From giant Godzilla statues to karaoke ferris wheels, you can find almost anything in Tokyo. Top-notch Australian coffee also belongs on that list. Sydney-based roaster Single O has been giving Japan a taste of its caffeinated brews for a decade, and opened its first international cafe in the country's capital back in 2021. Hit up the city from now on, however, and you'll have the brand's second overseas cafe to head to as well. While Single O has boasted a roastery and tasting bar in Ryogoku since before its Hamacho spot for a cuppa launched, Ryogoku Roastworks is now a cafe, too. All in one swoop, the chain has moved into bigger digs and added its second space for aficionados to grab a brew. And yes, coffee on tap — which first became available at Single O's Surry Hills cafe in 2019 — is part of the setup. If you're keen to pour your own beverage, the self-serve counter will rotate its range of single-origin brews. Otherwise, the cafe will also serve up espressos and long blacks made from a changing array — and, of course, Single O's signature blend Reservoir, with its notes of stonefruit and milk chocolate, will be in the spotlight. Aussie patrons won't just sip a taste of home at Ryogoku Roastworks, but will also find dishes from the brand's Surry Hills and Newstead cafes on the food menu. So, if you're in Tokyo and craving Single O's banana bread with espresso butter, you're in luck. The same goes for The Avo Show, which is made with rye, achiote cashew cheese and pickled fennel, plus a seasoned crumb, chilli oil and sweet lemon aspen. Other culinary choices span the Reservoir Dog (Tesio sausage, caramelised onion and tomato sauce), as named after Single O's street address in Surry Hills — and also Boris' Beans (a Turkish-inspired bean stew that comes with tomato, chilli oil and labne). Or, opt for two types of jaffle: prosciutto, gouda and maribo; and Vegemite butter, camembert, cheddar and onion jam. As for the warehouse digs themselves, Ryogoku Roastworks has received Luchetti Krelle's design touch, with the Sydney-based firm heroing industrial flourishes and sustainability in their approach. A corrugated metal facade greets customers, inside which a freestanding pod is home to the cafe, with the roastery behind it. "We hit the ground running in Japan a decade ago, and the response we've had since then has honestly blown us away — we're now roasting for 130 wholesale partners across Japan," said Single O co-founder Dion Cohen. "Moving the roastery into a bigger and better space is really an opportunity to double down in support of those partners and grow our offering." Launching its new Ryogoku site allows Single O to quadruple production in Japan — and is just one of the chain's big 2024 openings in Tokyo. The other is set to arrive in July in the form of a Shibuya venue, the brand's third in the city, which will debut a new coffee bar concept. Find Single O's Ryogoku Roastworks at 3-21-5, Kamezawa, Sumida, Ryogoku, East Tokyo, open from 10am–6pm Wednesday–Sunday. Head to the brand's website for more details. Images: Koji Shimamura.
As Sydneysiders, we love a place where we can bring our furry friends — especially when those places sell alcohol. It really does make for a perfect day, and Sydney Beer Week understand this. So for the festival's penultimate day, Grifter Brewing Company and New Zealand Brewery Parrot Dog are joining forces to make for a fun afternoon for both you and your pooch — you'll be able to sip that refreshing brew with your fluffy mate. Head on down to Grifter this Saturday, October 28 with your pup for pints at bar prices.
In 1996, when the Redlands Art Prize started out, it was just an unassuming show held in the school gym. Fast-forward two decades and it's now a fancy national exhibition, waving about $35,000 in prize money and held at the National Art School. Opened on March 14 and running for two months, this year's incarnation features works by 22 artists, curated by celebrated Australian artist and 2015 winner Mikala Dwyer. Among them are Daniel Boyd, Pat Brassington, Sarah Goffman, Elizabeth Pulie, Koji Ryui and more. So who cleaned up this year? The mega $25,000 first prize has gone to Brassington for Pair Bonding (2015), while the $10,000 kitty for an emerging artist was won by Jack Lanagan Dunbar, for Vase #04, #09, #10 and Kinetic Profile #04, #09, #10, both from Studies in Light, Movement and Time (2015). "Together, these artists exhibit the diversity in approach and technique, revealing the broad spectrum of work and ideas being produced in Australia at present," said Dwyer. Image: Pat Brassington, Pair Bonding (2015).
Oh we love cities. Make no mistake. But venture beyond the borders and go further out and you'll discover a haul of destinations rich with unique events and adventures worth road tripping for. Whether your interests are culinary, cultural or the creative arts, we've teamed up with Destination NSW to curate a guide to the biggest regional events and festivals to keep you entertained during the cooler months. From floral displays to food-packed fiestas, fruit picking and free live music performances, it's time to fuel up the car, fire up your Spotify playlist and settle in to discover the best that New South Wales has to offer. Explore the best of NSW's Regional Events and Festivals at the Destination NSW website.
When you want to make someone feel loved, a bunch of flowers can go a long way. Be it for a birthday, a grand romantic gesture or showing you're there when times are hard. Sending a bountiful bouquet of flowers can be a reminder of your affection, and what makes the process special for you is putting your trust in a florist to translate your emotions into something stunning. To help you track down the right person for the job, we've rounded up a bunch of Sydney's top florists who pour their passion for locally grown, seasonal blooms into every arrangement.
Whether you watched along from 2009–15 when it was in production or you discovered its joys via an obsessive binge-watching marathon afterwards, Parks and Recreation is one of the 21st century's TV gifts — and the beloved sitcom cemented its stars, from its lead roles through to its supporting parts, as audience favourites. Plenty of those talents also share something else in common: a fondness for touring Down Under. Nick Offerman has done it, taking to Australia's stages. Amy Poehler has made multiple promotional Aussie trips for Inside Out and Inside Out 2. Henry Winkler even headed this way to chat through his lengthy career. Now, add the latter's on-screen son to the list. Ben Schwartz, aka Parks and Recreation's Jean-Ralphio Saperstein, has a date with Sydney and Melbourne in 2025. [caption id="attachment_968141" align="alignnone" width="1920"] Disney/Image Group LA[/caption] Don't be suspicious: Schwartz will be performing his Ben Schwartz & Friends live improv show, which begins with just a couple of chairs onstage. Where it goes from there, you'll only discover on the night — because that's the joy of improv. He's doing two gigs, one at the Sydney Opera House on Saturday, May 3 and another at Hamer Hall on Sunday, May 4. Schwartz isn't just known for Parks and Recreation, although that's the first thing on his resume that'll always come to mind for Parks fans. Since his time in Pawnee wrapped up — since he stopped being one of the woooooooorst people in the fictional Indiana town, that is — he's also starred in murder-mystery comedy The Afterparty, voiced a certain spiny blue mammal in Sonic the Hedgehog and Sonic the Hedgehog 2, loaned his vocal tones to Star Wars: The Bad Batch and Invincible, and featured in Space Force and Renfield. You'll find Arrested Development, This Is Where I Leave You, The Interview, The Walk, House of Lies, The Lego Movie 2, BoJack Horseman, Bob's Burgers, DuckTales and Central Park on Schwartz's filmography, too, and a whole heap more. Does his resemblance to Stranger Things' Joe Keery come up in Ben Schwartz & Friends? Again, you'll need to attend to find out. [caption id="attachment_842850" align="alignnone" width="1920"] The Afterparty, Apple TV+.[/caption] Ben Schwartz & Friends Australian Dates 2025: Saturday, May 3 — Sydney Opera House, Sydney Sunday, May 4 — Hamer Hall, Melbourne Ben Schwartz & Friends plays Australia in May 2025, with ticket presales from 10am on Wednesday, July 31 and general sales from 11am on Friday, August 2. Head to the tour website for more details. Top image: The Afterparty, Apple TV+.
Australia's music festival scene hasn't had a great run in 2024, with everything from Splendour in the Grass and Groovin the Moo to Harvest Rock and Spilt Milk cancelling — but two end-of-year staples are returning to celebrate 2024 turning into 2025 with live tunes. Victoria's Beyond The Valley and New South Wales' Lost Paradise also have something else in common: plenty of the same acts on their respective lineups. Beyond The Valley dropped its roster for this year first, and now it's Lost Paradise's turn a day later, with Fisher, Tinashe, Royel Otis among the big names doing double duty. Accordingly, if you're looking to travel to a regional spot for a huge music fest on and around New Year's Eve, you have choices. [caption id="attachment_965689" align="alignnone" width="1917"] Jess Bowen[/caption] After initially locking in its Saturday, December 28, 2024–Wednesday, January 1, 2025 dates back in July, Lost Paradise has unveiled a lineup filled with must-see names, all headed to the Glenworth Valley on the New South Wales Central Coast an hour out of Sydney. Flight Facilities doing their Decades mix is another massive highlight. So are Marlon Hoffstadt, Sammy Virji, SG Lewis, Confidence Man, DJ Boring and Kita Alexander, across a multi-day fest that features live music and DJ sets spanning both international and Australian talents, and regularly sells out — 2023's fest did. Tunes are just one part of the Lost Paradise experience. Art, culture, wellness, and food and drink also get a look in, with the 2024 event also spanning Dr Karl getting chatting, yoga and healing arts, craft sessions, workshops and more. So, you can not only farewell one year and see in the next with a party, but by relaxing, feasting and learning something. Making 2024's Lost Paradise extra special: the fact that this year marks ten years for the fest, which has become a go-to way to wrap up one year and embrace the next since 2014 — including if you're keen to camp for its duration. Just as in 2023, this year's Lost Paradise is also opting to steer away from a traditional first-, second- and third-release ticket strategy. Instead, ticket prices gently increase in accordance with demand, while maintaining fair market pricing. It's also committing to sustainability by using almost 100-percent recyclable materials in its decor and staging — and art — while implementing recycling across the site, waste sorting and a pledge for attendees that requires ticketholders to acknowledge their own environmental responsibility. Lost Paradise 2024 Lineup: Arcadia: Fisher Tinashe Royel Otis Caribou Flight Facilities (Decades set) AJ Tracey Confidence Man Teenage Dads The Rions Glass Beams Pretty Girl (live) Neil Frances Flowdan & Neffa-T Lola Young Telenova Kita Alexander Rum Jungle Nick Ward Don West Radio Free Alice Total Tommy Djanaba Casual Fan Surely Shirley Civic Video Micra Krystal Rivvers Micah Jey Green Hand Band Triple J Unearthed winner Lost Disco & Paradise Club: Marlon Hoffstadt Sammy Virji Denis Sulta KI/KI DJ BORING Sg Lewis Tinlicker (DJ set) Interplanetary Criminal Girls Don't Sync Oden & Fatzo (live) Malugi CC:Disco! Sally C Fish56octagon Chloé Caillet Jennifer Cardini Moxie Little Fritter Sarah Story Dameeeela James Pepper Caleb Jackson Elijah Something Who Is Arcadia B2b Half Cut Lost Soundsystem Conspiracy Crew Entity Uncle Ru Disco Dora Chloe Harry Hooper Mash Gabriella Spritz Sasha Milani B2b Fuchsia Sim Select Tokyo Sexwale Dayzzi B2b Daug Cozi Oscill8 Oliiv + more to be announced Shambhala Fields: Dr Karl Aretha Brown You Wouldn't (with Will Gibbs and Pat Clifton) Cooper Chapman Plastic Free Mermaid Emmanuel Asante Rache Moore Gwyn Williams Damon Gameau First Nations Culture with Uncle Phil + more to be announced [caption id="attachment_965685" align="alignnone" width="1917"] Jordan K Munns[/caption] [caption id="attachment_965687" align="alignnone" width="1917"] Byravyna[/caption] [caption id="attachment_965688" align="alignnone" width="1917"] Byravyna[/caption] Lost Paradise returns to Glenworth Valley, New South Wales from Saturday, December 28, 2024–Wednesday, January 1, 2025. To sign up for presale tickets, head to the festival's website — with presales starting on Tuesday, August 27 and general sales on Wednesday, August 28. Images: Jess Bowen, Jordan K Munns, Byravyna and Amar Gera.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from June's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW I'M A VIRGO No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, as Riley is, and he wants to ensure that his audience knows it. Indeed, I'm a Virgo is a show with something to say, and forcefully. Its creator is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. As Cootie wades through these experiences himself, there isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. I'm a Virgo streams via Prime Video. Read our full review. BLACK MIRROR When Ron Swanson discovered digital music, the tech-phobic Parks and Recreation favourite was uncharacteristically full of praise. Played by Nick Offerman (The Last of Us) at his most giddily exuberant, he badged the iPod filled with his favourite records an "excellent rectangle". In Black Mirror, the same shape is everywhere. The Netflix series' moniker even stems from the screens and gadgets that we all now filter life through daily and unthinkingly. In Charlie Brooker's (Cunk on Earth) eyes since 2011, however, those ever-present boxes and the technology behind them are far from ace. Instead, befitting a dystopian anthology show that has dripped with existential dread from episode one, and continues to do so in its long-awaited sixth season, those rectangles keep reflecting humanity at its bleakest. Black Mirror as a title has always been devastatingly astute: when we stare at a TV, smartphone, computer or tablet, we access the world yet also reveal ourselves. It might've taken four years to return after 2019's season five, but Brooker's hit still smartly and sharply focuses on the same concern. Indeed, this new must-binge batch of nightmares begins with exactly the satirical hellscape that today's times were bound to inspire. Opening chapter Joan Is Awful, with its AI- and deepfake-fuelled mining of everyday existence for content, almost feels too prescient — a charge a show that's dived into digital resurrections, social scoring systems, killer VR and constant surveillance knows well. Brooker isn't afraid to think bigger and probe deeper in season six, though; to eschew obvious targets like ChatGPT and the pandemic; and to see clearly and unflinchingly that our worst impulses aren't tied to the latest widgets. Black Mirror streams via Netflix. Read our full review. GUY RITCHIE'S THE COVENANT Announcing his cinematic arrival with a pair of slick, witty, twisty and fast-paced British heist flicks, Guy Ritchie achieved at the beginning of his career something that many filmmakers strive for their whole lives: he cemented exactly what his features are in the minds of audiences. Lock, Stock and Two Smoking Barrels and Snatch made "Guy Ritchie movie" an instantly understood term, in fact, as the writer/director has attempted to capitalise on since with differing results (see: Revolver, RocknRolla, The Gentlemen and Operation Fortune: Ruse de Guerre). Ritchie's third film, the Madonna-starring Swept Away, has also proven just as emblematic of his career, however. He loves pumping out stereotypical Guy Ritchie movies — he even adores making them Sherlock Holmes and King Arthur flicks, with mixed fortunes — but he also likes leaving his own conventions behind in The Man From UNCLE, Aladdin, Wrath of Man and now Guy Ritchie's The Covenant. Perhaps Ritchie's name is in the title of this Afghanistan-set action-thriller to remind viewers that the film does indeed boast him behind the lens, and as a cowriter; unlike with fellow 2023 release Operation Fortune: Ruse de Guerre, they wouldn't guess otherwise. Clunky moniker aside, Guy Ritchie's The Covenant is pared down, gripping and intense, and home to two excellent performances by Jake Gyllenhaal (Strange World) as Master Sergeant John Kinley and Dar Salim (Tatort) as his interpreter Ahmed. As the former leads a team that's looking for IED factories, the pair's collaboration is tentative at first. Then a raid goes wrong, Ahmed saves Kinley's life, but the recognition and support that'd be afforded an American solider in the same situation doesn't go the local's way. Where Afghan interpreters who aid US troops are left after their task is complete is a weighty subject, and treated as such in this grounded and moving film. Guy Ritchie's The Covenant streams via Prime Video. FLAMIN' HOT How? In pop culture's current true-crime and murder-mystery trends, that's a key question, with audiences keen to discover how killers are caught — or sometimes aren't. It's also the query at the heart of another on-screen obsession of late: product films. These aren't the movies that turn every favourite character and premise possible into never-ending franchises, as seen in the many various caped-crusader universes. Rather, they're origin stories behind everything from games (Tetris) to shoes (Air) and mobile phones (BlackBerry), and they just keep arriving in 2023. Marking the feature directorial debut of Desperate Housewives actor Eva Longoria, Flamin' Hot is firmly a product film, as Cheetos fans will instantly know. If you've ever wondered how the Frito-Lay-owned brand's spiciest variety came about in the 90s — and became so popular — this likeable, energetically made movie provides the answer while itself rolling out a crowd-pleasing formula. Eating the titular snack while you watch is optional, but expect the hankering to arise either way. This story belongs to Richard Montañez — and it's also an underdog tale, and an account of chasing the American dream, especially when it seems out of reach. Flamin' Hot's pivotal figure (Jesse Garcia, Ambulance) started working at Frito-Lay to support his family, after living the gang life since high school to rebel against his dad, but he wants to be more than a janitor. His attempts to work his way up the company ladder falter not through his lack of trying or willingness to learn everything there is about making junk food, but due to a stratified hierarchy that doesn't reward his efforts. But, as he takes cues about the factory's operation from engineer Clarence (Dennis Haysbert, Lucifer), who also struggles to get promoted, he realises that chilli-flavoured Cheetos would be a smash within the Latino community. His ever-supportive wife Judy (Annie Gonzalez, Vida) is committed to helping, as are his family and friends in general — but if getting Frito-Lay CEO Roger Enrico (Tony Shalhoub, The Marvelous Mrs Maisel) onboard was easy or straightforward, there wouldn't be a film. Flamin' Hot streams via Disney+. BASED ON A TRUE STORY Murder-mystery comedies: everyone's making them, and on screens big (Knives Out and its sequel, See How They Run) and small (Only Murders in the Building, The Afterparty, Dead to Me). In fact, Based on a True Story star Kaley Cuoco has been in one lately thanks to two seasons of dark comedy-slash-whodunnit thriller The Flight Attendant. But the difference with the genre's latest streaming example is befriending a serial killer, which is the choice that Cuoco's pregnant real-estate agent Ava Bartlett and her just-fired tennis-coach husband Nathan (Chris Messina, The Boogeyman) make to chase a lucrative payday. How does palling around with the Westside Ripper, who has been terrorising Los Angeles, benefit the financially struggling couple? By making a podcast with them, as Australian-born creator and writer Craig Rosenberg (The Boys) finds his own way to riff on the Serial-sparked true-crime audio obsession. Ava is a devotee of folks talking about grisly deeds; if Only Murders in the Building existed in the Based on a True Story universe, she'd be its number-one fan. And, after working out that she and Nathan know the killer, it's her idea to hustle that information into what she hopes will be the next big podcast, all by enlisting said criminal to natter on with them. Based on a True Story clearly skews more darkly satirical than the fellow streaming series it most closely resembles — well, that and The Flight Attendant and also country-club comedy Red Oaks. It's messier as well, sometimes feeling like it's throwing in everything it can, and Cuoco could've easily walked out of her last series and straight into this. Still, with its love of twists, willingness to call out how the world's murder fixation is so rarely about the victims, and a well-cast lineup of talent that also includes Tom Bateman (Death on the Nile) and Liana Liberato (Scream VI), it's quickly addictive — yes, like the podcasts it's parodying. Based on a True Story streams via Binge. NEW SHOWS TO CHECK OUT WEEK BY WEEK DEADLOCH Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and one of the streaming highlights of the year. Deadloch streams via Prime Video. Read our full review. HIJACK Whether Idris Elba will ever get to play James Bond is still yet to be seen, but he resourcefully endeavours to save lives and bring down nefarious folks in Hijack, and adds another prime example of why he'd be excellent as 007 to his resume. This new series is also basically Idris Elba on a Plane, sans slithering snakes — or Idris Elba Cancels the London-Bound Apocalypse. Die Hard with Idris Elba, 24: Idris Elba: they fit as well. Fresh from battling lions in Beast, the Luther star plays Sam Nelson, a seasoned negotiator on his way home to the UK from Dubai, and a man who just wants to try to patch things up with his estranged wife Marsha (Christine Adams, The Mandalorian) and spend time with his teenage son Kai (Jude Cudjoe, Halo). Then fellow Brit Stuart (Neil Maskell, Small Axe) and his gun-toting team take over the aircraft before the first of the journey's seven hours is out, forcing Sam to play hero to try to keep himself and his fellow passengers alive. Unfurling in seven episodes, Hijack gets its audience experiencing the tension, chaos and life-or-death stakes in tandem with Sam, the rest of the flight's hostages, and the people on the ground across several countries that are attempting to work out what's going on. Creators George Kay (Lupin) and Jim Field Smith (Litvinenko) prove masterful with suspense, and at keeping viewers hooked — and, pivotally, at knowing exactly the kind of series this wants to be, the conventions and cliches it's leaning into, what's soared there before, and how to do it well. It can't be underestimated how crucial Elba is, though. Cast the wrong person as Sam, and the ability to get everyone from pilots and crew to agitated flyers, wannabe saviours and air traffic control on his side would seem ludicrous — and, at times, the hijackers as well. Hijack streams via Apple TV+. SECRET INVASION "I've had it with these Marvel tales without Nick Fury as the lead" isn't something that Samuel L Jackson has publicly uttered, with or without expletives — yes, more than a few things have Snakes on a Plane vibes this month (see also: Hijack above) — but viewers might've thought it over the past 15 years. The character that masterminded the Avengers Initiative initially appeared in 2008's very-first Marvel Cinematic Universe movie. When Guardians of the Galaxy Vol. 3 reached cinemas earlier in 2023, the franchise hit 32 cinema outings to-date, many with Fury playing a part. And yet, none have had his name in their moniker. That remains the case now, and on the small screen as well, where the MCU has also been spreading its exploits. Secret Invasion is still exactly what Marvel has needed for over a decade, however: a Fury-centric story. Perhaps Disney realises that, too; as well as bringing back Talos (Ben Mendelsohn, Cyrano), and introducing MI6's Sonya Falsworth (Olivia Colman, Empire of Light), insurrectionist leader Gravik (Kingsley Ben-Adir, One Night in Miami) and fellow revolutionary G'iah (Emilia Clarke, Last Christmas), Secret Invasion's first two episodes feature laments aplenty about Fury's absence. Within the ever-sprawling MCU's interconnected narrative, he's been AWOL lately for two reasons: The Blip, aka Avengers: Infinity War's consequential finger-snapping; and a stint since working in space, which'll get more attention when The Marvels drops on the silver screen in November 2023. Extraterrestrial race the Skrulls has noticed Fury's departure keenly, after he promised to help them find their own planet in Captain Marvel but hasn't followed through so far. Cue two factions of the shapeshifting refugees in Secret Invasion: those still waiting and others now willing to fight to take earth as their own instead. Cue far more Skrulls on Marvel's main base than humans, including Fury, know about as well. Secret Invasion streams via Disney+. Read our full review. THE CROWDED ROOM Since 2016, Tom Holland has been so busy doing whatever a spider can that stints away from his Marvel Cinematic Universe web-slinging have been few and far between. And varied, including the long-delayed (and terrible) Chaos Walking and the entertaining-enough Uncharted movie adaptation, plus straight-to-streaming flicks The Devil All the Time and Cherry. The Crowded Room boasts his best performance yet in his Spider-Man era, and provides a reminder that the star of The Impossible and The Lost City of Z, plus lover of dancing to Rihanna's 'Umbrella', will be absolutely fine when he stops pondering how great power begets great responsibility. His new ten-part series doesn't always meet its hefty ambitions, but it's always thoughtful in its attempts as it heads back to the 70s, spends time with a young man being interrogated about his past, explores mental health and, like most things of late, revels in being a mystery. Holland plays Danny Sullivan, who starts the serious jittering with nerves at New York City's Rockefeller Center. He's with Ariana (Sasha Lane, Conversations with Friends), they have a gun, and opening fire is their aim — but, although Danny doesn't want to shoot, he's swiftly in police custody. Lead cop Matty (Thomas Sadoski, Devotion) thinks that the public incident might just be the latest in a series of incidents. Enter Rya (Amanda Seyfried, The Dropout), who spends lengthy sessions interrogating Danny about his past as he awaits trial. The Crowded Room always remains a crime drama but, as it pieces together its protagonist's complicated story complete with glimpses of his doting mother Candy (Emmy Rossum, Angelyne) and abusive stepfather Marlin (Will Chase, Dopesick), it has much more on its mind. The twist in the premise is teased out, hardly difficult to guess, yet gives Holland ample room to turn in a compellingly pliable performance — in a series the brings 1981 non-fiction novel The Minds of Billy Milligan to the screen, albeit using it as inspiration rather than straight-out adapting it, a task that's been attempted since the 90s. The Crowded Room streams via AppleTV+. RECENT CINEMA RELEASES YOU NEED TO CATCH UP WITH ASAP ALL THE BEAUTY AND THE BLOODSHED With photographer Nan Goldin at its centre, the latest documentary by Citizenfour Oscar-winner Laura Poitras is a film about many things, to deeply stunning and moving effect. In this Oscar-nominated movie's compilation of Goldin's acclaimed snaps, archival footage, current interviews, and past and present activism, a world of stories flicker — all linked to Goldin, but all also linking universally. The artist's bold work, especially chronicling LGBTQIA+ subcultures and the 80s HIV/AIDS crisis, frequently and naturally gets the spotlight. Her complicated family history, which spans heartbreaking loss, haunts the doco as it haunts its subject. The rollercoaster ride that Goldin's life has taken, including in forging her career, supporting her photos, understanding who she is and navigating an array of personal relationships, cascades through, too. And, so do her efforts to counter the opioid epidemic by bringing one of the forces behind it to public justice. Revealing state secrets doesn't sit at the core of the tale here, unlike Citizenfour and Poitras' 2016 film Risk — one about Edward Snowden, the other Julian Assange — but everything leads to the documentary's titular six words: All the Beauty and the Bloodshed. They gain meaning in a report spied late about the mental health of Goldin's older sister Barbara, who committed suicide at the age of 18 when Goldin was 11, and who Goldin contends was just an "angry and sexual" young woman in the 60s with repressed parents. A psychiatrist uses the eponymous phrase to describe what Barbara sees and, tellingly, it could be used to do the same with anyone. All the Beauty and the Bloodshed is, in part, a rebuke of the idea that a teenager with desires and emotions is a problem, and also a statement that that's who we all are, just to varying levels of societal acceptance. The film is also a testament that, for better and for worse, all the beauty and the bloodshed we all witness and endure is what shapes us. All the Beauty and the Bloodshed streams via Docplay. Read our full review. BLAZE In the name of its protagonist, and the pain and fury that threatens to parch her 12-year-old existence, Del Kathryn Barton's first feature scorches and sears. It burns in its own moniker, too, and in the blistering alarm it sounds against an appalling status quo: that experiencing, witnessing and living with the aftermath of violence against women is all too common, heartbreakingly so, including in Australia where one woman a week on average is killed by her current or former partner. Blaze has a perfect title, with the two-time Archibald Prize-winning artist behind it crafting a movie that's alight with anger, that flares with sorrow, and that's so astutely and empathetically observed, styled and acted that it chars. Indeed, it's frequently hard to pick which aspect of the film singes more: the story about surviving what should be unknown horrors for a girl who isn't even yet a teen, the wondrously tactile and immersive way in which Blaze brings its namesake's inner world to the screen, or the stunning performance by young actor Julia Savage (Mr Inbetween) in its central part. There are imagined dragons in Blaze, but Game of Thrones or House of the Dragon, this isn't — although Jake (Josh Lawson, Mortal Kombat), who Blaze spots in an alleyway with Hannah (Yael Stone, Blacklight), has his lawyer (Heather Mitchell, Bosch & Rockit) claim that his accuser knows nothing. With the attack occurring mere minutes into the movie, Barton dedicates the feature's bulk to how her lead character copes, or doesn't. Being questioned about what she saw in court is just one way that the world tries to reduce her to ashes, but the embers of her hurt and determination don't and won't die. Blaze's father Luke (Simon Baker, Limbo), a single parent, understandably worries about the impact of everything blasting his daughter's way. As she retreats then acts out, cycling between both and bobbing in-between, those fears are well-founded. Blaze is a coming-age-film — a robbing-of-innocence movie as well — but it's also a firm message that there's no easy or ideal response to something as awful as its titular figure observes. Blaze streams via Stan and Binge. Read our full review. SHE SAID Questions flow freely in She Said, the powerful and methodical All the President's Men and Spotlight-style newspaper drama from director Maria Schrader (I'm Your Man) and screenwriter Rebecca Lenkiewicz (Small Axe) that tells the story behind the past decade's biggest entertainment story. On-screen, Zoe Kazan (Clickbait) and Carey Mulligan (The Dig) tend to be doing the asking, playing now Pulitzer Prize-winning New York Times journalists Jodi Kantor and Megan Twohey. They query Harvey Weinstein's actions, including his treatment of women. They gently and respectfully press actors and Miramax employees about their traumatic dealings with the Hollywood honcho, and they politely see if some — if any — will go on the record about their experiences. And, they question Weinstein and others at his studio about accusations that'll lead to this famous headline: "Harvey Weinstein Paid Off Sexual Harassment Accusers for Decades". As the entire world read at the time, those nine words were published on October 5, 2017, along with the distressing article that detailed some — but definitely not all — of Weinstein's behaviour. Everyone has witnessed the fallout, too, with Kantor and Twohey's story helping spark the #MeToo movement, electrifying the ongoing fight against sexual assault and gender inequality in the entertainment industry, and shining a spotlight on the gross misuses of authority that have long plagued Tinseltown. The piece also brought about Weinstein's swift downfall. As well as being sentenced to 23 years in prison in New York in 2020, he's currently standing trial for further charges in Los Angeles. Watching She Said, however, more questions spring for the audience. Here's the biggest heartbreaker: how easily could Kantor and Twohey's article never have come to fruition at all, leaving Weinstein free to continue his predatory harassment? She Said streams via Netflix and Binge. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April and May this year. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Head to mainstay Waterloo pub The George and you'll find that things are a little different. Well, you might not notice at first. There are still locals sitting around the bar in high-vis vests knocking back pints of Resch's and VB. The courtyard is still filled with cacti. And there's still a well worn pool table. But, sitting next to VB longnecks ($15) in the fridge, you'll see bottles of skin-contact wines and pét-nats, and beers from local breweries Young Henrys and Grifter are also available on tap. The cacti in the courtyard have been joined by a glowing al pastor fountain, and a pond filled with eels, and the adjoining kitchen is turning out tacos and tostadas instead of American-style barbecue. And where the pool table once sat — it's been moved to the front bar — is a fully stocked wine shop courtesy of natural wine retailer Drnks. The new-look George successfully combines the old and the new — joining the rapid gentrification of the surrounding suburbs — and it's all thanks to its new owners, who aren't new to epic revamps. Co-owners James Wirth and Michael Delany previously bought and made over The Norfolk, The Flinders, The Carrington and The Oxford Tavern, before selling them all in 2016. Most recently, they overhauled the The Duke on Enmore Road. To keep some of the pub's history in-tact, the team focused on reupholstering and repurposing the pub's original features — including vintage wood panelling found in the basement, which now adorns the walls. For this venue, Wirth and Delany got chef Toby Wilson (Bad Hombres, Ghostboy Cantina) and Drnks founder Joel Amos on board as co-owners, too. Amos heads up the aforementioned bottle shop — which is stocked with everything from a salty white peach beer from NZ's Garage Project to coveted magnums of wine by Gabrio Bini — and the pub's fun and funky drinks list. For food, Wilson has created a new concept, Taco King. At the centre of the food offering is the al pastor — an actual al pastor, not a fountain — a Mexican specialty that's based on the Lebanese immigrant version of shawarma spit-grilled meat. The pork coming off the al pastor is served atop tortillas — painstakingly hand-pressed one by one — with onion and salsa. Other specialties include spicy kingfish ceviche tostada ($7.5), quesadillas with chorizo ($9) and thick churros ($8) served with dulce de leche. We're hoping to see eel tacos pop up on the menu sometime soon, too. To go with the food, is a cocktail list with a distinctly South American edge. There's the Mexican French Martini ($18) made with tequila, the Brazilian-style caipirinha ($16) and the michelada ($14), made with Mexican beer, clamato (clam and tomato) juice and lime. While not strictly South American, you'll find Reverse Cowboys ($7 each) on the menu, too — shots of Baileys and Agavero tequila served in mini glass cowboy boots. We think it might just become your new favourite watering hole. Images: Kimberley Low.
This year, the Cannes Film Festival hosted a complete television series screening for the first time in its 70 year history. The occasion was the world premiere of Top of the Lake: China Girl, a mystery series written and directed by Academy Award winner Jane Campion. Now, the Sydney Opera House has announced it will host the Australian premiere on August 1, bringing the series back to its Sydney roots. The series, which has scored Emmy and Golden Globe nominations, stars Elisabeth Moss (Madmen, Truth), Gwendoline Christie (Game of Thrones, Star Wars: The Force Awakens) and Nicole Kidman (Big Little Lies, The Hours, Moulin Rouge!). It follows the story of Detective Robin Griffin (Moss), who recently returned to Sydney and is searching for the killer of a body that washed up on Bondi Beach. The event will include the screening of the first two episodes, followed by a Q and A with Campion, her co-writer Gerard Lee and director Ariel Kleiman (Partisan). Pre-sale tickets are currently available for Insider Members, with newsletter pre-sale beginning tomorrow and general public tickets on sale this Friday, July 7.
On September 10, Sydney staged for a huge public rally through the city streets, flying rainbow flags (and dogs) to demand marriage equality and campaign for a 'Yes' vote. Support group Community Action Against Homophobia, who ran the rally, urged Australians to campaign for a 'Yes' postal vote. With the majority of Australians (a whopping two-thirds) supporting marriage equality, the rally was expectedly stacked — in all, organisers have estimated that a massive 30-40,000 people rocked up to show their support for all LGBTI+ Australians. You can see the photos here. And on Saturday, October 21, Sydney is set to do it all over again. It will be one last rally to urge the country to vote affirmative before the ballot closes on November 7. So send off your vote and get marching. Wear rainbow. Be loud. Images: Letícia Almeida.
Over the past decade, Disney has made a hefty commitment to remaking its animated classics as live-action movies, as seen via the two Alice in Wonderland films, Cinderella, Beauty and the Beast, Dumbo and Aladdin, to name a few. The next to get the same treatment is 101 Dalmatians, and the Mouse House is going with the same approach it used with the Maleficent flicks. Yes, there'll be spotted dogs in Cruella, but this Emma Stone-starring spinoff is all about its villainous namesake. Set to release in May — and currently slated for cinemas, rather than making the move to Disney+ like Mulan did last year — Cruella focuses on Estella de Vil before she becomes the puppy-kidnapping figure that everyone already knows. It's the 70s, she's in London, and she's an outcast and a grifter. Estella is also desperate to become a fashion designer, and draws the attention of industry veteran Baroness von Hellman (Emma Thompson, Last Christmas). Obviously, Estella's relationship with the Baroness isn't going to end well. Even if you only have the faintest memories of 101 Dalmatians, Estella clearly has to morph into that tale's antagonist. And, based on the just-dropped first trailer for Cruella, she's going to do so in a movie that seems to have seen what Joker did — including the fact that it won Joaquin Phoenix an Oscar — and decided that's a good model to run with. As well as Stone, her two-tone hair and striking outfits — and Thompson, too — Cruella features Richard Jewell's Paul Walter Hauser, Outside the Wire's Emily Beacham, Yesterday's Joel Fry, The Good Place's Kirby Howell Baptiste and 1917's Mark Strong. The film marks a reunion between Hauser and director Craig Gillespie, after they worked together on I, Tonya, while the script is co-written by Isn't It Romantic's Dana Fox and The Great's Tony McNamara. If a live-action version of Cruella de Vil sounds familiar, that's because Disney has done it before. Back in 1996, Glenn Close took on the role in 101 Dalmatians, and then sported a heap of black and white again in 2000 sequel 102 Dalmatians. So, never one to leave its past works alone for too long, the Mouse House is following in its own footsteps in multiple ways with Cruella. Check out the trailer below: https://www.youtube.com/watch?v=gmRKv7n2If8 Cruella releases in Australian and New Zealand cinemas on May 27.
Fresh from causing vehicular chaos in the Fast and Furious franchise — and loving it — Jason Momoa is swapping roads for the ocean in that other big-budget saga he's been known to glisten through: DC's movies. It's been five years since the first solo cinema swim for Arthur Curry arrived, with Aquaman marking just the sixth entry in the DC Extended Universe. Now the series will hit 15 instalments with sequel Aquaman and the Lost Kingdom, ahead of a fresh direction for the comic-book company's flicks under new co-head honchos James Gunn and Peter Safran (The Suicide Squad's director and producer, respectively). So, Momoa is back as DC's wettest superhero. What happens for the actor and his character from here, however, hasn't yet been confirmed. Wherever both go, they're going to tussle with Yahya Abdul-Mateen II (Ambulance) as Black Manta again first — as Aquaman and the Lost Kingdom's just-dropped first trailer shows. Slated to hit cinemas on Boxing Day as the fourth DC feature of 2023 after Shazam! Fury of the Gods, The Flash and Blue Beetle, Aquaman and the Lost Kingdom also hails from Australian director James Wan (Malignant), as the first film did — and sees Patrick Wilson (Insidious: The Red Door), Amber Heard (The Stand), Nicole Kidman (Special Ops: Lioness) and Temuera Morrison (The Book of Boba Fett) return alongside Momoa and Abdul-Mateen II. Dolph Lundgren (Minions: The Rise of Gru) and Randall Park (Strays) are back as well, all in another movie that dives into the sea, heads down to Atlantis and paddles about trying to save the world. The story this time: Black Manta is still after vengeance, but now has the Black Trident and its powers to help. So, as well as being a father and the new King of Atlantis, Aquaman has to seek his own assistance. That's how Wilson's Orm, Curry's half brother, ends up fighting by his side instead of being his imprisoned enemy. So, Aquaman and the Lost Kingdom looks set to splash around a tale about family in a variety of ways. Again, Momoa did just pop up in Fast X — and Wan also has a history with that high-octane realm, directing Fast and Furious 7 in 2015. Wan and Wilson keep loving dipping in the same pool together, too, given that Wan created The Conjuring franchise and co-created the Insidious franchise. Check out the trailer for Aquaman and the Lost Kingdom below: Aquaman and the Lost Kingdom opens in cinemas Down Under on Tuesday, December 26, 2023.
In one of Sydney's main thoroughfares, where Oxford Street meets Crown amid a flurry of quick-fix fast-food, clubs, pubs and bottle shops, lives this surprisingly authentic Japanese experience. Chaco Ramen feels more intimate than small. The use of natural timbers and earthy shades creates warmth, while fanciful droplights cast a welcome glow. The room is divided by a communal table which sits adjacent to an exposed kitchen gallery, where inside, the smells and sounds of meat against coals make for a promising start to the evening. The restaurant's name, Chaco, comes from the word charcoal, and while the Darlinghurst restaurant used to specialise in grilled yakitori, only serving ramen for lunch and one night a week, now it's all ramen all the time. For all things skewered, you'll now have to head to Chaco Bar in Potts Point, a roomier outpost for the Chaco team specialising in yakitori. [caption id="attachment_772483" align="alignnone" width="1920"] Chaco ramen, Alana Dimou[/caption] The ramen at the OG Crown Street location comes in six different variations: classic soy, fish salt, yuzu scallop, vegetable, chilli coriander or cold tomato truffle. While the soy lives up to its name, delivering a classic chashu pork ramen to the highest quality, the chilli coriander and yuzu scallop variations are must-trys. Opt for something a little spicy and the chilli coriander will deliver a flavour-packed broth accompanied by poached chicken, half egg, black fungus mushrooms and a healthy dose of coriander, of course. As for the yuzu bowl, you'll be treated to a multi-fasceted seafood ramen starring hokkaido scallops, john dory fish and prawn wantons, with black fungus, leek and mizuna. Each ramen variant can be made 'special' with the addition of extra chashu pork, egg and bamboo shoots for an added $7. Plus, there's also the option of gluten free noodles and a kid-friendly chicken soy ramen for family visits. Sides include bone marrow curry, edamame, fish dumplings and karaage chicken wings, and as with any good ramen joint, there's a solid selection of sake, beers — both Japanese and local — shochu, wine and yuzu punch to accompany your meal. [caption id="attachment_659262" align="alignnone" width="1920"] Letícia Almeida.[/caption] Updated Tuesday, March 21, 2023. Appears in: The Best Restaurants in Sydney The Best Japanese Restaurants in Sydney
Are you the kind of person who just has to read the book before watching a TV show or movie? Perhaps you prefer the opposite, soaking in every minute of the series or film afresh with no knowledge of what's to come, then devouring the source material to spending more time in its world and fill in the details. Whichever best describes your style of page-to-screen fandom, you're welcome at a new Australian event that's all about streaming hits adapted from novels: Prime Book Club LIVE. You might've noticed that plenty of the streaming platform's recent fare began on the page. It's true of The Summer I Turned Pretty, and also of the Culpable trilogy and also We Were Liars, for instance. So, the service is celebrating that fact in Sydney, putting on Prime Book Club LIVE with a number of authors and actors connected to its lineup as guests. The third and final season of The Summer I Turned Pretty, the platform's most-successful original series, is streaming from Wednesday, July 16 and releasing episodes through until Wednesday, September 17. Accordingly, author Jenny Han — who not only penned the books The Summer I Turned Pretty, It's Not Summer Without You and We'll Always Have Summer that the show is based on and is the series' showrunner, but also wrote the To All The Boys I've Loved Before trilogy — is on Prime Book Club LIVE's lineup. So are Lola Tung and Rain Spencer (Test Screening). Ahead of Culpa Nuestra (Our Fault), the third and final Culpable trilogy flick after films Culpa Mia (My Fault) and Culpa Tuya (Your Fault), reaching Prime Video in October, author Mercedes Ron is also getting chatting in the Harbour City. Taking place from 5pm on Thursday, July 31, 2025 at Machine Hall in Sydney, Prime Book Club LIVE boasts Lucinda 'Froomes' Price as its host, features a #BookTok panel, and sports an immersive setup spanning interactive experiences, giveaways and more. The event is also set to cover We Were Liars — which has an Australian connection thanks to Invisible Boys talent and future The Hunger Games: Sunrise on the Reaping star Joseph Zada — and others that fit the page-to-screen mould, including upcoming book-to-screen titles. Attendance is free, but you'll either need to register for a ticket in advance from 12pm AEST on Monday, July 14 or try your luck for one of the limited seats that'll be available on the day. The Summer I Turned Pretty images: Erika Doss © AMAZON CONTENT SERVICES LLC / Craig Barritt/Getty Images for Prime Video.
Sydney artists will have the opportunity to access a new, affordable creative space in the heart of Sydney's CBD from early next year. The City of Sydney has signed a new 99-year lease, securing five storeys of creative studio space on Bathurst Street from developer Greenland Australia. The 2000-square-metre space will be operated by Brand X for at least the next three years, with the city council and not-for-profit coming together to create an affordable space for emerging and established artists in the inner city. The creative studios will help support dancers, musicians, filmmakers, digital creatives and visual artists with a series of dedicated spaces. Creatives will find two double-height rehearsal spaces available for dancers, actors and performers; five soundproof recording and rehearsal studios for musicians; production and editing suites for media and filmmakers; wet-dry visual arts studios, an artist-in-residence apartment, meeting spaces, dressing rooms and a cafe. "It has long been a priority of the city to increase centrally located, affordable space for our artists and creatives," Lord Mayor Clover Moore said. "By delivering workspaces and venues, we're not only supporting the arts post-lockdown, but also making our city a more interesting and inspiring place to be." Brand X currently operates the East Sydney Community and Arts Centre in Darlinghurst, and has been the creative tenancy manager of live and work apartments in Darlinghurst and Waterloo, assisting more than 100,000 artists to find affordable space. The not-for-profit's Access and Inclusion Panel and Industry Advisory Panel will oversee the selection of projects at the creative studio, "with a focus on developing new voices from a diverse range of disciplines and backgrounds," according to Brand X Director James Winter. Artists and organisations interested in utilising the new space can register interest at the Brand X website. View this post on Instagram A post shared by ʙʀᴀɴᴅ x ᴘʀᴏᴅᴜᴄᴛɪᴏɴꜱ ɪɴᴄ (@brandxinc) The City of Sydney Creative Studios is located at 119 Bathurst Street, Sydney. It is set to open in early 2022. Top image: Paul Patterson
Gauchito Gil is Argentina's Robin Hood. As such, it seems fitting that Australia's own Malbec World Day has been borrowed from the South American country, where the majority of the world's Malbec comes from. If this day is a donation from the grape god, it's one we're happy to accept. After a successful debut in 2016, Gauchito Gil is bringing Malbec Day to Sydney for a third time with a five-hour wine bonanza at Carriageworks on Sunday, April 15. The event comes from the organisers of the Pinot Palooza and Game of Rhones, and mirrors the free-reign tasting set-up. Your $60 ticket will include a wine glass, and from there you'll be able to move around, sampling over 90 Australian, Argentinian and French malbec varietals. Other events have been known to get a little boozy, so to soak up all that wine there will be top-notch empanadas from Porteño, charcuterie from La Bastide and alfajores (soft shortbread-like cookies filled with dulce de leche) from Alfamores. It really doesn't matter if you know everything there is about Malbec or if you don't know much at all, because Malbec Day is about education and celebration of the Argentine grape. And what better way to celebrate than with an bottomless glass of wine?
As far as we know, the weekly roast started all the way back in 1485, when King Henry VII was running England. Every Sunday morning, the royal guards would cook up loads of beef, before heading to mass, then coming home and eating it. By the 19th century, families all over Britain were doing the same. Over time, the roast gained the traditional form we know so well — meat, Yorkshire pudding, potatoes, veggies and most importantly, litres of gravy. It's such a good formula, so it's hard to mess with it effectively. But one chef who does just that every year — and seriously pulls it off — is Nelly Robinson, owner and Head Chef at NEL Restaurant. In his cosy bunker near Central Station, he's transformed the roast into a ten-course degustation. Every mouthful brings you those familiar, comforting, centuries-old flavours, but with a fun twist. Look out for dark ale-and-treacle crumpets, cauliflower mac and cheese, and at the heart of it all, a superb lamb roast. It's on every Sunday throughout June and July.
Sydney's winter nights just got a whole lot brighter — and more heartfelt — with the arrival of Hope, a luminous, large-scale artwork that's lighting up Hyde Park Barracks right now. It's been brought to life by Japanese-Australian artist Hiromi Tango, and is part of the wider program of satellite events that's popped up around Vivid Sydney. Hope is an audiovisual projection piece that has transformed the façade of the UNESCO World Heritage site into a glowing beacon of sound and colour, exploring the themes of community and connection. The artwork appears nightly – and it's free to visit, too. [caption id="attachment_1006234" align="alignnone" width="1920"] Joshua Morris for Museums of History NSW[/caption] Each night until Saturday, June 21, the Macquarie Street building comes alive with a dynamic projection of digital blooms and swirling light. The projections are accompanied by a rich soundscape of recorded voices — people sharing personal stories of hope, as well as stories about the layered histories embedded in the site itself. These reflections, which echo across the courtyard, are interwoven with audio and visual fragments that honour the Barracks' past. The digital work is accompanied by five large-scale 'hope flowers', as well as a growing garden of hand-crafted blooms. Created through a series of collaborative workshops led by Tango, Hope Garden is a textile-based installation that welcomes visitors at the Barracks gates with flowers made from upcycled materials, each crafted by participants from all walks of life who have depicted their own interpretations of hope. The result is a community-built, constantly evolving landscape that celebrates overlooked voices and shared humanity, and will continue to grow throughout the installation's display time. [caption id="attachment_1006235" align="alignnone" width="1920"] Jimmy Murray, Museums of History NSW[/caption] Tango has long worked at the intersection of creativity and care, and has become known for her artwork that draw from the worlds of science and mental health. Drawing from her own experiences with neurodivergence and anxiety, Tango's installations and performance pieces often focus on the therapeutic power of art and the art-making process through her collaborations with scientists, health professionals and research institutions. [caption id="attachment_1006230" align="alignnone" width="1920"] Mason Dean, Museums of History NSW[/caption] [caption id="attachment_1006231" align="alignnone" width="1920"] Jimmy Murray, Museums of History NSW[/caption] [caption id="attachment_1006232" align="alignnone" width="1920"] Joshua Morris, Museums of History NSW[/caption] 'Hope' by Hiromi Tango is now showing at Hyde Park Barracks, Macquarie Street, Sydney CBD. You can see it every night until Saturday, June 21. For more information, head to the Museums of History NSW website. Top image: Joshua Morris for Museums of History NSW.
Paul Rudd probably has an attic. And in that attic, a dusty portrait of the superstar actor is probably ageing, because the man himself doesn't seem to be. That's a perfectly logical explanation for why the Clueless, Halloween 6: The Curse of Michael Myers, Romeo + Juliet, Anchorman: The Legend of Ron Burgundy, Parks and Recreation, Wet Hot American Summer and Living With Yourself actor — and Ant-Man star, too — has looked the same for decades. And, it inspires a question: if you keep Rudd's likeness somewhere in your house, will you stop getting older as well? Will you start looking like Paul Rudd instead? That's a situation no one would complain about. Whatever might happen, a very real book written by Rudd's very fictional Marvel Cinematic Universe alter ego is on its way, so soon you can pop it on your shelf and find out. That tome is Look Out for the Little Guy, as penned by Scott Lang — aka Ant-Man. It's just been announced because a not-at-all-tun movie called Ant-Man and The Wasp: Quantumania hits cinemas on Thursday, February 16. And yes, this new text will feature in that flick. See the film, buy the fake memoir: that's what's on offer for MCU fans, Ant-Man stans and Paul Rudd obsessives (so, everyone). In Ant-Man and The Wasp: Quantumania, Lang has penned the book, detailing his time saving the world. Unsurprisingly, the autobiography has proven popular. The Disney-owned Marvel will be hoping the real text does the same, of course, when it hits bookstores on Tuesday, September 5. According to the official synopsis, the memoir steps through "a bracingly honest account" of Lang's "struggles and triumphs, from serving time to being a divorced dad to becoming Ant-Man and joining The Avengers". Readers are also in for "stories of epic battles won and lost, as this everyman turned super hero finally tells all — from the official account of what really happened between The Avengers and Thanos to how shrinking down to ant-size really feels to the challenges of balancing the roles of hero and dad". Look Out for the Little Guy also has a trailer, because Marvel and the Mouse House realise that the best way to sell anything involving Paul Rudd is just giving the world what we want: more Paul Rudd. "In this new book I'm almost certain was not written by me, we pull back the curtain and uncover the man behind Ant-Man: Scott Lang," the actor advises. "Who is he? What's he like? Why does he look so much like me?" Check out the Look Out for the Little Guy trailer below: Scott Lang's Look Out for the Little Guy will hit bookstores on Tuesday, September 5, and is available to pre-order now — head to the Disney Books website for further details. Ant-Man and The Wasp: Quantumania hits cinemas Down Under on Thursday, February 16.
An Aussie riff on the izakayas of Japan and bars of Korea, Surry Hills' Tokki is a fun, relaxed spot primed for dinner, drinks and everything in between. As you'd expect, Japanese and Korean flavours star throughout the food and drink menus. A raw bar is plating options like salmon sashimi and a kingfish ceviche teamed with white soy-infused vinaigrette, while the small plates might see you tucking into the likes of Korean-style pork or miso butter-glazed roasted cauliflower. There are fluffy bao and a trio of Korean fried chicken (KFC) options, including one lathered in spicy Korean chilli paste. Or, you can go large with plates like the wagyu short rib with wild berry umeshu and miso butter prawns. A couple of feed me menus will save you the decisions. As Tokki is run by David Bae of Market City's Kogi Korean BBQ, you'd assume the Surry Hills restaurant would have some barbecued meets on the menu. And it does. We suggest you order the Tokki BBQ tray — a hefty mix of beef rib, pork belly, gochujang chicken and baby pork ribs. The matching drinks lineup spans a strong selection of Japanese whisky and sake, Korean soju and a concise wine list that focuses on minimal-intervention Aussie drops. You'll also find a mix of imported brews and local craft beers, and you can have a bit of fun with cocktails like the Merry Soju — a fresh blend of yuzu, soju, Suze, St. Germain and lavender — and a smoky bourbon number dubber Oboolau. Located on the corner of Foveaux and Belmore streets in Surry Hills — you'll spot the four bright light boxes through the large front windows — Tokki's isn't the only izakaya in the area. It's a two-minute walk from the long-standing Tokyo Bird and three minutes from the raucous Goros, so we suggest you hit them all up and make a bar crawl out of it.
Melbourne knows how to start off winter well. Its answer: RISING. It is almost an Australian tradition to fill the coldest part of the year with an arts festival — see also: Vivid Sydney, Illuminate Adelaide and Dark Mofo, including its events in its off year — and the Victorian capital takes the custom seriously. So, while RISING already announced its lineup for Saturday, June 1–Sunday, June 16 back in March (and also a few event details earlier, such as Counting and Cracking and Communitas), it isn't done packing its program yet. As the fest gets closer, it's adding everything from late-night DJs at Night Trade Stage Door — aka RISING's after-hours club — through to a third Dirty Three gig, two more Hear My Eyes sessions of Hellraiser, Melbourne Symphony Orchestra doing a secret pop-up show and a party in ACMI's Beings exhibition. Festival-within-the-festival Day Tripper, the block party that'll use Melbourne Town Hall as a hub and span to the Capitol Theatre and Max Watt's as well, has also unveiled its full lineup. [caption id="attachment_945439" align="alignnone" width="1920"] Damien Raggatt[/caption] The new additions boost RISING's 16-night lineup to 116 events and 651 artists, up from 105 events featuring 480 artists back in March. "With only a few weeks to go till opening, we're excited to reveal a whole new layer to the 2024 program" said RISING co-artistic directors Hannah Fox and Gideon Obarzanek. "The full Day Tripper lineup is super dynamic and brings in some of our local idols and more international gems. The festival's social heart, Night Trade, now includes psychic readings, karaoke, art and dance classes, and a full club program ranging from classical to R&B and techno. The beginning of winter in Melbourne can feel like standing at the bottom of a grim mountain and RISING is here to shake that feeling right off." Night Trade Stage Door will feature Shannon Michael Cane: Someone Great — A Celebration as its opening-night shindig, complete with Hot Chip's Alexis Taylor, Gerard Frank Long (aka Sugar Plump Fairy), Andee Frost and Stereogamous (Paul Mac and Johnny Seymour) on the decks. Also on the venue's overall lineup: Grumble Boogie from Betty Grumble and DJ HipHopHoe, Evian Christ with jjjacob and DJ ALI, and Crown Ruler presenting club nights. Night Trade as RISING's social club will also get a sip-and-paint session, LA artist John Kilduff doing a version of TV show Let's Paint TV live, karaoke with Mummy's Plastic and exhibition In the Future Everybody Will Be Cancelled for 15 Minutes by Jeremy Deller. [caption id="attachment_954467" align="alignnone" width="1920"] Laura Pemberton[/caption] New highlights at Day Tripper include Surprise Chef, Alastair Galbraith, Richard Youngs, Sarah Mary Chadwick, The Tubs, WET KISS, Scott & Charlene's Wedding, POSSESHOT and Polito. And, for HTRK's 21st birthday, Astrid Sonne, Still House Plants, CS + Kreme, James Rushford, Pandora's Jukebox, YL Hooi and DJ Emelyne, too. RISING's latest additions join a program that already includes Yasiin Bey, who was formerly known as Mos Def, leading the Day Tripper bill with a tribute to MF Doom; The Blak Infinite, a showcase of First Peoples' art and politics, taking over Federation Square; 24 Hour Rock Show, which will play rock documentaries back to back for a whole day and night, and for free; and tunes from ONEFOUR, Fever Ray, Sky Ferreira, Tirzah, Blonde Redhead, Snoh Aalegra and Moktar and more. The list goes on, for what's set to be a glorious full start to June 2024. [caption id="attachment_950694" align="alignnone" width="1920"] Ben Searcy 2010.[/caption] RISING 2024 runs from Saturday, June 1–Sunday, June 16 across Melbourne. Head to the festival's website for further information and tickets. Night Trade images: A Caygill.
Matt Yazbeck knows a thing or two about an encore. After relocating his enduringly popular fine diner Toko to a moody George Street basement in 2022, the Sydney restaurateur is returning to the CBD this spring with KODA. Set to open on Tuesday, November 18, KODA will take over the former Monopole site on Curtin Place, bringing a "no-attitude, fun-times destination" to the heart of the city. "KODA is a cocktail bar and robata grill, fired up with the freshest daily ingredients and a twist on Japanese technique," Yazbeck shares in an exclusive interview with Concrete Playground. "We wanted to create something different from what we already offer [at Toko] — something more accessible without skimping on quality and experience." At the heart of the space is the robata grill, around which diners can perch for a front-row view of the kitchen in action. "The robata grill will be amazing," Yazbeck says. "Guests will be seated around it and all produce will be on an ice display for customers to choose, and chefs to grill and serve." While menu details are still under wraps, there'll be a clear departure from the envelope-pushing creations at Toko. "The flavours will be simpler and let the produce be the hero — flavours won't be too tricked-up," Yazbeck reveals. For something more relaxed, nab a sun-drenched seat by the north-facing wraparound windows for share plates and cocktails. "KODA is as much of a bar as it is a dining destination," Yazbeck explains. "The bar menu is fun and incredibly tasty — everything has a Japanese hint, but it won't be as refined as Toko." To that end, KODA's drinks list will draw inspiration from the kitchen — rooted in Japanese flavours, but not bound by them. "We use a Japanese sake or spirit as the base for most of our original cocktails," Yazbeck says. "[You'll also find] Japanese flavours and ingredients like yuzu, lychee, watermelon throughout." The venue's design will also echo the easygoing ethos. Timber star lights woven around the perimeter, cherry blossoms draped from the ceiling and those showpiece wraparound windows that let in plenty of natural light will define the room's aesthetic. "Again," says Yazbeck, "the atmosphere will lean into Japanese but won't be owned by it." Taking over the old Monopole site might come with the burden of expectation, but Yazbeck is clear that KODA stands on its own. "The concept was built before the site was locked in," he says. "The location lends itself perfectly to the concept, which has been years in the making — it's a very different offering targeting a different audience." In stark contrast to its predecessor, which was very much a venue for occasion dining, KODA is pitched as an everyday offer — the kind of place you could drop into for an after-work drink and snack, or settle in for a full robata feast. "We want people to use KODA as an escape from the usual," says Yazbeck. "We want people to feel that it's their own space to enjoy. It's an accessible venue for people to visit numerous times a week if they choose. Walk-ins are encouraged, but bookings will be taken for the grill and a handful of seats. We would love for KODA to be the highlight of our guests' week." KODA is set to open on Tuesday, November 18, at 16/20 Curtin Place, Sydney. Stay tuned to Concrete Playground for more details.
As part of this years Sydney Design festival, see and hear "a panel of self-confessed tactility-freaks" talk about their taste for small-press publishing and creating books with the best design and production values and materials. The session emphasises the value of using all the senses in reading books as well as making them, and there will be a little library of examples to play with. The enthusiasts and the reading material are from Monster Children, Blood and Thunder publishing, Rainoff Books, The Red Room and Boccalatte, and to complete the evening, a glass of wine and a tasting plate will be provided by Berta. Aren't we clever for sniffing this one out?
Plan a trip to South Australia, and spending time surrounded by grapes is probably on your agenda. This year, you can pair all those winery visits with plenty of pumpkins, too, because Yayoi Kusama's pumpkin-focused infinity room The Spirits of the Pumpkins Descended into the Heavens will display at the Art Gallery of South Australia from Friday, April 1. Australia just keeps going dotty for Kusama. Brisbane's Gallery of Modern Art's hosted a kaleidoscopic exhibition dedicated to the Japanese artist back in 2017, her Obliteration Room has proven a hit in the Sunshine State several times and, going one better, Canberra's National Gallery of Australia acquired The Spirits of the Pumpkins Descended into the Heavens back in 2018. While the latter is a permanent addition to the NGA's collection, it's also going on the road on — which is why Adelaide is your next place to see oh-so-many dots. The piece was first exhibited in 2015. Comprised of a mirrored cube filled with yellow, dot-covered pumpkins, it's a quintessential Kusama work. Whether you're a devoted fan who considers visiting the artist's own Tokyo museum a bucket-list moment, or someone who has simply placed stickers around one of her obliteration rooms, you would've noticed that dots and the concept of infinity are crucial to her art — "our earth is only one polka dot among a million stars in the cosmos," she says. Inside the cube, the bulbous vegetables appear to create an endless field thanks to the shiny surface. On the outside of the cube, the structure's mirrored exterior reflects the yellow-and-black walls in the surrounding installation room — again, making it appear as though the pattern stretches on forever. The NGA's acquisition was made possible via a gift from Andrew and Hiroko Gwinnett, which is also supporting the infinity room's tour. AGSA hasn't revealed how long it'll be on display, but entry will be free — and it's obviously a must-visit addition to any Adelaide itinerary. Images: Installation view, THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS by Yayoi Kusama, 2017, National Gallery of Australia, Canberra. © Yayoi Kusama, courtesy of Ota Fine Arts, Tokyo/Singapore/Shanghai.
Now that 2021's cooler months are here, locations around Australia have been transforming into winter wonderlands, celebrating the chilly season in all of its frosty glory. Starting back in May and running through until September, The Winter Village has returned after its debut run in Melbourne two years back — and this time it's dropping by several other cities, including Parramatta. Modelled on your typically picturesque European winter market — and giving Aussies a taste of a winter experience that we don't really have otherwise — The Winter Village comes complete with an ice rink, an igloo village, daily snow showers, and a food and drink lineup. Think of it as your quaint wintery escape, just in urban surroundings. The Parramatta stopover was always mooted, but it now has a start date: Saturday, June 19. It'll take over Prince Alfred Square as part of a partnership with the City of Parramatta's Winterlight, and will stay in place until Sunday, September 12. Attendees will be able to dust off their skates and hit the ice, and hire a private igloo where you can wine and dine with up to eight people in cosy solace. Folks spending their time in The Winter Village's igloos will feast on grazing plates of chips, dips, mini pretzels, cured meats, fried chicken bites, mac 'n' cheese croquettes and more, drink their choice of wine or beer, and tuck into a chocolate ice cream sandwich for dessert. That's the $49 package, with the $69 option including espresso martini-flavoured chocolate fudge dipping sauce, berries, brownies, marshmallows, cookies and your choice of a Bloody Shiraz Gin spritz, espresso martini, wine or beer. Or, get festive over brunch instead — which includes a 45-minute skate session and a meal afterwards for $35. There'll also be pop-up bars and outdoor seating throughout the village, should you be keen on heading along without spending time in an igloo. The latest venture from hospitality group Australian Venue Co, the frozen oasis will be open daily and free to enter. That said, ice skating, igloo hire and a couple of winter warming beverages will come at a cost. The Winter Village will head to Parramatta's Prince Alfred Square from Saturday, June 19–Sunday, September 12. Head to the event's website to book igloos and skating sessions. Top images: Mazloum J.
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. THOR: LOVE AND THUNDER What do you call a movie filled with giant screaming goats, magic weapons vying for attention like romantic rivals, a naked Chris Hemsworth and a phenomenally creepy Christian Bale? Oh, and with no fewer than four Guns N' Roses needle drops, 80s nostalgia in droves, and a case of tonal whiplash as big as the God of Thunder's biceps? You call it Thor: Love and Thunder, and also a mixed bag. The fourth film in the Marvel Cinematic Universe to focus on the now 29-title saga's favourite space Viking, and the second Thor flick directed by Taika Waititi after Thor: Ragnarok, it welcomely boasts the New Zealand filmmaker's playful and irreverent sense of humour — and the dead-serious days of the series-within-a-series' first two outings, 2011's Thor and 2013's Thor: The Dark World, have definitely been banished. But Love and Thunder is equally mischievous and jumbled. It's chaotic in both fun and messy ways. Out in the cosmos, no one can swim, but movies about galaxy-saving superheroes can tread water. Thor Odinson (Hemsworth, Spiderhead) has been doing a bit of that himself — not literally, but emotionally and professionally. Narrated in a storybook fashion by rock alien Korg (also Waititi, Lightyear), Love and Thunder first fills in the gaps since the last time the Asgardian deity graced screens in Avengers: Endgame. Ditching his dad bod for his ultra-buff god bod earns a mention. So does biding his time with the Guardians of the Galaxy crew (with Chris Pratt, Dave Bautista, Karen Gillan, Bradley Cooper and company popping up briefly). Then, a distress call from an old friend gives Thor a new purpose. Fellow warrior Sif (Jaimie Alexander, Last Seen Alive) has been fighting galactic killer Gorr the God Butcher (Bale, Ford v Ferrari), who's on a mission to do exactly what his name promises due to a crisis of faith — which puts not only Thor himself but also New Asgard, the Norwegian village populated by survivors from his home planet, at grave risk. In MCU movies before Ragnarok, many of which Thor has smouldered and smiled his way through, he would've attacked the problem — this time literally — with enchanted hammer mjolnir. It's been in pieces since the last standalone Thor film. Courtesy of the god's ex, it doesn't stay that way for long. Love and Thunder nabs itself two Thors for the price of one, after Dr Jane Foster (Natalie Portman, Vox Lux) hears mjolnir a-calling following a stage-IV cancer diagnosis. Soon, the astrophysicist is also the Mighty Thor, brandishing the mallet, wearing armour and sporting flowing blonde locks. When the OG Thor finds out, he's overcome with post-breakup awkwardness, but there's still a god killer to stop and also kidnapped kids to rescue. Cue a couple of Thors, plus Korg and New Asgard king Valkyrie (Tessa Thompson, Passing), trying to prevent the worst from happening. Love and Thunder is a film where those yelling oversized goats pull a boat into the heavens; where Hemsworth is gloriously in the goofiest mode he has, aka the best mode; and where Russell Crowe (Unhinged) plays a tutu-wearing, lightning bolt-flinging Zeus with the worst on-screen accent this side of House of Gucci (Greek instead of Italian, though). The movie is rarely more than a few seconds from a one-liner or a silly throwaway gag, and it loves colour more than a rainbow does — except when it doesn't, including in the desert-set opening that introduces Gorr and his god-slaying necrosword, and when it follows him into an eerie shadow realm. Love and Thunder also adds Bale, an actor forever linked with helping bring superheroes back to the blockbuster realm via Christopher Nolan's Dark Knight trilogy, to the ranks of terrific caped crusader foes. This Thor flick contains plenty, clearly; however, for everything that works, something else doesn't. Read our full review. COMPARTMENT NO 6 Handheld camerawork can be a gimmick. It can be distracting, too. When imagery seems restless for no particular reason other than making the audience restless, it drags down entire films. But at its best, roving, jittery and jumpy frames provide one of the clearest windows there is into the souls that inhabit the silver screen in 90-minute blocks or so, and also prove a wonderful way of conveying how they feel in the world. That's how Compartment No. 6's cinematography plays, and it couldn't be a more crucial move; this is a deeply thoughtful movie about two people who are genuinely restless themselves, after all. Finnish director Juho Kuosmanen (The Happiest Day in the Life of Olli Mäki) wants what all of the most perceptive filmmakers do — to ensure his viewers feel like they know his characters as well as they know themselves — and in his latest cinematic delight, he knows how to get it. How Kuosmanen evokes that sense of intimacy and understanding visually is just one of Compartment No. 6's highlights, but it's worthy of a train full of praise. With the helmer's returning director of photography Jani-Petteri Passi behind the lens, the film gets close to Finnish student Laura (Seidi Haarla, Force of Habit) and Russian miner Ljoha (Yuriy Borisov, The Red Ghost). It peers intently but unobtrusively their way, like an attentive lifelong friend. It jostles gently with the locomotive that the movie's central pair meets on, and where they spend the bulk of their time together. It ebbs and flows like it's breathing with them. It rarely ventures far from their faces in such cramped, stark, 90s-era Russian surroundings, lingering with them, carefully observing them, and genuinely spying how they react and cope in big and small moments alike. Pivotally — and at every moment as well — it truly sees its key duo. With their almost-matching names, Laura and Ljoha meet on a train ride charting the lengthy expanse from Moscow to Murmansk. She's taking the journey to see the Kanozero petroglyphs, ancient rock drawings that date back the 2nd and 3rd millennium BC, and were only discovered in 1997; he's heading up for work. Laura is also meant to be travelling with Irina (Dinara Drukarova, The Bureau), her Russian girlfriend, but the latter opted out suddenly after an intellectual-filled house party where mocking the former for her accent — and claiming she's just a lodger — threw a pall of awkwardness over their relationship. Making the jaunt solo is still sitting uneasily with Laura, though. Calls along the way, answered with busy indifference, don't help. And neither does finding herself sharing compartment number six, obviously, with the tough- and rough-around-the edges Ljoha. It's been 71 years now since Alfred Hitchcock gave cinema the noir thriller Strangers on a Train. It's been 27 years since Richard Linklater also had two unacquainted folks meeting while riding the rails in Before Sunrise, which started a terrific romance trilogy starring Ethan Hawke and Julie Delpy. Accordingly, the idea behind Compartment No. 6 is instantly familiar. Here, two strangers meet on a train, a connection sparks and drama ensues. Kuosmanen, who nabbed an award at Cannes for The Happiest Day in the Life of Olli Mäki and then earned the 2021 competition Grand Prix, which comes second only to the prestigious Palme d'Or, for this, is clearly working with a well-used setup. But even though this isn't a movie that's big on surprises, it's still a stellar film. It's also a reminder that a feature that's personal and raw, also attuned to all the tiny details of life in its performances, mood and style, and firmly character-driven, can make even the most recognisable narrative feel new. Read our full review. SUNDOWN In Sundown's holiday porn-style opening scenes, a clearly wealthy British family enjoys the most indulgent kind of Acapulco getaway that anyone possibly can. Beneath the blazing blue Mexican sky, at a resort that visibly costs a pretty penny, Alice Bennett (Charlotte Gainsbourg, The Snowman), her brother Neil (Tim Roth, Bergman Island), and her teenage children Alexa (Albertine Kotting McMillan, A Very British Scandal) and Colin (Samuel Bottomley, Everybody's Talking About Jamie) swim and lounge and sip, with margaritas, massages and moneyed bliss flowing freely. For many, it'd be a dream vacation. For Alice and her kids, it's routine, but they're still enjoying themselves. The look on Neil's passive face says everything, however. It's the picture of apathy — even though, as the film soon shows, he flat-out refuses to be anywhere else. The last time that a Michel Franco-written and -directed movie reached screens, it came courtesy of the Mexican filmmaker's savage class warfare drama New Order, which didn't hold back in ripping into the vast chasm between the ridiculously rich and everyone else. Sundown is equally as brutal, but it isn't quite Franco's take on The White Lotus or Nine Perfect Strangers, either. Rather, it's primarily a slippery and sinewy character study about a man with everything as well as nothing. Much happens within the feature's brief 82-minute running time. Slowly, enough is unveiled about the Bennett family's background, and why their extravagant jaunt abroad couldn't be a more ordinary event in their lavish lives. Still, that indifferent expression adorning Neil's dial rarely falters, whether grief, violence, trauma, lust, love, wins or losses cast a shadow over or brighten up his poolside and seaside stints knocking back drinks in the sunshine. For anyone else, the first interruption that comes the Bennetts' way would change this trip forever; indeed, for Alice, Alexa and Colin, it does instantly. Thanks to one sudden phone call, Alice learns that her mother is gravely ill. Via another while the quartet is hightailing it to the airport, she discovers that the worst has occurred. Viewers can be forgiven for initially thinking that Neil is her cruelly uncaring husband in these moments — Franco doesn't spell out their relationship until later, and Neil doesn't act for a second like someone who might and then does lose his mum. Before boarding the plane home, he shows the faintest glimmer of emotion when he announces that he's forgotten his passport, though. That said, he isn't agitated about delaying his journey back, but about the possibility that his relatives mightn't jet off and leave him alone. Sundown is often a restrained film, intentionally so. It doles out the reasons behind Neil's behaviour, and even basic explanatory information, as miserly as its protagonist cracks a smile. The movie itself is eventually a tad more forthcoming than Neil, but it remains firmly steeped in Franco's usual mindset: life happens, contentedly and grimly alike, and we're all just weathering it. Neither the highs nor lows appear to bother Neil, who holes up at the first hotel his cab driver takes him to, then starts making excuses and simply ignoring Alice's worried calls and texts. He navigates an affair with the younger Berenice (Iazua Larios, Ricochet) as well, and carries on like he doesn't have a care in the world. His sister returns, frantic and angry, but even then he's nonplussed. The same proves true, too, when a gangland execution bloodies his leisurely days by the beach, and also when violence cuts far closer to home. Read our full review. 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 April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26; and June 2, June 9, June 16, June 23 and June 30. You can also read our full reviews of a heap of recent movies, such as 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, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday and Ali & Ava.
Looking to start your day with something a little different? Head to the southern end of King Street where you'll find fresh and unexpected ingredients being piled onto Brickfields bread or between soft, fluffy milk buns at Rolling Penny. Following a short shutdown in 2022, the bustling Newtown cafe is here to stay, announcing it would reopen just three weeks after it closed its doors with an Instagram post that read: "I guess you don't know what you've got until it's finally gone…" Rolling Penny has built a cult following over the years through its commitment to local produce and interesting takes on breakfast classics, including its stellar brekky rolls that go far beyond your standard bacon and egg affair. While the menu is forever changing, some of the highlights Rolling Penny has served up include grilled artichoke toast; anchovy, caeser dressing, egg and charred broccolini sambos; smoked cheddar rarebit with house pickles; and loaded thick-cut speck and seared scallop burgers. More traditional breakfast items like portobello mushroom or halloumi burgers on milk buns ($14–21) stay consistent on the menu alongside lighter options like Brickfields croissants ($6.50) and housemade quiches ($6.50). Drinks-wise, you'll find Little Marionette Coffee for a caffeine kick start — but it's also a great spot to get a little boozy with your brunch. Pull some friends together and enjoy a mimosa ($12) or a bloody mary ($15) with your mushroom burger in the cafe's sunny terrace courtyard. Plus, Rolling Penny has continually bolstered its love within the community through a range of events and pop-ups throughout its seven years on King Street, even acting as the initial home to Baba's Place prior to opening its Marrickville warehouse restaurant. Appears in: The Best Cafes in Sydney Where to Find the Best Breakfast in Sydney
Online retailer My Chameleon is set to host its biggest IRL sale yet over three days this weekend. The sale will take over a warehouse space along Rosebery's Mentmore Avenue — just down the block from The Cannery foodie precinct — and offer up refined designs from some of the world's biggest names at dangerously discounted prices. How discounted? Well, we're talking up to 80 percent off an array of designer threads from both homegrown and international brands. New additions from the likes of Mansur Gavriel, Toteme and Jacquemus will sit alongside designs from Dion Lee, Commes des Garcons, Christopher Esber, Ellery, MM6 by Maison Margiela, Hope Stockholm, R13 Denim and Adidas by Stella McCartney — to name just a few. The shop will sell not only threads but also shoes, bags and accessories, with one-off samples up for grabs, too. Plus, if you show up from 10am–1pm on Saturday, you'll get a free coffee to boot. The sale will be open on Thursday, August 23 from 12–7pm, Friday, August 24 from 10am–6pm and Saturday, August 25 from 10am–4pm.
From Asian-inspired wine bars to avant-garde dumpling houses and Korean restaurants bringing the soul of Seoul to Sydney, our hearts are all aflutter with the extraordinary contemporary Asian dining options currently gracing our fine city. Whether it's sashimi sorbet, green tea soft-serve or a burnt butter bibimbap you're after, we've got you covered. Welcome to our guide to the ten best modern Asian restaurants in Sydney. KIM RESTAURANT If you haven't yet indulged in the modern Korean trend that's sweeping Sydney, now is the time to start. Kim's consistent menu spans from small, punchy options like a flavour-packed seafood and shallot pancake ($14) to more substantial dishes like the vibrant ssam, which has you stuffing crispy barbecued chicken, chive kimchi and pickles into lettuce cups ($26). With its cute alleyway feel, intriguing traditional Korean drinks and an old school hip-hop sound track that would bring us here on its own, Kim Restaurant brings the spirit of Seoul to the heart of Sydney. 24-30 Springfield Avenue, Potts Point BAR H Power couple Hamish Ingham and Rebecca Lines continue to dazzle us at their gorgeous little wine bar in Surry Hills. The Japanese-sprinkled Chinese-fusion menu throws one punch after another with its clever, Asian-inspired bar food. Pull leaves of crispy battered saltbush off their branches and dunk them into a creamy chilli mayo ($14), enjoy silky strips of sashimi snapper brought to life by a trippy powdering of wasabi snow ($19) or take a moment to admit to yourself how delicious sea urchin custard is. The kitchen's commitment to clean, sustainable produce sings from every plate, and also from a gratifying wine and sake list focused on small producers and pure methods. 80 Campbell Street, Surry Hills SPICE TEMPLE Behind the mysterious billowing silk that marks Spice Temple's iconic entrance is a shrine to the chilli to which every lover of the sweet burn must make pilgrimage. Dark, dramatic and undeniably sexy, the underground dining room is host to Neil Perry's modern spin on regional Chinese cuisine and a list of exactly 100 wines hand-picked to match. The food is theatrical and striking in both flavour and aesthetic, from the "hot and numbing" crispy dry Wagyu ($22) to leatherjacket fillets bathing in a pool of heaven-facing chillies and Sichuan peppercorns ($39). Cooling desserts and clever digestifs complete an experience you won't soon forget. 10 Bligh Street, Sydney LOTUS DUMPLING BAR If we had to pin down humankind's two greatest inventions, they'd have to be cocktails and dumplings. So you can imagine our enthusiasm about the lively intersection of our two favourite things at beautifully designed Lotus Dumpling Bar on Hickson Road. Though you'll be competing for space with the pre-theatre crowd, the wait (or the foresight to book) is certainly worth it: from colourful xiao long bao ($12.80) to prawns encased in spinach rice dough ($13.80), the slippery little bundles of goodness are consistently top-notch, and should be accompanied by a bowl of piquant fried rice with duck and asparagus ($16). The cocktails are as great an attraction as the food, with a well-stocked bar and knowledgeable bartender making for a mouth-watering list. 3/16 Hickson Road, Walsh Bay JIMMY LIKS Jimmy Liks is an intimate place. With its glimmering lantern-light, sunset-coloured silks, rich wooden tables and tactile sharing plates, the Potts Point institution is a romantic space enlivened with the hum of close conversation and a sleek, jazzy soundtrack. The flavours are dynamic and authentic, with a distinctly modern edge: here, son-in-law eggs are of the free range duck variety ($8.50), while the chicken is served crispy-skinned in a split green curry spiked with wild ginger ($29). Be seduced by a vibrant, Asian-inspired cocktail list sprinkled liberally with pandan, kaffir lime, ginger and lemongrass, and complete your night with a delectable dessert platter for two. 186-188 Victoria Street, Potts Point STREET MARKET Take the stairway past the bountiful hessian sacks that overflow with pretty star anise, dehydrated mushrooms and an intriguing assortment of pulses and spices, and make your way into the sensory celebration that is Street Market. Golden pieces of crispy fried chicken are paired with a creamy kimchi dipping sauce ($13) in a dish that’s a bang-on doppelganger for the best served in the pubs of Seoul, while the sticky hoisin sauce that hugs the charcoal-grilled lamb ribs ($17) makes it difficult to stop before the plate is clean. With a long, varied and consistent menu, Street Market is the kind of place you can keep coming back to. 3/12 Fitzroy Street, Kirribilli NIJI RESTAURANT AND BAR Pretty, thatched lanterns suspended over an intricate wood-panelled entryway and a welcoming committee of friendly bartenders shaking Asian-inspired cocktails are the first hints that Niji is not your usual Double Bay establishment. The cocktail list is abuzz with curious Japanese ingredients like green tea sorbet, sparkling sake and celery-infused shochu, while the menu plays creatively with Japanese cuisine while maintaining its integrity and flavour. The 'salmon sorbet' ($19) is a well-executed and slightly mind-bending dish of cured salmon, nashi pear, wasabi sorbet and ponzu, and we can't go past the miso-marinated duck ($27), smoked over mesquite and alder woods and served in fine slices over a cradle of robata-grilled asparagus. 21 Bay Street, Double Bay LONGRAIN When Longrain's new head chef Louis Tikaram won the SMH Good Food Guide's 2014 Young Chef of the Year Award, he described his kitchen philosophy in one word: 'tastiness'. It's a philosophy that reigns supreme at Longrain, where Tikaram's Thai cuisine delivers consistent knockouts from your first bite of pomelo, coconut and chilli jam wrapped in betel leaf ($6), through dynamic favourites like stir-fried beef with Thai basil ($34), to your final spoonful of the iconic 'Longrain layered dessert'. A treasure trove of interesting wines and a broad, international beer list mean you'll have no trouble finding the ideal accompaniment to your meal. 85 Commonwealth Street, Surry Hills CHO CHO SAN With shareable contemporary food, culinary pedigree and a coolly minimal room, Cho Cho San is perfectly Sydney. Utilising traditional hibachi grilling and steaming, the menu is relatively light and healthy — a nice deviation in the present restaurant landscape. Ironically, the best dishes are those that sound the least appealing. The grilled kingfish head (a bargain at $14, since you're saving it from the bin) is surprisingly full of succulent, full-flavoured meat, and the side of raw, seasoned radishes with a pat of mild butter ($11) is an inexplicable taste sensation. Then there's that green tea soft-serve ($6). When you have a transcendent meal out of what sounds like World War II rations, you know you've had a special night. 73 Macleay Street, Potts Point MOON PARK The Korean restaurant hidden away in an upper story of an unmarked block in Redfern offers Korean food that's so modern it sometimes barely resembles the original, but for lovers of the contemporary it's certainly worth a visit. Brought to life by the team from Claude's, Moon Park is a low-key, minimalist space with an intriguing menu — the bibimbap ($26) features the unusual additions of walnuts and burnt butter, while the cucumber kimchi is a simple but punchy win of a dish. The desserts are kooky and wholly delectable, creating pretty pictures out of interesting elements like yuzu curd, burnt honey and shaved milk ice. 34 Redfern Street, Redfern View all Sydney Restaurants.
You've heard the old adage that it's the little things in life that make us happy, right? Well, something as simple as a cheap but damn fine coffee certainly fits that bill — and given that new cafe Little Evie Redfern roasts theirs in house and charges an affordable $3 per cup, they must agree. Setting up shop on Bourke Street, the inner west's latest boutique coffee spot will satisfy your daytime caffeine cravings every day or the week. They'll also serve up homemade cakes to go with it, because taking care of business on the premises is what this new eatery is all about. Fancy a just-baked peanut butter cookie with your fresh-roasted cuppa, anyone? If you're after something more substantial food-wise, expect banana bread with ricotta and strawberry, breakfast bruschetta with horizon and haloumi, and lemon myrtle-cured salmon with scrambled eggs on Little Evie's all-day brekkie menu. Lunchtime options include sandwiches, salads, burgers and soups, aka the perfect kind of homemade fare. And if you're not a coffee fiend — because they do exist — then jugs of house-made soda, six types of cold-pressed juices, a range of shakes and smoothies, a sizeable wine and choice of four Aussie beers should satisfy your thirst.
Backhands, beats and artisan eats will converge on Rose Bay's Lyne Park Tennis Centre on Saturday, March 16. That's when social tennis event Social Serve returns to raise money for The Primary Club, an Aussie charity that helps people with disabilities to play sport. If your activewear hasn't had more of a workout than a stroll to the cafe at the end of your street, then here's your chance to put it to work. The good news is you'll only have to work as hard as you like. The sporty part of proceedings will take the form of friendly mixed doubles match from 4.30pm, with champs who kill it on the court heading into the finals. The whole thing will be capped off with a preso and drink from 7.30–9.30pm. Not so keen on joining the game? That's more than fine. Instead, relax on the sidelines, listen to local DJs, eat some snacks and drink some cocktails by Poor Toms. Spectator tix are just $19 and include a cocktail.
Fancy a little Parisian charm without leaving Sydney? Pioneering hidden bar Door Knock has just relaunched with a new concept that should pique your interest. Pairing a French-inspired neighbourhood bar with the vibe of an underground speakeasy, both the venue's decor and culinary offering have undergone a major transformation. Dark, sultry and subterranean, this glow-up certainly lives up to its European inspiration. Still hidden behind an unassuming entrance with nothing but a polished brass pineapple doorknocker to let you know you're in the right place, don't expect the Nordic decor that came before once you get inside. Now, the space has been adorned with vintage French mirrors, herringbone panelling, marble tables, leather seating and dimly lit lampshades. For those who've wandered Paris' streets, there's a good chance you've stumbled in somewhere similar. The menu is also rejuvenated to suit Door Knock's new mood. Led by head chef Joe Slakey (Flying Fajita Sistas), Mediterranean and North African-inspired dishes are made for sharing with your pals. Starters include made-from-scratch stracciatella, served with grape confit, crisp rosemary and sea salt lavosh ($16), as well as house-made dips ($18), grilled calamari ($15) and fried cauliflower with zaatar and spiced labneh ($10). There are also three larger plates to consider, including a 250g flank steak with red wine jus and Paris butter ($28), chermoula chicken ($24) and a Moroccan lamb cooked tagine-style for five hours and served with chickpeas, saffron rice and dukkah ($23). Meanwhile, sides like sweet potato fries with truffle oil and crisp sage ($12) are made for snacking on while sipping or feasting on a fully-fledged meal. Yet with a menu designed for seasonality, don't be surprised if things change between visits. The wine offering has also been rejigged, with an expanded menu highlighting drops from France, Italy and Australia. However, the venue's signature cocktails are staying put, with favourites like the Sunny Leone featuring a concoction of Don Julio Blanco, amaretto, lime juice, tropical citrus and pineapple oleo, passionfruit sparkling wine and absinthe spray. It's as extravagant as it sounds. "We're not trying to be a high-end restaurant, we've created an accessible and affordable menu, while not sacrificing on big, bold flavours," says owner John Grace. "It was important for us to pay homage to Door Knock's history, while also ushering in a new era, one which allows you to step off from Pitt St and into another world." Door Knock is open Monday–Thursday from 4pm–12am and Friday–Saturday from 4pm-1am at B2/70 Pitt St, Sydney. Head to the website for more information. Images: Trent van der Jagt.
Live performers, dancers, DJs, artists and chefs will all converge on Carriageworks on Thursday, September 13 for the opening party of Sydney Contemporary, Sydney's biggest contemporary art fair. For one glorious evening, immerse yourself in a world made entirely of art, music and food (is anything else even necessary?). So what can you expect from this special night? A collaboration between the Sydney Dance Company and visual artist Mel O'Callaghan will lead the program. O'Callaghan is a master weaver of film, video, performance, painting and installation, whose Ensemble, 2013, was recently acquired by the National Gallery of Victoria. Also on the agenda are pyrotechnic performances from Emily Parsons-Lord, music by Mazy and solo act Jaala and other surprise guests. Between performances, journey through the fair to discover a truly international extravaganza, featuring works by more than 300 artists representing over 30 nations and more than 80 galleries. Meanwhile, keeping you well fuelled and hydrated will be Eric Koh's (Mr Wong, Queen Chow) pop-up dim sum bar Work in Progress, a Handpicked Wines Art Bar and a Beluga Vodka Bar. Sydney Contemporary's Opening Night is one of the most popular arty parties on the city's calendar. And, if you're keen to kick on post-opening party, you'll want to check out the Nightcap event hosted by yours truly at The Royal Hotel Darlington. We've also secured a 20 per discount on both opening night and adult day tickets for Concrete Playground readers. Just be sure to use this link to book and do so quick — the offer expires at 11.30pm on Wednesday, September 12. Images: Jacquie Manning.
Music festival lineups are always cause for excitement, but sometimes spending a whole day at a fest doesn't fit into your schedule. Thankfully, life found a way to ensure that you can still see your favourite acts: festival sideshows, which a heap of talent on the 2024 Groovin the Moo lineup just announced. Can't head to Newcastle, Canberra, Bendigo, Adelaide Showground, the Sunshine Coast and Bunbury this April and May to catch GZA, Claire Rosinkranz, Kenya Grace, Stephen Sanchez and The Beaches? All five have announced their own gigs while they're Down Under. In great news for folks in Sydney, Melbourne and Brisbane, they're all playing all three cities. Perth gets a few sideshows as well; however, if you're elsewhere, you'll have to travel. Wu-Tang Clan's GZA is taking to the stage with full live band The Phunky Nomads, on their Liquid Swords Live Australian tour — starting at Sydney's Liberty Hall, then heading to 170 Russell in Melbourne, The Triffid in Brisbane and Magnet House in Perth. And yes, the set usually includes a heap of the tunes that GZA is best-known for, because Wu-Tang Clan covers ain't nuthing ta f' wit. Rosinkranz has her debut 2023 album Just Because to play through at Max Watts in Melbourne, Oxford Art Factory in Sydney, The Zoo in Brisbane and Perth's Rosemount Hotel. Making her first trip to Australia, 'Strangers' artist Grace will play Melbourne's The Night Cat, Fremantle's Freo.Social, and also Oxford Art Factory and The Zoo just like Rosinkranz. After hitting our shores last year, Sanchez returns to bust out 'Until I Found You' again, this time at Enmore Theatre in Sydney, Forum Melbourne, The Tivoli in Brisbane and Perth's Astor Theatre. And Toronto's The Beaches have dates at The Lansdowne, The Zoo and Howler in Sydney, Brisbane and Melbourne, respectively. [caption id="attachment_939692" align="alignnone" width="1920"] Caity Krone[/caption] Groovin the Moo 2024 Sideshows: GZA + The Phunky Nomads Thursday, May 2 — Liberty Hall, Sydney Friday, May 3 — 170 Russell, Melbourne Tuesday, May 7 — The Triffid, Brisbane Friday, May 10 — Magnet House, Perth Claire Rosinkranz Tuesday, April 30 — Max Watts, Melbourne, Wednesday, May 1 — Oxford Art Factory, Sydney Tuesday, May 7 — The Zoo, Brisbane Friday, May 10 — Rosemount Hotel, Perth Kenya Grace Tuesday, April 30 — The Night Cat, Melbourne Thursday, May 2 — Oxford Art Factory, Sydney Wednesday, May 8 — The Zoo, Brisbane Saturday, May 11 — Freo.Social, Fremantle Stephen Sanchez Monday, April 29 — Enmore Theatre, Sydney Tuesday, April 30 — Forum Melbourne, Melbourne Monday, May 6 — The Tivoli, Brisbane Wednesday, May 8 — Astor Theatre, Perth The Beaches Wednesday, May 1 — The Lansdowne, Sydney Monday, May 6 — The Zoo, Brisbane Thursday, May 9 — Howler, Melbourne Groovin the Moo is touring Australia in April and May 2024. For tickets and more information, head to the festival's website. The festival's sideshows are touring across the same months, with presale and general sale dates varying — head to the tour pages for GZA, Claire Rosinkranz, Kenya Grace, Stephen Sanchez and The Beaches for all the details. Top image: Azuree Wiitala.
Once upon a time, an imaginary photographer named Franz took imaginary photos for an imaginary journal, which came to find itself in a highly imaginative photo exhibition: A Glimpse at Anti-Terra. A melange of film noir photographs line the walls of the small but prestigious MILS gallery, which sits like a wedge of cake on Randle Street, Surry Hills. The brainchild — a haunting, oneiric and whimsical collection of work — can be attributed to a very real person: 24-year-old, Libran, Ukranian lawyer and photographer, Vladimir Kravchenko. Despite this being his first solo exhibition of both analogue and digital work, capturing a world beyond this one is something Kravchenko achieves best: landscapes slide off the edge of the Earth, upside-down puddles reflect the sky and ghostly shadows elide your vision. The fine grain tones and contrasted shadows are testimony to that eccentric, Eastern European stark obscurity that lives someplace deep inside our minds. Each untitled artwork delivers you, with immediacy, into the odd and explicit moments that define Franz's life; as does the accompanying narrative penned by Kravchenko. The combination is somewhat intoxicating as you find yourself stalking Franz, as he stalks the Earth and the people in it. From the window of a dismal grey block apartment, a woman appears with pert breasts and an Amelie bob framing red lips. Far below, dunes of shiny blonde sand replace what would otherwise be a street path. According to the narrative, it is the apartment that Franz can no longer climb to see Fredericka, "Now that she was gone, her window gained a sinister air and he knew that it was not just her absence, it was something else, some quirk in space altering the view." Aptly named, this Kafka-esque character goes through aspects of stark misery but also comedy whereby his friend Karl appears in a single portrait with a side part and top buttoned shirt, clasping his own head with wonder. Franz observes, "Eggs Benedict was Karl's favourite breakfast and he found the idea that his head also resembles an egg an endearing one." I shall never think of eggs Benedict quite the same way again. MILS Gallery is open Wednesday to Sunday 12-4. Image by Vladimir Kravchenko.
When Dexter wrapped up its blood-splattered run back in 2013, it left plenty of fans wanting more. By now, the fact that almost every beloved TV show arises from the dead at some point is hardly new news — see also: Gossip Girl, Saved By the Bell, Twin Peaks and the upcoming Sex and the City small-screen sequel series, just to name a few — but resurrecting television's mild-mannered forensics expert by day, serial killer by night feels particularly fitting. So, get ready to watch your way through Dexter: New Blood, which sees Michael C Hall (Shadowplay) return as Dexter Morgan. The series wouldn't be worth it without him, obviously. He leads a ten-episode limited series that's due to hit the US on Sunday, November 7 and then arrive Down Under via new streaming platform Paramount+, although exactly when it'll start streaming locally hasn't yet been revealed. Hall isn't the only familiar face making a comeback, either, with Jennifer Carpenter (Dragged Across Concrete) set to return as Dexter's sister Debra. If you're wondering how that works because you remember how the original series ended, the just-dropped full sneak peek for the Dexter revival gives a few more details. John Lithgow (Perry Mason) is also coming back as the Trinity Killer — presumably in flashbacks, given the character's fate the first time around. As both the show's first teaser trailer and this new glimpse demonstrate, eight years have passed when Dexter: New Blood kicks off, just as they have for audiences. Accordingly, the series finds its namesake living a quiet life in the small town of Iron Lake, New York, and trying to forgo his murderous urges. He's going by the name Jim Lindsay, which nods to author Jeff Lindsay, who penned the series of novels the show was initially based on — and he seems happy in his new life. But then Dexter's new hometown is rocked by unexpected events, and his old ways start calling again. As fans saw over and over in Dexter's original eight-season run, resisting picking up a knife isn't all that easy for the program's protagonist. Both trailers feature plenty of blades, all within its namesake's vicinity. And if you're wondering what else to expect, the cast also includes Julia Jones (The Mandalorian), Alano Miller (Sylvie's Love), Johnny Sequoyah (Believe), Jack Alcott (The Good Lord Bird) and Clancy Brown (Promising Young Woman). And, this new trailer comes with a big surprise at the end as well. Check out the latest Dexter: New Blood trailer below: Dexter: New Blood is set to stream in Australia via Paramount+. The new series will start airing in the US from Sunday, November 7; however, an exact streaming date Down Under hasn't been announced as yet — we'll update you when it is.
The best aperitivo hour in the country is taking on a distinctly French look (and taste) for Bastille Day. On Sunday, July 14, Surry Hills' Dolphin Hotel is teaming up with super-popular CBD spot Restaurant Hubert for an afternoon of French snacks and wines — all for just $5–7 a pop. While there's no word yet on exactly what you'll be eating, Chef James MacDonald will be whipping up some opulent Hubert-esque snacks — so, expect lots of butter, some caviar or escargots, and possibly even the famed Malakoff (fried cheese) to make an appearance. If you keep an eye on The Dolphin's Instagram on Sunday, you might catch a glimpse of the final menu before it goes live. For drinks, Hubert's acclaimed sommelier Andy Tyson will be teaming up with The Dolphin's Wine Director James Hird to create a list of impressive (and very reasonably priced) French drops. To up the French vibes even further, 'The Huberts' big brass band will be in the house playing appropriately patriotic party tunes throughout the afternoon. The $5–7 snacks and glasses of wine will only be available from 5–7pm in The Dolphin's Wine Room so get there early — it will fill up. If you miss the happy hour(s), fear not — the whole venue will be getting into the spirit across the whole weekend (July 12–14) with a one-off French cocktail menu (heavy on chartreuse, calvados and pastis) upstairs at Scout and a slew of French drops available at all the bars. Prepare to be a bit dusty on Monday, folks, it's going to be a big one. Images: Elise Hassey
Hoyts Cinemas across Sydney are reopening on July 2 and are about to become the most magical places in NSW, as all eight movies in the Harry Potter franchise light up the screen over two spectacular weekends. Split into two parts — so you won't need a time turner to stay awake — the marathon kicks off at 10am on Saturday, July 4 with Harry, Hermione, Ron's first four years at Hogwarts and runs until 7.30pm. These same four films will be screened at the same times on Sunday, July 5, too. The following weekend, the marathon will pick back up again at 10am at Saturday, July 11, when the battle against You Know Who begins in earnest. Similarly to the week before, the last four flicks will also be screened on the Sunday. Tickets to the flicks are going for $10 a pop — so, yes, you will need to buy individual passes to each one — which means you can pick and choose. Love Goblet of Fire? See it twice. Not a big fan of the Half-Blood Prince? Skip it and go out for lunch instead. In fact, tickets to most Hoyts films are currently $10 as part of an opening special. If you're curious about what else is on the program, check out our list of 13 news films hitting the big screen this July. Harry Potter movie marathons are happening at all Hoyts NSW cinemas except Chatswood Westfield.
Balcon by Tapavino is a contemporary Spanish restaurant that brings the rustic and refined flavours of northern Spain to Australia. Part of the Tapavino restaurant group, Balcon offers a culinary experience that complements its flagship, Tapavino, and sister venue, Born, in Barangaroo. Balcon is a treasure trove of Spanish delights, featuring over 500 Spanish wines and refined tapas. The moody red lighting around the bar and the wine cages surrounding the dining area create a warm, inviting atmosphere perfect for any occasion, from a casual lunch with friends to corporate functions and events. Tapas options include Croqueta del Dia with pear aioli and Angelachu anchovies with picual olive oil and sourdough. For entrees, savour dishes like eggplant with saffron honey glaze and grilled WA octopus with kipfler potatoes and ajada oil. Main courses feature Spanish bomba rice with eggplant and zucchini or Basque-style Jack's Creek angus flank steak with mojo verde. The charcuterie board is a must-try, offering house mató cheese with wild honey and jamón serrano with buffalo milk curd. Balcon also boasts daily specials such as braised lamb shoulder on Tuesdays and roasted pork cutlet on Fridays. The set menus provide a curated selection of the best dishes, while the canape selection and drink packages cater to larger gatherings. Don't miss happy hour from 3.30–6pm, Tuesday to Friday, with great deals on house beer, wine, sangria, and cocktails. Plus, for wine enthusiasts, selected bottles are 50% off from 4–5.30pm. Balcon by Tapavno's kitchen closes at 9pm each night, and the restaurant closes at 11pm.
Every September and October, Germany erupts with brews, food and lederhosen-wearing revellers for its annual Oktoberfest celebrations. Come Saturday, October 26, The Domain will serve up the same kind of beer and bratwurst-fuelled shenanigans. If you're a Sydneysider with a hankering for doppelbock, schnitzel and dancing to polka, it's the next best thing to heading to Europe. This year's Oktoberfest in the Gardens will add an extra attraction, too — as well as serving a variety of pilsners, ciders, wine and non-alcoholic beverages, it'll construct the country's biggest beer hall to house the boozy merriment. Just how huge it'll be hasn't been revealed, but given that the festival usually attracts quite a crowd, expect it to be sizeable. When you're not raising a stein — or several — at the day-long event, you can tuck into pretzels and other traditional snacks at up to 30 food stalls, or check out the hefty array of entertainment. Live music, roving performers, markets and wood-chopping are all on the agenda, as is a silent disco, dodgeball, rides and a sideshow alley. Early bird tickets go on sale at 7am on Thursday, August 1 for $54.90, with full-price entry costing $69.90.
An impressive 300-seat restaurant has arrived in Parramatta Park, offering hearty breakfast and vibrant lunch dishes until 4pm, seven days a week. Misc. comes from a trio of Sydney mainstays — Executive Chef Sebastian Geray, Menu Collaborator Joel Bennetts and Restaurateur Jad Nehmetallah, the last of which you may recognise from Gogglebox. Together they've created an approachable all-day menu inspired by Mediterranean dishes and flavours. Misc. arrives at an exciting time for Parramatta, bringing another top-notch hospitality offering to the bustling suburb that's seen a slew of restaurants open in recent years including the sleek new dining precinct Parramatta Square. Boasting both indoor and al fresco dining and a bright white beachy fit-out, the glossy Western Sydney restaurant is hoping to differentiate itself by offering a one-stop-shop for your morning coffee, your next group lunch booking or an afternoon drink. "Western Sydney has been waiting for a spot to proudly call their own. At Misc., we offer an unmatched dining experience, partly due to our wine cocktail list never seen before in the western suburbs, as well as a beautiful retail section with curated products from local and international providers alike. Whether you desire a picnic in the park or bottomless brunch, Misc. can make it happen," says Nehmetallah. Whether you're here for breakfast or lunch, the team highly recommends that you start with bread. The house-made focaccia is a star of the breakfast menu, ready to be paired with dips like hummus or labneh, or sides like bacon, fritters and mushrooms. On the lunch menu, you'll find plenty of shared starters to pick from, including oysters, mortadella, burrata or wood-fired pita bread. From there you can add in the likes of beef tartare, king prawns, barramundi, zucchini chips and angus sirloin. "The focus is on the food and what it means to different people," Nehmetallah continues. "It's in my blood to bring people together; to create family, fun and full stomachs. Now I'm doing it on a larger scale." Misc. is located at Bynes Avenue, Parramatta Park, Parramatta. It's open 8am–4pm Monday–Sunday.
"It wasn't so much about antagonising Nicolas Cage, for me," Julian McMahon tells Concrete Playground. "It was more about getting him to face his demons — to truly look at himself and evaluate who he has been in life, who he is now and who does he truly want to become?" That's how the Australian actor describes his task in The Surfer, in which he stars opposite the inimitable Cage (Longlegs) in the latest film to ride the Ozploitation wave. The two portray men caught in a battle at a scenic Australian beach. Cage's eponymous figure is an Aussie expat returning home after living in the US since he was a teen, and is fixated upon purchasing his old childhood house as the ultimate existence-fixing dream. McMahon (The Residence) is Scally, the local Luna Bay surf guru who decrees who can and can't enjoy the sand and sea, complete with a band of dedicated disciples enforcing his decisions — and who doesn't give the besuited, Lexus-driving, phone-addicted blow-in a warm welcome. It was true when the trailer for The Surfer arrived and it remains that way after watching the full film: Wake in Fright-meets-Point Break parallels flow easily. Director Lorcan Finnegan (Nocebo) and screenwriter Thomas Martin (Prime Target), both Irish, are purposefully floating in the former's wash, adding a 2020s-era Ozploitation flick with an outsider perspective to the Aussie-set canon, just as Canada's Ted Kotcheff did with his 1971 masterpiece — and as British filmmaker Nicolas Roeg similarly achieved with Walkabout the same year (the two premiered within days of each other in competition at Cannes). With Point Break, though, if the OG version was instead about a middle-aged man returning home rather than an FBI agent chasing bankrobbers, and if that character found himself taunted by rather than accepted into the crew that rules its specific coastal turf, then that'd be The Surfer's starting point. Adding to a resume that's seen him use jiu-jitsu against alien invaders (Jiu-Jitsu), voice a prehistoric patriarch (The Croods: A New Age), battle demonic animatronics (Willy's Wonderland), hunt down the folks who kidnapped his porcine pet (Pig), step into his own IRL shoes (The Unbearable Weight of Massive Talent), get his gunslinger on (The Old Way), give Dracula a comic bite (Renfield), don Superman's cape (The Flash), pop up in people's dreams (Dream Scenario), face the end of the world (Arcadian) and turn serial killer (Longlegs) in the 2020s so far alone — alongside more roles — Cage begins The Surfer waxing lyrical about the pull and power of the waves, including their origins, plus the result when you attempt to conquer them. "You ever surf it or you get wiped out," the film's protagonist, solely credited as The Surfer, tells his high school-aged boy (Finn Little, Yellowstone) as they approach his preferred patch of oceanside paradise. "Locals only" is the response from Scally's gang, however, when the father-son duo head to the water, but that isn't a viewpoint that The Surfer can roll with. The Yallingup, Western Australia-shot movie, which itself debuted at Cannes in 2024, is then firmly a Finnegan flick as its namesake gets caught in a nightmare under the blazing sun courtesy of a few simple decisions, and equally thrust into an experience that questions reality. The director has made four features in nine years: 2016's Without Name, 2019's Vivarium, 2022's Nocebo and now The Surfer. In every one, the lead is plunged into a type of purgatory or hell. The first also sets its protagonist against the elements at times. Trying to buy a house equally turns surreal in the second. The past haunts, too, in the third. All four have more than a little time for peering at the trees as well. Asked what interests him about making psychological thrillers in this mould, Lorcan responds "good question: is there something wrong with me?". He continues: "I think it arrives, from a filmmaking point of view, because it allows a lot of creative freedom — because if you're delving into somebody's mind and their experience and their interpretation of events and reality from a very subjective point of view, it really allows a certain amount of elasticity in terms of visualising that and interpreting that for the audience, and for the audience to almost feel like the character feels entering into that world. Particularly with this film, because it's such a subjective experience for Nic Cage's character. And the audience goes on that journey with him and discovers what he discovers and feels what he feels — and starts tripping out when he's tripping out. So it's a weird experience." McMahon was familiar with Finnegan's output when he signed on for The Surfer. What appealed to him about this project? "I think, in this particular case, it was how well-written the entire piece was," he advises. "That, accompanied with Lorcan's previous films, is a recipe for a well-earned match; they fit each other perfectly. And regarding his approach to psychological thrillers, I was intrigued by his novel and unique vision of this piece. His movies are like something I've never seen before, and that is inspiring." Did Finnegan's penchant for toying with reality influence how McMahon tackled portraying Scally — a character who is so key in the feature's querying of what's genuine and what's all in The Surfer's head? " I think you leave that up to the filmmaker," he notes. "Play your part and allow him, Lorcan, to create the sense of reality." In 2025, audiences are witnessing McMahon at two different extremes when it comes to portraying Australian characters — first as the Aussie Prime Minister in Netflix murder-mystery dramedy The Residence, and now as Scally here, with The Surfer in local cinemas since Thursday, May 15 before heading to streaming via Stan from Sunday, June 15. "I'm looking for variety. I'm looking for characters that allow me to feel challenged, maybe even a little uncomfortable," he shares. Only The Surfer brings him back to Aussie films for the first time since 2018's Swinging Safari, though, after spending much of his career working internationally (see: Profiler, Charmed, Nip/Tuck, the two 00s Fantastic Four movies, the FBI franchise and plenty more). "I love working in Australia; however, it's more about the piece and the characters I'd like to play," McMahon reflects. An American star who couldn't be more unique on-screen, an Australian actor with decades of overseas success, two Irish friends and filmmakers layering an outsider vantage onto Aussie localism, nodding to Ozploitation classics, taking inspiration from 1968 American great The Swimmer, digging into masculinity and materialism alongside identity and belonging: it all adds up to mesmerising viewing. Somehow, as prolific and wide-ranging as Cage's filmography is, putting him in this beachside scenario wasn't already on his resume, but he gives it the full glorious Cage treatment. His energy is pivotal to the movie, as it was to McMahon and Finnegan as his co-star and director, respectively — which we also chatted to the pair about, plus everything from trapping characters and humanity's yearning to belong to quintessential Aussie beaches and recurring themes in Australian cinema. On Why Being Just One or Two Decisions Away From Getting Stuck in Your Own Purgatory, Losing Everything or Both Fascinates Finnegan Lorcan: "I suppose we're all like that, really. We're all a couple of steps away from losing it. And I think a lot of the time, the characters in my films are trapped in some way, whether that's in a physical place or mentally, or in their behaviours or relationships, whatever. It's something universal, though, that we all feel we're trapped in some way — whether that's with our routine or jobs or lives or physically inside, like a fleshy trap of meat and the only release is death. I suppose all of that is quite existential and fascinating. And in some ways, films are a reflection of our subconscious. Stories reflect our inner fears, and going crazy and all that kind of thing. So, to me, it's just fascinating to explore all that." On What Excited McMahon About Collaborating with Nicolas Cage — and About Stepping Into Scally's Shoes Julian: "I've been an admirer of Nicolas' since as long as I can remember. His work is always entertaining, inspiring and unique. I also really love the energy that he puts into everything that he does. And I was excited to develop a character that would fit well with his on-screen persona as The Surfer. There's a few things you need to accomplish in fulfilling the character of Scally. You need to fill the requirements of the movie itself, and what it is asking from your particular character, and as an entire piece. You need to develop the relationship between Nicolas' character, as well as all the other characters. And then you need to be sure that you are filling the requirements of who Scally truly is. With Scally, there was no room to waiver — the more definitive he was, the more strength he had. And I thought that was particularly important." On Why Taking Inspiration From The Swimmer and Ozploitation, Then Digging Into Ideas of Masculinity, Materialism, Belonging and Identity — in Australia, as an Irish Filmmaker with an Irish Screenwriter — Appealed to Finnegan Lorcan: "When I read the outline, what struck me was it was going to be about this man of a certain age, at a certain point in his life, where he'd amassed success, I suppose — what would be deemed success. He has a nice car. He has his suits. He's got some money. And he wants this one last thing, to buy back his family home, and then that will fix all of the problems that are manifesting over the years. So his relationship with his wife has fallen apart. His son has no interest spending any time with him. But he still thinks 'if I just have this one thing, if I can just buy this house, that will fix everything'. But then, of course, over the course of a few days he loses everything bit by bit — all his material wealth, his watch, his phone, his shoes, his suit, his car. And it's like he needed to shed all of that in order to actually, almost like therapy or something, to actually find what it is that he needs as opposed to what he believed he wanted. So that just fascinated me as a way into a story. And then both Tom and I have a love of New Wave Australian film. And then we were talking about the tradition of non-Australians, with Ted Kotcheff being Canadian and Nic Roeg being British, non-Australian filmmakers making a film in Australia as the outsider view — and this could be a continuation of that, because there hadn't been, from our point of view, there hasn't really been any of those kinds of films in a long time coming out of Australia. So we wanted to go and make one. And this was the perfect vehicle, basically." On Making a 2020s-Era Take on Exploitation with an Outsider Perspective, as 70s Greats Wake in Fright and Walkabout Did Half a Century Ago Julian: "This story could take place in many locations around the world. It could also be embedded in many different types of developed societal cultures. It could be California, could be Hawaii, could be the UK and places around Europe. I think what's interesting to note is that this particular surf culture can be found, almost identical, anywhere in the world." Lorcan: "All of the themes around identity linked to place — and also Cage's character being an outsider, that was sort of our way in, really, or my way in, particularly in terms of thinking about how to direct a film like this. Because he's an outsider returning to a place that he hasn't been in over 40 years. He's lost his accent, and he's got this weird, nostalgic, rose-tinted-glasses view of the place from his childhood. So it's almost like he remembers it from the 70s. So that was the way of making it, the look and feel of the place, that it's all from his weird point of view. Ozploitation films from that period, there would always be these very masculine men drinking beer, Broken Hill-style. So we were updating all of that, though, to show the surf community. But they're not just like Point Break surfers. These guys are all the doctors, hedge-fund managers, wealthy yuppies. Julian McMahon's character, he plays this guy Scally, who's almost like a weird shaman version of a Joe Rogan or Jordan Peterson kind of guy, who's lecturing these younger guys on masculinity — and they could be tribal and animalistic down below on the beach, but when you're up above, you behave differently. So all of that felt like perfect updates of previous themes around masculinity in these Australian films from the 60s and 70s, and even 80s — to update it now in a much more contemporary way, talking about masculinity, but it is still classic examination of it in a way." On Why Nicolas Cage Was The Surfer's Eponymous Figure to Finnegan — and Getting Him Onboard Lorcan: "I remember reading the script through from beginning to end before we offered it to him, imagining him in every scene. And I just thought he'd perfect, because there's not that many people who can play drama, action, comedy, all of these things, and have this physicality to the performance that Nic can do. So once he came onboard, it made The Surfer's character come to life, in a way. Also, as we were shooting it, we were finding that we were seeing the humour of these scenes bubbling up, too — which is good fun, because Nic's funny. He'd seen the previous film of mine, Vivarium, which he liked. And so when he got the script, he was already familiar with the filmmaker, which was helpful. And then he loved the title The Surfer, he told me recently — that was one of the things, because he grew up in California and he's familiar with surf culture, and thought that was intriguing. And he read the script and he just really liked the material. He thought it had a kind of Kafka-esque kind of vibe to it, and the character would be very challenging to play. And then he also loved the idea of going off to a little town Australia to make this film, the adventure that would bring." On McMahon Approaching Scally and His Offsiders in Terms of Them Trying to Find Their Way — and How Else He Built the Character On-Screen Julian: "I wanted to let Scally evolve in his own manner. And so while I was developing the character, I put no restrictions, thoughts or preconceived ideas that I might usually put into the development of a character, and let it come to me. It was an interesting approach, and what it allowed for was development right up until the end of shooting. Most of Scally was developed on set, in the environment, with all the other players present, your director and, of course, the largely influential location. I decided to not research anything, to just allow the character to speak to me from the written word on the page. I gave myself no limitations, no boundaries and the ability to feel comfortable with not really knowing exactly what I was doing all the time. I wanted to be more willing to allow the time and space of the moment to fill the development of the character." On the Energy That You Get From a Nicolas Cage Performance When You're Working with Him — Both as an Actor and as a Director Julian: "That is one of the reasons I looked at this as a great opportunity to challenge my own concept of performance. I love the energy that Nicolas brings to his work. And now the question is 'how do I contrast that energy, that delivery, that performance, so that when we see the two of them on screen, we know that we are dealing with two completely different individuals? And then let that play?'. Lorcan: "A lot of it is in conversation before shooting. We talk about scenes, we talk about what point he's going to — his character changes, his voice changes at certain points in the film, and he's hobbled at certain points of film, then his foot gets a little better, all those sort of things were tracked in prep. And then, when we're shooting, in terms of directing, a lot of the time it was just Nic — so we could do silent movie-style directing. The scene where he completely breaks down and he's crying, sobbing, and then that turns into rage — shooting that, we're shooting on the long lens, slowly zooming in on him. And then I'd be saying 'you've lost everything, you're crying, everything's falling apart, you're never going to get the house'. And you're like 'and now you're starting to get angry, you're getting angrier, you snap'. And he loves that actually, being directed off-camera, and he can just give that performance and time it to the movement of the camera then as well. So all that was really good fun. But I think there was an element of trust between us as well, that he trusted that I just use all the best pieces to put it together in the edit, which allowed him the freedom to give a few different types of performance throughout the film — that we would just use the best of." On Finding a Balance of Charisma and Menace for Scally — and Digging Into Humanity's Yearning to Belong, and the Rules and Hierarchies That We're Willing to Enforce and Abide to, Along the Way Julian: "There may not be a perfect balance — and I believe, quite definitively, that there is no real way to play charisma, and then perhaps menace. He is who he is and he does what he does, and it's up to the viewer's discretion as to how that should be interpreted. Being present to each moment would be my only way to find balance. Scally has his own discomforts, and he is very much still finding his way. Even though he would never expose that side of himself, he knows he's a work in progress. Scally's position is one of such that if he waivers, it is very likely that he will lose the love and devotion of those who see him as someone worth listening to, someone worthy of following." On Finding the Exact Right Quintessential Australian Beach for the One-Location Film Lorcan: "That was the biggest challenge. And actually, although it might seem like it — and I thought the same, 'oh yeah, there will there be loads of them' — it was really hard to find a car park that's raised quite high above the beach with a view down, and the beach being a certain scale, and all that kind of thing. We settled on Western Australia early on, which is obviously, as you know, it's gigantic — it's not exactly a small place. And we scouted north of Perth, as far as Kalbarri, I think. And then we scouted south of Perth. And, actually I think Yallingup was the last place we stopped when we were going south. And as soon as I saw it — I first saw the beach, and I thought it looked perfect, that kind of crystalline turquoise water which is very evocative of memories and dreams. And this golden sand. And then the car park above it was perfect size, and surrounded by bush. There's a national park area right behind it. And then it has a great vantage point, like a viewpoint down to the beach. So it has all the elements. So we're trying to match the staging of the script to the location. And then once we found the location that was perfect for the film, we tweaked the script to match it better as well. But it's harder than you think to find this sort of car park that is perched above a beautiful beach‚ with good surf as well. Nice breaks. And Western Australia, as well, has these amazing sunsets, that you get this really long twilight kind of lighting, which we took advantage of as well." On Why Localism, Plus the Manifestations of Masculinity and Aggression That Can Come with It, Are Common Themes in Australian Cinema Julian: "That's a tricky one to answer. I guess the simplest answer would be that Australian cinema is still challenged by those concepts, and is perhaps looking for a way to flush that out and understand it. That said, if you've read anything from Thomas Martin, he very specifically notes that his ideas and concepts were developed in many places. Californian surf culture was a heavy influence, as an example." Lorcan: "I suppose Western Australia, anyway, still has a very masculine kind of energy to it. I think it's because it's a lot of mining, a lot of very physical jobs that men perform there. And they can also make a lot of money very quickly, and then also lose it very quickly. It's one of the most-remote cities of the world — the most-remote city in the world — Perth, isn't it? And so I think although Australia has changed a lot since the 70s, in terms of becoming more liberal, I suppose, and less chaotic, there's still elements of that. And it was interesting to see the culture between, even from Perth down to Margaret River. Margaret River is a beautiful wine region and everyone was actually really welcoming — and there's a winery called Bacchus Family, who invited the entire crew up to their estate, their vineyard, and wined and dined us. And I suppose, this is similar to Ireland, in a way. Ireland has sort of grown in parallel with Australia, in terms of we used to be very Catholic, and there was a very kind of patriarchy in Ireland, that still exists but has evolved over the years. And I feel like it's the same with Australia. But there's still interesting things — like the way that masculinity has evolved over the years has almost come full-circle. Now there's these guys who are lost and looking for something, looking for belonging. And that whole male cult is forming around the world, I think, not even just Australia." The Surfer released in Australian cinemas on Thursday, May 15, 2025, then streams via Stan from Sunday, June 15, 2025. Images: David Dare Parker / Radek Ladczuk.
It isn't just traffic that will bring Brisbane's Story Bridge to a standstill in 2024. On one October Sunday, the famed river crossing will close to cars to become the site of a new nude photography work instead. Staging spectacular pieces filled with naked participants has long been Spencer Tunick's remit — and the New York-based artist has announced his next River City installation in advance of staging his first. On Saturday, November 18, 2023, Tunick is taking to numerous spots along the Brisbane River for a piece called TIDE, which forms part of this year's MELT Festival and was announced by Brisbane Powerhouse earlier in the year. Featuring around 150 people posing for the camera, that photography shoot is now considered a prequel for Sunday, October 27, 2024, when the Story Bridge will welcome thousands of folks sans clothes. [caption id="attachment_926438" align="alignnone" width="1920"] Cape Town, Spencer Tunick[/caption] "This challenging work on the Story Bridge marks the second in my two-part series in Brisbane scheduled one year apart, in 2023 then 2024. It is the first time I have ever worked on installations with the same institution for an extended two-year project. This will allow me to deeply explore the city, its light, environment and its people," said Tunick. "The series will hopefully speak to diverse groups of people, and everyone navigating their way through the difficult challenges of our current world. It is a privilege to be making art that centres around the LGBTQIA+ community with all its beauty and vibrance." [caption id="attachment_926440" align="alignnone" width="1920"] Lyon, Spencer Tunick[/caption] The Story Bridge piece will form part of Melt Open, an expansion of Brisbane Powerhouse's LGBTQIA+ arts and culture festival that'll debut next year. The broader fest is a fringe-style open-access event that, like MELT first, champions diversity. So has Tunick's work for decades, whether he's been in the Whitsundays with almost 100 Aussies in 2019 or briefly turning Bondi into a nude beach in 2022. Tunick initially turned his lens Australia's way in 2001 in Melbourne, when 4500 naked volunteers posed for a pic near Federation Square as part of the 2001 Fringe Festival. Since then, he's also photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras, then returned to Victoria in 2018 shoot over 800 Melburnians in the rooftop carpark of a Prahran Woolworths. Elsewhere, Tunick has photographed the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK. The list goes on, with more than 100 temporary installations on his resume since 1992. [caption id="attachment_926441" align="alignnone" width="1920"] Melbourne, Spencer Tunick[/caption] "This major Tunick installation featuring thousands of nude bodies on the landmark Story Bridge is a visual expression of the diversity and inclusion that Brisbane's new LGBTQIA+ festival, Melt Open, aims to deliver across the city," said Melt Open Executive Producer Pieta Farrell. Brisbanites, or anyone who's keen to disrobe on the Story Bridge for a new piece of art, can put their hand up to join in — with the call for volunteers open now. And Tunick does indeed mean anyone, because there's no limit to the number of people who can take part. If you're not usually located in Brissie and you'd like to get snapped, you will need to travel at your expense. Successful applicants will be informed via email a few weeks prior to the shoot. [caption id="attachment_926442" align="alignnone" width="1920"] Jay Cull[/caption] Spencer Tunick's 2024 Story Bridge installation will take place on Sunday, October 27, 2024 during Melt Open. Head to the Brisbane Powerhouse website to register to take part. TIDE will be shot on Saturday, November 18, 2023 along the Brisbane River as part of MELT Festival 2023, which runs until Sunday, November 26 at Brisbane Powerhouse. For more information or to buy tickets, head to the fest's website now. Top image: Gateshead, Newcastle, England by Spencer Tunick.
There's nothing humdrum about rum. A favourite with pirates, sailors and scoundrels alike, this rich, golden dram works equally well as a neat shot or for a disorderly night of mojitos. Here's our list of the top destinations for rum-sipping in Sydney, so you can get better acquainted with the spirit of the sea. THE LOBO PLANTATION The Lobo Plantation on Clarence Street will transport you to the glamorous, old world estate of Julio Lobo, a wealthy Cuban sugar trader from the 20th century. Splash out on their Millionaire cocktail ($17), which features a powerful blend of Appleton Estate VX, apricot brandy, sloe gin, lime juice and grenadine, served with a rolled up bank note attached to the stem. Otherwise, cosy into one of the leather banquettes with their Lobo Rum Journal, a 100+ page compendium of rum tasting and production notes which leaves you spoilt for choice. Basement Lot 1, 209 Clarence Street, Sydney PAPA GEDE'S Named after the Haitian voodoo spirit of love and laughter, Papa Gede is just one of many spirits in this witch-doctor apothecary bar. Specialising in Caribbean rum and fruit concoctions, the signature drink is The Zombie ($16), a bright and spicy mix of Appleton Estate rum, brandy, Cointreau, grapefruit and falernum (a sugar syrup made with almonds, ginger and cloves). It's strong enough to resurrect the dead, Papa Gede's warns. This is definitely a venue to add to your regular haunts. 348 Kent Street, Sydney EAU DE VIE This dimly lit speakeasy is the darling of Darlinghurst, serving some of Sydney's best rum cocktails (with a glass cabinet of awards to prove it). If you're a mighty fan of the mai tai, try their tiki version, Captain Zissou ($21). This inspired blend is made with Appleton VX rum, grapefruit and passionfruit marmalade, dry fino sherry, freeze-dried mint leaves and liquorice root syrup, vigorously shaken over ice. As a final touch, it's flamed to impart a burnt rum aroma over the top. C'est magnifique! 229 Darlinghurst Road, Darlinghurst GRANDMA'S BAR Isn't it time you paid Grandma's a visit? This cosy den of cosmopolitan kitsch on Clarence Street is one of the last places you might expect to find such a vast battery of rum. Just like Grandma, the mai tai ($21) is an oldie but a goodie. Her version uses Appleton Extra Jamaican rum, Creole schrubb (an orange and rum liqueur), orgeat, lime, pineapple and bitters, set alight. Grandma would never let you leave hungry, so tuck into an old-school spaghetti jaffle ($8) while you're here. Basement 275 Clarence St, Sydney THE CUBAN PLACE Directly across from the Queen Victoria Building, The Cuban Place recreates the heydays of 1950s Havana, considered to be the home of the mojito. This classic rum, lime and mint medley is available in three sizes, or you can thumb your way through their extensive rum list, with over 150 entries from around the globe. You can also order a Cuban cigar, something that will surely make the smokers light up. 125 York Street, Sydney THE CLIFF DIVE Decorated with artefacts from the South Seas, this little treasure on Oxford Street features a one-of-a-kind underwater dance floor and tiki bar with a rum focus. To drink, we recommend the Monkey Hat ($25), which combines home-spiced rum, Aperol, passionfruit and lime and is served in a monkey head, just like Indiana Jones and the Temple of Doom. 16-18 Oxford Square, Darlinghurst BUTTON BAR Welcome aboard button bar, a pirate-themed watering hole by the crew behind Pocket Bar and Stitch. There's no X marks the spot at this inconspicuous address on Foveaux Street, but once inside, you'll find a gorgeous, wood-panelled ship's hull with 19th-century long rifles and dripping. The go-to cocktail is the Pleasure Vessel ($17) a tasty, tart combination of Appleton dark rum, Grand Marnier, orange marmalade, fresh grapefruit, lemon and orange blossom water. We're sure ye will love it. 65 Foveaux Street, Sydney MOONSHINE CIDER & RUM BAR Located upstairs in the Hotel Steyne, Moonshine is one of the only pirate bars with an outdoor wooden deck and beachside views, which makes it a breath of fresh sea air. Racks of caged rums line the walls, priced from $7.50 for the house to $40 for a top shelf selection. There's also a stage for live bands and DJs, if you feel like hearing a few shanties. 75 The Corso, Manly
What is the effect of this country's colonial history on the present day? Performance artist Sarah-Jane Norman uses the body as a canvas to explore this question in Unsettling Suite, part of Performance Space's Matters of Life and Death series of performance and installation. Of mixed Aboriginal and British heritage herself, Norman has a deeply personal involvement with the subject matter. As the title suggests, Unsettling Suite aims to unsettle, drawing the viewer into an otherworldly house whose rooms are illuminated by unnatural light. Each space presents a different installation tackling the legacy of Australia's race relations, and select dates feature a live performance. Steeped in history and emotion, the artwork promises a tight connection to the guiding theme of the Matters of Life and Death program: our fear of death. Also included in Performance Space's Matters of Life and Death program of Aussie and international works is dance piece Performance Anxiety, macabre foodie event The Last Supper, an Eddie Sharp-curated instalment of NightTime, and the Death Knocks Supper Club of impolite dinner table conversation. Read what the artists had to say in our feature 'Seven Positive Ways to Think About Death at Performance Space'.
