAROI, tunes from Candyman, Jónsi from Sigur Rós and 100 artists from 30 countries, too — that's definitely the case this year. But its hefty lineup so far just wasn't enough, it seems, so the fest has gone and added a slew of new shows. Among the newly announced additions: an afterparty following the Reclamation Walk on opening night, headlined by Briggs and Emma Donovan & The Putbacks; Japanese quartet Chai, busting out euphoric live tunes neo kawaii-style; queer dance party Club Mince, which'll take over two floors at Hobart's Altar; and three-night dance party Night Garden at the fest's In The Hanging Garden venue. [caption id="attachment_854706" align="alignnone" width="1920"] Image courtesy of the artist, and Dark Mofo 2022.[/caption] Or, there's also a special tribute gig focusing on Ukraine — called With Ukraine, in fact — by musician and Mona's resident composer Dean Stevenson with his Arco Set Orchestra. It'll commit commit $10,000 of proceeds from the performance to charity Voices of Children, which assists Ukrainian children and families affected by the Russian invasion. And, the aforementioned Chernobyl score performances will also donate funds to the people of Ukraine, too. Other new highlights on the bill span more Mona Up Late, rapper Birdz sharing the stage with DENNI and her synth-driven hip hop, Shady Nasty with 208L Containers and Threats, and Import Export: The Dark Sessions — a showcase of Tassie talent presented by Ben Salter. [caption id="attachment_800593" align="alignnone" width="1920"] Jesse Hunniford[/caption] Arriving unexpectedly — think of it as Dark Mofo bonus — this is the third batch of program announcements for the fest, after it dropped the first highlights for this year's fest back in March. Accordingly, all of the above also joins the previously announced Kim Gordon, who'll bust out songs from her 2019 solo release No Home Record; Berlin-based composer and producer Nils Frahm playing Music For Hobart; and Spiritualized, Deafheaven and American multi-instrumentalist Lingua Ignota. And yes, that's just a taste of what awaits at the Tasmanian festival. Dark Mofo will run from Wednesday, June 8–Wednesday, June 22 in Hobart, Tasmania. For more information or to buy tickets, head to the festival website. Top image: DarkLab/Jesse Hunniford, 2019. Image Courtesy DarkLab, Hobart, Tasmania, Australia.
Working at the exciting intersection of design, art and iced treats, American artist Wei Li has just embarked on a pretty interesting experiment. In an effort to understand how aesthetics dictate taste, she's crafted a range of ice blocks shaped like totally unappealing things. Her series, Dangerous Popsicles, features treats that resemble a range of cacti, influenza, E-coli, HIV and chicken pox. Yum! If you thought the plastic corners of Zooper Doopers were dangerous, this stuff is undoubtedly next level. Modelled exclusively after dangerous viruses and cacti, Li's popsicles are armoured with little bulbs and thorns that make them incredibly difficult to eat. But here's the catch. Though they're made with the help of silicon moulding, these little jerks are comprised of the simple sugar and water recipe you'd use for any standard ice block. Anyone who wants to devour their deliciousness has to first fight through the pain. This dichotomy is central to what Li is trying to explore. "What will happen when we put these dangerous thing on one of our most sensitive organs, our tongues?" she asks. "Does pain really bring pleasure? Is there beauty in user-friendly things?" The artist's concern with conflicting sensations is something she's explored in the past. Her hilarious (and totally disturbing) video work Machine Pornography is much the same. By filming tools and machinery equipment doing suggestive "sexual activities" — don't worry, it's not nearly as bad as it sounds — she tests the viewer's connotations of certain actions and presents something conflicting and unsettling. Though we doubt the Dangerous Popsicles will be hitting shelves any time soon, we'd love to give them a try. This is the only time we'll ever say this, but we could really do with some delicious influenza right about now. Via PSFK.
The last thing any Australian wants this summer is to spend more time indoors, but it looks like the weather has other plans. It already appears that most of the east coast will see out spring with rain and clouds, and they're not the only wet conditions in much of the country's immediate future — with the Bureau of Meteorology's declaring that a La Niña weather event has developed in the Pacific Ocean. When the weather phenomenon hits Australia, it usually means soggier times — and that's what BOM is forecasting for eastern, northern and central parts of the country. And, cooler temperatures, too, so perhaps this won't be the hot vax summer we'd all been hoping for. (Obviously, exactly what constitutes 'cooler' needs to be put in context of Australia's usually toasty summer weather; we aren't quite in for frosty conditions.) In a statement, Bureau's Head of Operational Climate Services Dr Andrew Watkins explained that La Niña "increases the chance of cooler than average daytime temperatures for large parts of Australia and can increase the number of tropical cyclones that form." And, in a revelation that won't surprise anyone who's had a wet week or so — Sydney and Brisbane have both seen rain — Dr Watkins advises that "La Niña is also associated with earlier first rains of the northern wet season, as we've observed across much of tropical Australia this year." The Bureau has declared that a #LaNiña has developed in the tropical Pacific. Typically during La Niña, there is above average rainfall for eastern, northern and central parts of Australia. pic.twitter.com/4KJeKsVI6A — Bureau of Meteorology, Australia (@BOM_au) November 23, 2021 Australia last experienced La Niña last spring and summer, so we're getting back-to-back stints of sodden weather; however, that's not out of the ordinary. "Around half of all past events returning for a second year," Dr Watkins said. In good news, the 2021–22 La Niña might have a weaker effect locally than last year's event — and definitely isn't predicted to be as strong as the weather phenomenon proved between 2010–12. Having an umbrella handy is clearly smart advice over not just the coming days — with showers, rain and/or storms forecast for all Aussie capitals except Perth — but for the summer ahead. It's smart Aussie summer advice in general anyway, but particularly so this year. La Niña forms part of a naturally occurring shift in ocean temperatures and weather patterns along the equator in the Pacific Ocean — a cycle known as the El Niño-Southern Oscillation (ENSO). When it occurs, waters in the central or eastern tropical parts of the Pacific become cooler than normal, and persistent southeast to northwesterly winds get stronger in the Pacific's tropical and equatorial regions. Also, clouds shift to the west — so, closer to Australia. For more information about the Bureau of Meteorology's La Nina declaration, head to the BOM website.
Staycationing in your own city? Heading interstate for a getaway? Either way, deciding which hotel to spend the night in can depend on a range of factors. Some are straightforward, such as location and price. Others span the broader experience, including amenities, facilities, ad onsite restaurants and bars — and whether the place you're bunking down in serves cocktails using spirits that it has barrel aged itself. Set to open in Melbourne's growing 80 Collins Street precinct in late March, Next Hotel Melbourne ticks the last box — and it's the first hotel in Australia to do so. It'll be home to a space called the Barrel Room, where it'll run a wood-ageing program for spirits, cocktails and herbal liquors. You'll be able to drop in, make your pick, see your choice decanted, have a taste and even make requests regarding what else should be barrel aged. Those tipples will also form part of Next Melbourne's own signature bottled cocktail lineup, which'll be stocked in the in-room mini-bars. Also on offer at the new Melbourne 24-storey spot: 225 guest rooms; design touches that span marble, eye-catching lighting and art by Jonny Niesche, Consuelo Cavaniglia and Julia Gorman; and in-suite espresso machines and cocktail-mixing stations. The site will also include a club area for working and meeting away from home, complete with its own food and drink selection, plus a fitness centre with on-call personal trainers. Overseen by Daniel Natoli and Adrian Li, Next Melbourne will feature dining and drinking venue La Madonna, too, which'll span across an entire floor. Also due to open in late March, it'll offer share plates at the bar, a lounge space for cocktails, and booth seating and large tables for meals — and it's where the Barrel Room will be located. On the site's ground floor, Ingresso by La Madonna is already open, serving up coffees to start the day, an afternoon aperitivo hour, and other drinks and bites to to either eat onsite or takeaway. Next Melbourne joins a much-talked about precinct, with 80 Collins Street also just welcoming Farmer's Daughters — and already home to opulent champagne bar Nick & Nora's and cafe Maverick. Find Next Hotel Melbourne in the 80 Collins Street precinct, with entry via 103 Little Collins Street, Melbourne, from late March.
Four months after announcing that the Australian Aboriginal flag will get a permanent berth atop the country's most famous man-made structure — the Sydney Harbour Bridge — the New South Wales Government has committed to making that promise a reality by the end of 2022. A third flagpole will be added to the structure, giving the Aboriginal flag its own place to fly every single day of the year — instead of the current situation, where it is only on display for 19 days annually, for Australia Day, Sorry Day, Reconciliation Week and NAIDOC Week. The NSW Government will commit $25 million in the 2022–23 NSW budget to installing the third Harbour Bridge flagpole, and will do so before the year is out. The bridge's flagpoles stand around 20 metres high — the same height as a six-storey building — while the flags themselves measure around nine metres by four-and-a-half metres, which means they need a strong attachment that's able to hold in all weather conditions. "Our Indigenous history should be celebrated and acknowledged so young Australians understand the rich and enduring culture that we have here with our past," said NSW Premier Dominic Perrottet in a statement. "Installing the Aboriginal flag permanently on the Sydney Harbour Bridge will do just that and is a continuation of the healing process as part of the broader move towards reconciliation." [caption id="attachment_841961" align="alignnone" width="1920"] Mary and Andrew via Flickr.[/caption] Back in February, when the Premier first revealed that a third flagpole would be erected, he advised that it'd happen "as soon as possible". On exactly what date before 2022 is out that'll become a reality hasn't been announced, however, but there's now a concrete timeframe. The Sydney Harbour Bridge currently has two flag poles, with one flying the Australian flag and, when the Aboriginal flag isn't on display on its allocated days, the other flying the NSW state flag. The move to fly the Aboriginal flag permanently follows a five-year-long campaign by Kamilaroi woman Cheree Toka, who also launched a Change.org campaign in 2020 to continue to call on the NSW government to make this exact move. "The Aboriginal flag is a reminder that the country has a history before European arrival," Toka said two years ago. "I think it's really important to have a symbolic gesture on the bridge that identifies the true history of Australia, which is a starting point for conversation around greater issues affecting the Indigenous population." After the first three years of Toka's campaign, she had amassed more than 157,000 digital signatures and the required 10,000 paper-based signatures to bring the issue to NSW parliament. However, when it was debated in the final NSW parliamentary session of 2019, the result then was that it would cost too much to construct a third flagpole to see the Aboriginal flag flying daily — which was what sparked her crowdfunding campaign to raise the $300,000 quoted by the government to 'fund the flag'. Also in Aboriginal flag news this year, the Australian Government unveiled a copyright deal at the end of January with Luritja artist Harold Thomas, who designed the symbol, to make it freely available for public use. The Aboriginal flag will start flying permanently on the Sydney Harbour Bridge by the end of 2022 — we'll update you when further details are announced. Top image: Boyd159 via Wikimedia Commons.
