Don't mistake the blaze that starts Nightmare Alley for warmth; in his 11th film, Guillermo del Toro gets chillier than he ever has. A lover of gothic tales told with empathy and curiosity, the Mexican filmmaker has always understood that escapism and agony go hand in hand — in life, and in his fantastical movies — and here, in a carnival noir that springs from William Lindsay Gresham's 1946 novel and previously reached cinemas in 1947, he runs headfirst into cold, unrelenting darkness. As The Shape of Water movingly demonstrated to Best Picture and Best Director Oscar wins, no one seeks emotional and mental refuge purely for the sake it. They flee from something, and del Toro's life's work has spotted that distress clearly from his first dalliance with the undead in his 1993 debut Cronos. The Divinyls were right: there is indeed a fine line between pleasure and pain, which del Toro keeps surveying; however, Nightmare Alley tells of trying to snatch glimpses of empty happiness amid rampant desolation. That burning house, once home to the skulking Stanton Carlisle (Bradley Cooper, Licorice Pizza), is surrounded by America's stark midwestern landscape circa 1939. Still, the terrain of its now-former occupant's insides is even grimmer, as Nightmare Alley's opening image of Stan dropping a body into a hole in the abode's floor, then striking a match, shows. From there, he descends into the carny world after hopping on a bus with only a bag and a radio, alighting at the end of the line and finding a travelling fair at this feet. Given a job by barker Clem Hoatley (Willem Dafoe, Spider-Man: No Way Home), he gets by doing whatever's asked, including helping clean up after the geek act — although, even with his ambiguities evident from the outset, stomaching a cage-dwelling man biting the heads off live chickens to entertain braying crowds isn't initially easy. While set in an already-despondent US where the Depression is only just waning, the shadows of the First World War linger and more are soon to fall via World War II, Nightmare Alley still gives Stan flickers of hope. Adapted from the novel by del Toro with feature debutant Kim Morgan, the movie doesn't ever promise light or virtue, but kindness repeatedly comes its protagonist's way in its first half. In fortune-teller Zeena the Seer (Toni Collette, Dream Horse) and her oft-sauced husband and assistant Pete (David Strathairn, Nomadland), Stan gains friends and mentors. He takes to mentalism like he was born to it, and his gift for manipulating audiences — and his eagerness to keep pushing the spiritualism further — is firmly a sign. Soon, it's 1941 and he's rebadged himself as 'The Great Stanton' in city clubs, claiming to speak to the dead in the pursuit of bigger paydays, with fellow ex-carny Molly Cahill (Rooney Mara, Mary Magdalene) as his romantic and professional partner beyond the dustbowl. The tone may be blacker than del Toro's usual mode — positively pitch-black in the feature's unforgettable ending, in fact — but Stan is just doing what the director's main characters tend to: trying to find his own place as he runs from all that haunts him. "My whole life, I been lookin', lookin' for somethin' I'm good at — an' I think I found it," he says, his elation palpable. Although his first altercation with Dr Lilith Ritter (Cate Blanchett, Don't Look Up) starts with a public scene at one of his swanky gigs, he's equally as thrilled that his crowd-pleasing act attracts her attention, and by the psychologist's suggestion that they team up on wealthy mark Ezra Grindle (Richard Jenkins, Kajillionaire). But here's the thing about being a grifter, even one who was so recently a drifter: if you're fleecing someone, you're likely being fleeced back in turn. Fox Mulder was right, too. In The X-Files, the David Duchovny-played character's main maxims contradicted each other yet also rang true, because people do want to believe even if they know they should trust no one. That iconic sci-fi series had its own ace carnival episode, and TV also went there in HBO's exceptional early-00s series Carnivàle — and while both pop to mind when watching Nightmare Alley, del Toro doesn't follow slavishly in anyone else's footsteps. As he's done with ghosts (The Devil's Backbone), superheroes (his two Hellboy films), fairytale worlds (Pan's Labyrinth), kaiju (Pacific Rim) and haunted houses (Crimson Peak), he's intensely astute at twisting familiar realms to suit his stylistic flourishes and thematic fascinations, and making it all feel brand new. Nightmare Alley doesn't lack influences, the entire history of film noir that the original flick hails from chief among them, but it's always its own towering beast. Like getting lost in its funhouse sideshows, jewel-hued costumes and the velvety art-deco furnishings of life after the road, this endlessly mesmerising movie is always sordid yet immaculate as well, and creepy yet slinky and pulpy yet ravishing. Pondering a road to hell paved with self-serving intentions, it has a heart of darkness that courses with inky, icy blood, and it's also as alluring a film as del Toro has helmed. Yes, it's a feature that lives the idea that something that draws you in vividly and instantly might be prowled by monsters both hidden and not-so, with Nightmare Alley pumping one of its central notions through every technical touch it can. Aided by cinematographer Dan Laustsen's (Crimson Peak, The Shape of Water) gliding imagery and production designer Tamara Deverell's (the del Toro-produced vampire TV series The Strain) vibrant staging, every frame is visual perfection — not just by looking spectacular, but by so heartily embracing its settings, genre and dissection of humanity's bleakest impulses. Cue a commanding performance by Cooper to match every move that Nightmare Alley makes; thanks to Licorice Pizza and now this, he's having a career-best moment. While never convincingly as youthful as dialogue intimates, he captures the same thing that del Toro constantly interrogates, playing a slippery and unsettling man who knows how to lure people in — it takes time for Stan to segue from barely speaking to smooth patter, but the latter more than does its job — and how to twist a knife to devastating effect. He isn't alone in his stellar portrayal, though, with Collette and Strathairn soulful and tender, Mara beaming with heart, Dafoe hardened and nightmarish, and Jenkins cuttingly crafty. An energetic yet sinister presence who couldn't be more at home in her thorny part, Blanchett could've walked right out of the 30s and 40s herself, too, although that's oh-so-much about del Toro's latest masterpiece all over. Top image: Photo by Kerry Hayes. © 2021, 20th Century Studios, all rights reserved.
There are no shortage of spectacular hikes in the Snowy Mountains. But that doesn't mean adding a few more isn't a good idea. To that end, work is soon to start on an epic new adventure: the Snowies Iconic Walk. This 44-kilometre multi-day trail will take you on a journey from Thredbo to Lake Crackenback. Set for completion in 2022, the walk will pass through Charlotte Pass, Guthega and Perisher in the Kosciuszko National Park. So you'll be able to organise sleepovers according to your budget — in either luxury resorts or your tent. On top of that, the beautiful Thredbo Valley Track will be getting a 21-kilometre extension, turning it into a 61-kilometre-long escapade. Built for walkers and mountain bikers, the extended trail will allow you to travel from Dead Horse Gap all the way to Jindabyne. Plus, it'll have the capacity to host long-distance mountain biking comps. Not only is this news good for adventurers, it's also good for seasonal workers, many of whom work at the Snowies through winter, but head elsewhere once the snow has melted. "It means people won't just have jobs three months of winter, they'll have work for 12 months of the year, thanks to a steady stream of visitors, mountain bikers and walkers," said Deputy Premier and Minister for Regional NSW John Barilaro. The NSW Government has contributed $27 million in funding via the Regional Growth Environment and Tourism Fund. The Snowies Iconic Walk will open in 2022. Image: Thredbo Valley via Destination NSW.
When Victoria's March long weekend arrives each year, festivalgoers have two reasons to head out of town — or head to the state from interstate — for a few days of tunes. Both are beloved parts of the cultural calendar. Both are such a hit that you need to enter a ballot to get tickets. And just as Golden Plains has already done, Pitch Music & Arts is announcing it 2025 details. Everyone should make the trip to the Grampians at least once, and here's as ace an excuse to do so as any: the return of the much-loved camping festival, which will host its eighth edition, taking over Moyston again. There's no lineup just yet — it drops on Tuesday, November 19, 2024 — but the 2025 dates have been locked in. The long-running celebration unleashes its fun across the Grampian Plains, with next years' festivities happening from Friday, March 7–Tuesday, March 11. Not only will its three stages play host to a sparkling lineup of local and international musical talent, as always, but the tunes will be backed by a hefty program of interactive art and installations. Basically, no matter who makes it onto the bill, attendees are in for a very big, very busy four days. Joy Orbison's 'flight fm' and 'better' have been used in teaser videos for 2025's fest so far, so that could be a lineup hint. 2024's roster featured Gerd Janson, I Hate Models, Job Jobse, Spray, XCLUB, Bambonou, Chippy Nonstop, Narciss, Mac Declos, Sedef Adasï and Hasvat Informant, among others, if you're wondering which type of electronic acts that Pitch usually welcomes. The ticket ballot is currently open — and is a necessity after the last three festivals all sold out — ahead of the program reveal; however, you can get excited now about a bigger Pitch One stage, Pitch Black getting a revamp and the Resident Advisor stage's red orb being part of the fun again. In between all the dance-floor sessions and arty things, festivalgoers will again be able to make themselves at home in the Pitch Pavilion, which is where yoga classes, meditation and sound baths usually help patrons unwind. The local-focused Club Serra will be new in 2025, championing homegrown talent. Pitch Music & Arts will return to Moyston from Friday, March 7–Tuesday, March 11, 2025. Head to the festival's website for further details, or to enter the ballot. The lineup will drop on Tuesday, November 19, 2024, with tickets sale details announced then as well. Top Images: Duncographic, William Hamilton Coates, Max Roux and Ashlea Caygill.
Roberto Succo (aka Roberto Zucco) — murderer, kidnapper, hijacker, thief — was Europe's Public Enemy Number One during the early '80s. He was also a womaniser with movie-star looks and a chilling ability to charm. At just 26, he committed suicide following a failed escape attempt from an Italian prison. Shortly afterwards, French playwright Bernard-Marie Koltes transformed Zucco's brief, strange, tormented and tormenting life into a play. Titled Roberto Zucco, it turned out to be Koltes’s final work and was first performed posthumously in Berlin in 1990, under Peter Stein's direction. “Killers never look like killers,” Zucco explains, in a calm, controlled tone. “Killers go for quiet little strolls in the crowd, just like you and me.” Koltes’s script, like Truman Capote’s In Cold Blood, attempts to go beyond the hysteria of headlines, to explore the murderer as human. Zucco appears as a Hamlet-like philosopher (minus the innocence and indecision), tortured by his own mortality, agonisingly alienated, capable of kindness and even poetry, yet driven to kill. We don’t learn anything more, in terms of specific motivations. An absurdist-influenced, fragmented structure depicts Zucco's deranged mind, darting from cold calculation to insane ranting, with vignettes presenting various heinous crimes, from the strangling of his mother to the shooting of a teenager to the seduction of a virgin who falls hopelessly in love with him. Le Theatre des Assassins, a brand-new company promising to “keep the Sydney theatre scene alive and awake with controversial, innovative, thoughtful, quirky and immensely entertaining theatre” brings Koltes’s script to the Old Fitz stage via Martin Crimp’s English translation and a minimalist yet visually striking production. Yvonne Hocothee’s set features piles of black milk crates as the only props (with the exception of a few guns) and two expansive vertical panels lit (by Larry Kelly) in a spectrum of colours, shifting the mood deftly and effectively. Occasionally, the characters slip behind them, transforming into larger-than-life silhouettes. Director Anna Jahjah’s interpretation is big on physicality. The actors move about the stage in broad, sweeping gestures. The menace of abuse — be it murder-to-victim or brother-to-sister, psychological or sexual, potential or real — is depicted through disturbingly forceful contact. At first, it’s arresting, but after a while, too much of a good thing results in a loss of impact. As the great musician Sun Ra famously said, “Space is the place.” Tim Cole plays a suitably handsome but not overly convincing Roberto Zucco. Somehow, he’s just not mad, bad or potent enough. Gemma Scoble, as the deflowered-virgin-turned-prostitute who we know only as ‘The Girl’, is similarly insufficient. We need her to be more vulnerable, more shocked, more desperate. ‘The Sister’ (Danielle Stamoulos) has the opposite problem, overdoing her character to the point that we’re constantly aware she’s acting. ‘The Brother’ (Lucas J. Connolly) is appropriately brutish and intimidatory, but doesn't do fragile so well. Some of the minor parts were played with more punch. Adrian Barnes is the stand-out, displaying his depth and flexibility as both ‘The (frenzied, alcoholic) Father’ and The Old Gentleman whose helplessness elicits an unexpected show of compassion from Zucco. The same goes for Lyn Pierse, who plays the murderer’s despairing mother, a comedic knitting woman and ‘The Madam’ of a brothel. Her 'Panic-Stricken Prostitute', Delphine Vuagnoux, is charismatic and real, while Sam Dugmore and Neil Modra demonstrate adept comic timing as well-meaning but hopeless guards and detectives. In selecting Robert Zucco as their first-ever production, Le Theatre des Assassins have taken on a challenge. They’ve affirmed their vision as a quirky, dynamic company but still have some fine-tuning to do, which is to be expected, given that few artistic endeavours emerge fully formed. Let's see what happens next.
I'm not sure if you are aware of this, but Sydney has a very healthy noise scene. Our pretty harbour city is home to some of the finest purveyors of all things fucked up and scuzzy. Music that is often alarming and surprisingly beautiful. Of course, one of the problems with live music in Sydney is that venues keep closing - and one of the arteries of Sydney's noise scene, Serial Space, has just shut down its live music because of council issues. So it is great that the coolest barber shop in Sydney, Sedition, has put up it's chair for the Difficult Music Festival, with music happening every night in January. This particular night sees Dale Gorfinkel, Ben Byrne and Ivan Lisyak take to the airwaves in the shoe box sized space. Gorfinkel builds crazy instruments that are somehow automated and play themselves. Byrne is a musicologist and performer who has graced stages at countless festivals. Besides being a producer and drummer in The Paper Scissors, Ivan Lisyak is a noise artist who experiments with guitar pedals and feedback and sometimes smashes heads off with disgustingly noisey-shoegazey laptop sonics. It will live up to it's name, so take some earplugs and an open mind.
If, like us, you're trying your best to ditch single-use plastic, then we have good news — this new company aims to help you do just that. Returnr is a new line of reusable takeaway food packaging that's partnering with restaurants, cafes and Deliveroo locations across Australia. And it wants to help put an end to disposable packing altogether. Created by KeepCup co-founder Jamie Forsyth, the stainless-steel bowls and cups are marketed towards takeaway cafes and restaurants and food delivery services. They are 100-percent recyclable and designed to be regularly reused. And it looks like Forsyth's push toward sustainable food service practices is already working — since launching on a trial basis in Melbourne during late-2018, over 85,000 single-use plastic bowls have purportedly been saved from landfill. Here's how it works: order from a participating restaurant (either in-person or via Deliveroo) and pay a $6 deposit fee for a Returnr bowl or cup. Return the container to a partner venue within the network, and you'll get your deposit back. While Returnr is still in early stages, the product has big plans for the coming months, with a national expansion on the docket and more products launching soon, too. At the moment, there are three participating venues in Sydney (Belles Hot Chicken Barangaroo, Regiment and Lize + Bath), one in Hobart and a whopping 28 in Melbourne (including Hanoi Hannah Elsternwick and Windsor, Belles Hot Chicken CBD and Tokyo Tina) — eight of which are also partnered with Deliveroo. Keep an eye on this space, as we reckon you'll be seeing Returnr in many more CBD locations by the end of 2019. Find Returnr at 34 partner venues across Sydney, Melbourne and Hobart. Keep an eye out for new ones launching soon.
After blowing Sydneysiders away with her singing, dancing and towering cosmic structures at the Sydney Opera House last year for Vivid Live, Solange is heading Down Under once more. The Grammy Award-winning singer — composer, choreographer, actress, filmmaker, fashion icon — is coming back to the Opera House for four shows in January 2020. Mark it in your calendars, friends. If you were one of the lucky ones to score tickets the sold out show last year, you'll know what to expect come January: a stunning 360-degree stage, a live band, a team of incredibly choreographed dancers. Although this time, instead of singing and dancing to A Seat at the Table under a giant moon-like sphere, Solange will be performing her new album When I Get Home in Australia for the first time. Featuring hits such as 'Way to the Show', 'Dreams' and 'Binz' — and collaborators such as Pharrell, Sampha, Gucci Mane and Tyler, the Creator — the album is an ode to Solange's hometown of Houston, Texas. It was released alongside a 33-minute art film of the same name, which you can watch on YouTube while you're waiting for her Aussie return. https://www.instagram.com/p/Bv_bpnIFr5g/?utm_source=ig_embed While the stage will look a little different to the one above, we're told to expect something similarly impressive. You can get a glimpse of what to expect from the new choreography, too, by checking out Solange's Instagram. The Sydney Opera House performances will be Solange's only Aussie shows, so, if you're interstate we suggest you start keeping an eye on cheap flights. Solange will perform four shows in the Sydney Opera House Concert Hall on January 27, 28, 30 and 31. Pre-sale tickets are available from 9am on Wednesday, August 21 with general sale starting at 9am on Friday, August 23 via the Sydney Opera House website. Images: Max Hirschberger
It's been a couple of years since Sydney last enjoyed a live performance from Courtney Barnett, but this August, the acclaimed singer-songwriter will return to the harbour city for a show at a little venue called the Sydney Opera House. She'll play her first headline show in the iconic venue's biggest space: the Concert Hall. Off the back of her second album Tell Me How You Really Feel, Barnett's set to tear up the stage with her signature indie-rock energy and a full band in tow. She'll perform all the hits from this forthcoming record, including 'Need A Little Time', 'Nameless, Faceless', and the just-released 'City Looks Pretty'. Lauded as one of this century's most unique Aussie voices, Barnett's set a new tone with her latest work, following collaborations with the likes of Kurt Vile, The Breeders and long-term partner Jen Cloher. The past few years have seen the musician absolutely killing it internationally, nominated for both a Grammy Award and a BRIT Award, and scooping up a bunch of other top honours, including the Australian Music Prize 2016, APRA's Songwriter of the Year, and four ARIA awards. Courtney Barnett will perform in the Sydney Opera House's Concert Hall on Saturday, August 25 as part of the year-round Sydney Opera House Contemporary Music Program. Tickets go on sale at to newsletter subscribers at noon today and to the general public on Monday, April 23 here. Image: Pooneh Ghana.
This winter, Barangaroo House is embracing the winter chill on all of its three levels. Today, July 3, the waterside venue launched Bring the Heat — a multi-storey winter wonderland with luxe rooftop igloos, spiced martinis, magnums of Champagne and fondue pots aplenty. The outdoor terrace of Smoke (the venue's rooftop cocktail bar) is where you'll find those opulent igloos — they come complete with cosy cushions, blankets, hanging greenery and lanterns. Here, you can order cheese or chocolate fondue and baked truffle camembert straight to your igloo. For drinks, there's Champagne, hot bloody marys and 'cauldrons' of mulled wine that serve six. The igloos fit up to ten and can be booked for two hours — though you'll need to commit to a minimum spend of $500 (that's only $50 each if you round up your mates). The best time to book is on weekends when bottomless Champagne and alpine-inspired snacks are on offer from noon–3pm — drink all the Champagne you can handle while enjoying wagyu bresaola, pork skewers, toasties and hot chips for a reasonable $95 all up. Or stop by right at 5pm on weekdays, when the first five 1.5-litre magnums of Veuve Clicquot will be sold for just $145 per bottle. Over at Bea restaurant, Head Chef Tom Haynes is dishing up woodfired dishes — think charred tiger prawns or spatchcock chicken with green rice stuffing — alongside a selection of $10 mini martinis. If you're keen for the whole hog, book into one of Bea's winter wine degustations, which will take place on July 4, 17 and August 29. For $95–150 per person, you'll be treated to a feast and a few drops from winemakers Cullen Wines, Cloudy Bay and Michael Hall Wines. And, down on the ground level, House Bar is offering its own range of spiced martinis, including a chilli choc espresso, a smoked rosemary and a spiced apple version. You'll be able to DIY garnishes and bitters with these, too. All of these deals will only be available through to the end of August, though, so don't wait on it. Images: Alana Dimou
In the same week that Aussie supermarket giant Woolworths finally banned single-use plastic bags, Melbourne's Crown Complex has also dished up some good news for the future of our planet, announcing it has started cutting down on single-use plastics. Coming from the largest casino complex in the Southern Hemisphere, that's no small feat. Crown Melbourne is kicking things off by joining the global Plastic Free July initiative, which sets out to raise awareness about the impact of pesky, single-use plastics and challenges people to do something about it. For the whole month, the entire Crown Casino Complex will crack down on disposable plastics, promising to remove all single-use plastic "where possible" and to "encourage consumers to change their attitudes and behaviours". Straws will only be available on request, plastic bags have been replaced with paper alternatives in all Crown outlets, and various biodegradable and compostable products are currently being tested, with the aim of phasing out plastic cutlery as well. A spokeswoman for Crown told Concrete Playground, "Crown recognises that the process to phase out single use plastics will take several years, and that we are at the start of our journey." The intention is to continue the plastic crack-down long after the month of July, as more testing's carried out and better alternative products are found.
Whether you're embracing being at home, or itching to get out of the house and into a bar as soon as possible, we expect you've experienced many mood changes with every 'new normal' moment. Perhaps you've been unexpectedly thrilled with your baking skills? Mortified with your home hair dye efforts? Proud of your Zoom hosting skills? Each day comes with its own highs and lows, so, we've teamed up with Jimmy Brings to suggest a drink and a snack for the small wins through to the mini meltdowns. Jimmy Brings is known for its 30-minute delivery times, so even when all you're doing is cleaning out the fridge, you can order a spontaneous drink to mark the occasion. Find the iso moment you relate to most, below. UNEXPECTED JOY AT YOUR BREAD BAKING SKILLS Deserves: a mini celebration with Covielle sparkling. In times like these it's all about celebrating the little things. Is your starter bubbling and doubling as it should? Are you proving your dough without having to watch the clock? Sounds like you're nailing it. When you're ready to slice into that crusty loaf, pair it with a selection of deli cheeses, from one of these cheese shops in Sydney, these ones in Melbourne, or from Le Fromage Yard in Brisbane. And make yourself an Aperol spritz with Covielle sparkling, which has a citrus tang and a clean, crisp finish that pairs well with the gooey cheese and that proud grin on your face. UTTER PUZZLE FRUSTRATION WHEN THAT BLUE PIECE DOESN'T SEEM TO FIT Deserves: a comforting bowl of pasta and a Mists & Shadows Chardonnay. You're 300 little blue shapes from completing that masterpiece of dots and swirls, and though you don't remember caring about puzzles before 2020, this is now all you think about. Why. Won't. It. Fit? Just remember, it's the little things that cause us most angst. No, your friends probably don't understand. But, you know what will help? A warming hug in a bowl. Order in a lamb ragu from Tottis or a cacio e pepe DIY pasta kit from Ragazzi, if you're in Sydney. Melburnians, Tipo 00 has its braised duck gnocchi for pick up, and much-loved vegan spot Smith & Daughters is delivering its penne carbonara and vodka-spiked spaghetti. In Brisbane, you can get spaghetti, rigatoni and carbonara to take away from 1889 Enoteca. The white peach and nectarine notes in the Mists & Shadows chardonnay pairs particularly well with lighter pasta dishes. [caption id="attachment_770129" align="alignnone" width="1920"] Tim Mossholder[/caption] BOTCHED ISOLATION HAIRCUT BLUES Deserves: a treat-yourself moment with Heritage House Shiraz. Too scared to embrace the grombre, you decided it was a good idea to touch up those roots yourself and now… well, it's a good thing all those social catch ups come with a 'no video' mode. At least you didn't cut yourself a fringe, or decide now was the time to grow a beard. Console yourself with a treat meal — after all, you've saved all that money avoiding a professional. We suggest ordering Walter's dry-aged steaks, if you're in Brisbane. Or you can get wagyu sirloin steaks and beef fillets from Vic's Meat in Sydney, and Meatsmith can deliver a porterhouse or marinated minute steaks to you by the next day if you're in Melbourne. Get Jimmy to bring you a full-bodied red to match it. The Heritage House Shiraz has rich berry flavours and hints of oak that complement a sirloin or porterhouse served with buttery veggies. [caption id="attachment_770049" align="alignnone" width="1920"] The Creative Exchange[/caption] PURE HAPPINESS AT A SUCCESSFUL VIRTUAL DANCE PARTY Deserves: a cheeky Jolly Trotter Pinot Grigio to set the mood. If you've been tuning into Hot Dub at Home every weekend, you'll know a dance party is all about the details. Balloons? Check. Glitter on your cheeks? Check. A raving outfit ready for that 'Sandstorm' drop? Triple check. When you're in the mood to dance, it doesn't matter if you're in a sweaty club or jumping around the sofa — so to help you get into the spirit, crack open a bottle of pinot grigio. Jolly Trotter is a crowd-pleaser with an orchard fruitiness to it that leans on the dry side. And, because you're planning to recover like a champion, prep an order of bacon and egg rolls for the morning. Sydneysiders can order a BKE roll and coffee combo from Paramount Coffee Project. In Melbourne, Egglab has its full menu available for delivery. And Brisbanites, you can order crispy bacon and fried egg baps from the masters of the humble brekkie roll, Yolk. WHOLE BODY SATISFACTION AT FINALLY CLEANING OUT THE FRIDGE Deserves: Mists & Shadows Cabernet Merlot on the couch, with a chocolatey treat. Look at that: you've organised the dairy to the top shelf and everything. You deserve to put your feet up on the couch (once again) and give yourself a much needed pat on the back. We all made lists during lockdown, but you actually achieved something. May we suggest having your cake and eating it? Our pick would be this decadent baked cheesecake from Attica. But if you're too far from Melbourne and want something you don't have to share, Koi Dessert Bar is delivering its weekly rotation of cakes around Sydney, from mascarpone tiramisu to mango yuzu tarts. And in Brisbane, you could order Gelato Messina's bombe alaska, or just a jar of its housemade dulce de leche. Pair it with Mists & Shadow's South Australian cab merlot that has a smooth mouthfeel and plum and blackcurrant aromas. GIDDY ANTICIPATION FOR YOUR UPCOMING FIVE-GUEST DINNER PARTY Deserves: Kiwi Hawk Sauvignon Blanc, because you're the host who knows the most. There's a reason everyone's looking to you to host the first catch-up dinner: you're the social alpha. You always know the best bars to visit and the newest restaurants in town, so now we're allowed friends over once again, it's your turn to impress with all that local knowledge. Not that you need our help, but if you're in Sydney, stock up at Paddington's Fish Butchery, which also has Mr Niland at Home meals if you're feeling lazy. Pair your seafood feast with a Marlborough savvy-b with a difference — Kiwi Hawk's is crisp and medium-bodied and works well with shellfish and herbaceous salads. In Melbourne, you can buy sashimi platters and green ocean king prawns from restaurant seafood supplier Clamms. And Brisbane's oldest seafood market, The Fish Factory, has plenty of whole fish and freshly shucked oysters to choose from. [caption id="attachment_770050" align="alignnone" width="1920"] Unsplash[/caption] NERVOUS BUTTERFLIES BECAUSE YOU'RE IN LOVE WITH YOUR HOUSEMATE Deserves: a bottle of Arcadian Tryst Shiraz and a couple of bowls of ramen. So you hooked up with your housemate during iso, and you liked it more than you expected. In fact, you want to take this out of the friend zone and into an IRL relationship. That's a ballsy move, so you may want some dutch courage. Better yet, make it a romantic dinner date for your do-you-feel-the-same? chat. First, order a bottle of date-night worthy shiraz from the cool climate Langhorne Creek; its sweet berry flavours, with crushed plum and smoky spices, pairs well with rich food, like the pork broth of a tonkotsu ramen. In Sydney? Order The Darkness from Rising Sun Workshop or RaRa's tonkotsu shio. Global ramen chain Hakata Gensuke is delivering across Melbourne. And Brissy lovers can enjoy Taro Ramen's DIY home packs. Even if things don't pan out, at least you ate good food. Download the Jimmy Brings app and use the code 'CONCRETE' to get $10 off your first order. Offer expires July 30, 2020. Top image: Andrea Piacquadio.
"Opening a seafood restaurant on the sands of Cronulla Beach has always been a dream, and when this location became available, I knew it was the right spot for Bobby's," says Adam Micola, the co-owner of The Shire's brand-new beachfront diner. The welcoming restaurant arrives from the team behind Bangor Tavern, pulling from the flavours and aesthetics of the Mediterranean while celebrating seafood just metres from rolling waves and white sand. "Named after my father, we wanted to create a space that the Cronulla community and visitors to the area can enjoy in more ways than one. Whether you are dressed up for a birthday or catch-up with friends, or coming straight off the sand in your towel, Bobby's has all times of day and all occasions covered." The venue opens its doors at 7am each day, accommodating surfers and early-morning beachgoers with coffee and breakfast bites. Around lunchtime, the full menu is rolled out, and things really begin to fire up. Executive Chef Pablo Tordesillas (Totti's, Otto) and Head Chef Shaun Baker (Bills, Pier, Yan Restaurant) have created a menu of fresh ocean-to-table creations, leaning on staples of modern Australian diners and bold Mediterranean dishes. There are plenty of crowd-pleasing options that are sure to be hits over summer — think: oysters, prawn rolls, barramundi burgers and cuttlefish linguine. Fish and chips and rump steak are on offer for those who like to have their own main. Or, if you're in the mood to share, you can order a whole snapper or spatchcock for the table, then pair it with a series of share-friendly starters. As for the drinks, the Mediterranean theme continues here with hospo mainstay Alex Cameron moving over from French standouts Franca and Armorica to curate a list of European wines and cocktails designed to pair well with seafood on a hot Cronulla day. Limoncello spritzes and a pineapple and lime negroni both grace the cocktail list, while the Horn Iced Tea freshens up its Long Island counterpart with the addition of Aperol and prosecco. Bobby's is located at 6R The Esplanade, Cronulla. It's open 7am–4pm Monday–Wednesday and 7am–late Thursday–Sunday. Head to the restaurant's website to view the full menu and make a booking.
Three years ago, the National Parks and Wildlife Service (NPWS) discovered that Wedding Cake Rock — a brilliant white sandstone ledge suspended 25 metres above the Tasman Sea in the Royal National Park that's become famous (and infamous) on Instagram — could collapse at any time. There's a high chance it'll go within the next decade. But, the organisation's public warnings haven't stopped people risking their lives to grab a snap. Neither has a 1.6-metre high fence, stacks of warning signs and loads of on-the-spot fines. Just look up the geolocation on Instagram and you'll see hundreds of locals and tourists taking precarious pics on the rock. The warnings aren't without reason, either — the landmark has already claimed a life when part of it crumbled. In June 2014, French engineering student Fabien Ardoin fell to his death, while standing on a sandstone ledge nearby. In November 2015, two men fell onto a ledge below and were winched to safety. One sustained a spinal injury. [caption id="attachment_702793" align="alignnone" width="1920"] The current fence at Wedding Cake Rock. David Molloy Photography, Flickr.[/caption] "Unfortunately, there is a small minority of people who are choosing to disobey the warning signs and blatantly scale the 1.6-metre-high fence, usually for one purpose only, to take a photograph on Wedding Cake Rock," a spokesperson for the NPWS told Concrete Playground. Consequently, the NPWS has hatched plans to replace the fence with one of the same height, but made of tougher, more climb-resistant materials. "Nobody wants a national park filled with obtrusive fences and signs, but the irresponsible behaviour of those putting many at risk has left the NPWS with little choice," said the spokesperson. Not everyone thinks the fence will be successful, however, with one climber, who's previously taken pictures on the rock, telling The Guardian, "I don't think building a fence is a good idea. It will not stop people from climbing on it." Wedding Cake Rock lies along the Coast track, around one hour's walk south of Bundeena, NSW. The new climb-resistant fence will be erected in 2019. Top image: David Molloy Photography, Flickr.
Hey boy, hey girl — we've got some news. Pioneering electronic music duo The Chemical Brothers is heading Down Under — for its first Aussie tour in six years. Off the back of dropping its ninth studio album No Geography just last month, the pair has just announced it'll be taking a new live show (also called No Geography) around the world this year. Stops include the UK, US and Mexico — and, luckily, also Australia. If you've been lucky enough to catch The Chemical Brothers live before, you'll know its shows aren't your average stand-behind-the-decks-and-play performances. They feature strobe lights, lasers and mind-bending images projected onto huge screens. It's sort of like a trip, without the LSD. If you haven't seen one before, take a peek at one of the psychedelic shows below. As well as new hits off the new No Geography album, including 'Free Yourself' and 'MAH', we're hoping the duo will add some throwbacks to its live performances — the late-90s and early-2000s hits 'Hey Boy, Hey Girl' and 'Galvanize' would be particularly welcome. As an added bonus, the duo will be touring the country with a big-name local: The Avalanches. The Melbourne-born electro group will be playing a live DJ set at all The Chemical Brothers' shows. If you don't know them, you'll definitely know their song 'Since I Left You'. https://www.youtube.com/watch?v=tri7gjlmfdk THE CHEMICAL BROTHERS NO GEOGRAPHY LIVE 2019 DATES Brisbane — Thursday, October 31, Brisbane Riverstage Sydney — Saturday, November 2, The Dome, Sydney Showground Melbourne — Tuesday, November 5, Melbourne Arena The Chemical Brothers No Geography Live pre-sale tickets start at 10am on Tuesday, May 7 with general tickets going on sale at 10am on Thursday, May 9. For more information, and to sign up for pre-sale access, head to the Frontier Touring website.
The footwear fantasies of sneaker heads and Back to the Future aficionados are closer to being realised with the release of Nike's limited edition 2011 Mag Shoe — an exact replica of the pair of sneakers famously worn by Michael J. Fox, aka Marty Mcfly, in the second film in the trilogy. Designed by acclaimed sneaker designer Tinker Hatfield, the Back to The Future shoes are both a playful look at the past and a serious glimpse into the future of sneaker design. And as all proceeds from the sale of the shoes go to the Michael J. Fox Foundation of Parkinson's Disease Research, there really is no excuse for fans not to get their wallets out. Nike has only released 1,500 pairs of the shoes, which are currently being auctioned at NikeMag Ebay. However, one pair has recently been sold at an auction to British rapper (and not so closeted Back to The Future fan), Tinie Tempah, for a reported US$37,000. To further entice bidders, Google co-founder Sergey Brin and his wife Anne Wojcicki have also sweetened the deal by promising to match all donations to the foundation until the end of 2012. And for the unsuccessful bidders, there is some comfort in this 'lost scene' — reworked as a Nike commercial — featuring Bill Hader, Tinker Hatfield, Kevin Durrant, Donald Fullilove and Christopher Lloyd. https://youtube.com/watch?v=3yiSdjwi_bg
Since arriving in Potts Point in 2013, Harajuku Gyoza has always kept things simple: gyoza and beer. Now, the Japanese eatery is opening a new eatery and craft brewery in Darling Harbour next week. Harajuku Gyoza Beer Stadium will throw open its doors on Friday, November 9. As the name suggests, it's a behemoth. The harbourside spot will feature 'stadium'-style stepped seating as well as booths, a mezzanine level and outdoor spots. Expect a Harajuku aesthetic with lots of the brand's signature red. It'll be the second 'stadium' in Australia — one opened on the Gold Coast in mid-2017. Beer is the feature here. On walking in, you'll notice four massive beer tanks behind the bar. Each 1200-litre vessel will hold one of six Japanese drops brewed on-site under the watchful eye of Yoyogi, a Japanese brewery that's been operating in Australia in 2015 and in Kyoto, Japan, for over a century. Joining them at the taps will be another six brews, bringing the total available at any one time to 12. Meanwhile, the menu will be the selfsame one that's been attracting ravenous hordes to Potts Point. Among the dishes are nine types of gyoza, fried chicken, chicken ramen and salmon sashimi poke. The venue's signature desserts will feature, too, including its raindrop cake and salted caramel and Nutella gyoza. The Beer Stadium will join a raft of other small breweries nearby, including the neighbouring All Hands Brewing and James Squire brewhouse at the Overseas Passenger Terminal. Harajuku Gyoza Beer Stadium will open at Darling Harbour next Friday, November 9.
The dining room at Icebergs undeniably has one of the best views in Sydney. But the blissful Bondi views usually come at a pretty steep cost, considering that, for the best seats in the house, you have to fork out for a lavish feed in the two-hatted fine dining restaurant. But this summer, you can soak up that scenery without burning through too much of the budget (and with better views than at the bar), at a new pop-up on the Icebergs Terrace. The bar — which is a collaboration with Ketel One Botanical — has transformed the Bondi venue's outdoor area into a lush, flower-filled oasis serving cocktails and snacks from the Icebergs bar. The newly revamped terrace is now sporting a verdant fitout designed by local landscape architects and horticulturalists Secret Gardens. It's decked out with stacks of native Australian flora and boasts primo views of Bondi Beach. As the name suggests, the cocktail list is based around Ketel One Botanical, which is a new low-alcohol vodka that's been distilled with botanicals and infused with fruit essences. It's available in three flavours — grapefruit and rose, peach and orange blossom and a crisp cucumber and mint — and is being served with some of Icebergs' house-made sodas ($12 each). These include a blend of coconut, sea rosemary and jasmine, and a fig leaf and mango creation. If you're a gin lover, it's sure to be right up your alley. If not, there are a few wines, a Byron Bay Lager and a frozen grapefruit and orange cocktail on the menu, too. To match the botanically-driven boozing, a selection of bites from the Icebergs menu will make their way outside. You can stay light with oysters, fries or a caprese salad, or go all in with a crispy fish sandwich or the Icebergs burger ($20). Drinks are pouring from 12.30pm each day all summer (and until the end of May 2020). Find the Icebergs Terrace x Ketel One Botanical pop-up bar at Icebergs, 1 Notts Avenue, Bondi Beach. It's open daily from 12.30–8pm until the end of March next year, then from 12.30–6pm on Saturdays and Sundays in April and May.
The famed Sydney Opera House sails are set for a refresh, as Badu Gili's nightly sound and light show introduces its next series of artworks. Badu Gili, which translates to 'water light' in the language of the site's traditional owners, the Gadigal people, is a celebration of Indigenous Australian and Torres Strait Islander artists. It was first launched last June, projecting a vibrant seven-minute animation onto the iconic sails each night when the sun goes down and again at 7pm. Basically, it's like what the Opera House does for Vivid, but very single night. It has been experienced in real life by more than 160,000 people, and online by a further 620,000. Now, the Sydney Opera House has announced the six new artists whose work will grace the sails for the next edition of Badu Gili. From July 24, the installation will light up with large-scale designs from acclaimed artist and community leader Djambawa Marawili AM, ceramicist Penny Evans, watercolour painter Mervyn Rubuntja, Telstra NATSIAA awards finalist Mabel Juli, painter and traditional healer Patricia Ansell Dodds, and up-and-coming printmaker Aiona Tala Gaidan. The visual story is backed by an original soundscape by Wicked Beat Sound System's Damian Robinson. You can catch Badu Gili's striking display every night at sunset, and again at 7pm (9pm during daylight saving time). It's best enjoyed from the top of the Opera House's Monumental Steps.
"The thing about acting is that you're not on every day. It's not go, go, go. You get a lot of time off, especially because my very favourite thing to do is to play supporting roles. So I'm not in there every single day. I get a lot of downtime." If you've ever wondered how Rachel House manages to pop up in nearly every film and TV show out of New Zealand, and sometimes from Australia as well, that's her secret: she's spent more than a quarter of a century on-screen, including 22 years since Whale Rider marked her first movie credit, and she loves her supporting niche. House's resume as a performer has been exploding since the 2010s, but the 18 months since the beginning of 2023 have been particularly busy. Audiences have seen the Auckland-born talent in Creamerie, Bay of Fires, Foundation, Our Flag Means Death and Heartbreak High on TV and streaming. They've heard her voice echoing from Koala Man, What If…?, Pinecone & Pony and 100% Wolf: Book of Hath, too. The cinema side of her acting resume also hasn't been neglected thanks to The Portable Door, Next Goal Wins, The Moon Is Upside Down and Godzilla x Kong: The New Empire. But it's The Mountain, her debut feature as a director, that defines the past couple of years for House. "It felt like a really big year last year because it was all about The Mountain, to be honest," House also tells Concrete Playground. "When all these things come out and you go 'oh, wow, did Rachel have a break?' — yes, I had many breaks. But last year I didn't. Last year was all about The Mountain. The pre-pre-production was the year before, going all the way through Christmas. And then pre-production and then production, and then post-production. It just went on and on and on, and it was good, hard, solid work. And somewhere in there I got to do a few weeks here and there doing some acting." Although The Mountain is House's initial stint behind the lens of a full-length movie, she has helming 2010 short The Winter Boy to draw on, alongside a wealth of experience on film sets. The latter has spanned not only notching up more and more supporting parts, but also working as an acting coach on projects by compatriots Jane Campion and Taika Waititi. For the first of the two Oscar-winners, she loaned her skills beyond the camera to the second season of Top of the Lake and The Power of the Dog. For the second, she built upon her appearances in Waititi's Eagle vs Shark, Boy, Hunt for the Wilderpeople, Thor: Ragnarok and Next Goal Wins. Combine decades carving out a screen career as an actor — something that House was actually told she'd never have, she explains — with helping guide performances out of other thespians, including kids, and the scene was always going to be set for an impressive first run as a feature director. With Taranaki Maunga on Aotearoa's North Island as its namesake, The Mountain tells of three children on a journey. In hospital undergoing treatment for cancer, Sam (newcomer Elizabeth Atkinson) hasn't grown up with her Māori heritage, but feels connected to it through the landmass that she's determined to climb: her mountain. Conversely, with ample time on his hands thanks to his busy dad, Bronco (fellow first-timer Terrence Daniel) considers himself a guardian of his culture. Mallory (Reuben Francis, another debutant) is the new kid initially tagging along, but appreciating more than just the chance to make friends along the way. Following its date with NZ's big screens in March, The Mountain enjoyed its Australian premiere during 2024's Sydney Film Festival, then hit Aussie cinemas in general release at the end of June. When House was showing her film to Sydney's audiences — "we got a really big crowd, and not only a big crowd, but a really receptive crowd who all really wanted to be there. So we were very, very grateful, and it was a lovely feeling in in the theatre," she shares — we spoke with her about it. Always wanting to direct a movie, what appealed about Tom Furniss' (7 Days) original script and how she reworked it, making the kind of picture out of New Zealand that she's always wanted to see, scaling mountains in multiple ways, giving Taranaki Maunga credit as a character and producer, learning from her past directors: House chatted us through all of the above and more. On Directing a Movie Always Being the Dream Back When House First Started Acting "Yes, yes — but I think it's interesting getting older. You do want to really pursue your dreams, and you want challenge yourself and all this. But, I suppose I feel — it's not less ambitious, but if I didn't direct a feature film, I would have been okay about it. I love storytelling, but I think it's because I'm in the the storytelling industry, and so I just feel very grateful to continue to tell stories in whatever way that means. I made a short film ages ago and it was a script given to me, and it was a really great lesson — because although I really loved the script and loved making the short film, it wasn't my a story that I was really connected to. And I think that was the lesson. So I've actually been sent scripts for maybe over ten years now to consider to direct, feature film scripts, and nothing appealed to me, nothing resonated to me in the same way that this this film did." On House's Initial Response to The Mountain's Original Script "Three young kids on a mission, and the possibility of the magic of that. I keep saying it but this was a real gift, actually, because the mountain, Tom [Furniss, the original screenwriter] hadn't named the mountain for whatever reason. I think his reasoning was he understands the process of filmmaking and didn't want anyone to feel locked into a location. But for me to read it, it was like 'but where are we? Where is the mountain?'. You name your mountain — you name the mountain because the mountain is going to be part of that story. It's really important. So it was a wonderful gift. And I got to talk about our Māori worldview because of being able to rework it." On the Starting Point When House Started Tinkering with the Story "To share with our country, in particular, the strength and beauty of our Indigenous knowledge. That was my intention. And to have a conversation with our country about how we see our mountains and how they shape and form us, and how they should be revered and protected." On Making the Kind of Movie That House Has Always Wanted to See Come Out of New Zealand "100%. And I think, as well, I'd love to inspire an Indigenous conversation all over the world. Mountains here in this country [Australia] all are all named and they all have beautiful, resonant, incredible stories. So let's start that conversation, let's share that Indigenous knowledge, because it's everywhere." On the Film Taking Audiences on a Journey of Finding Identity and Belonging — and Healing — in a Number of Ways "In Tom's original script, it was about three little boys and they wanted to conquer a mountain. I think that's something that seems to be so important universally, conquering — and it's gotten us all in a lot of trouble, conquering. So I wanted to really share with everybody the possibility of wanting to connect rather than conquer. It was all tied up in Sam not being raised in her culture but understanding that she was from that culture and, in the best way that she knew possible — which is Google, looking information up — she had this very, very strong belief that, even though she didn't have any evidence, that this mountain was one she belonged to. I wanted to show Bronco being from the absolute polar opposite, someone who was completely strong in in the world of Māori and really understood Sam's plight. Then I wanted to really embrace Mallory, who not only didn't understand it, but didn't believe it. I just wanted to somehow make that conversation between these three beautiful kids, and share it." On Climbing Not Only Literal But Internal Mountains in the Movie's Narrative "I was talking to somebody the other day and she described it as 'three kids who run away for different reasons but are all brought together by the power of Taranaki Maunga'. They've all got pretty clear mountainous arcs, so that was a definite intention. I suppose what I love — and maybe I would love it, I would say this — but I do love that it's Mallory who understands what's going on, that the mountain is saying 'go away. This is not good for you. This is too dangerous. I'm going to cover you in cloud. You've remembered the story of the two friends who stopped Taranaki from going into the sea and having an unhappy end.' So I love that it's Mallory who understands that it's the mountain communicating with them, and he's the one who says 'stop, we've got to stop'." On Crediting Taranaki Maunga as a Character and a Producer to Pay Tribute to Its Importance "Me and the producers and the team, we're quite a diverse bunch, the ones who make the decisions — and it just wasn't even a doubt. I don't think anyone thought that we wouldn't credit the mountain in the way that we've created the mountain. We also have made the mountain one of the producers as well, so if this film does well and we miraculously make some money, some of that money will go to the mountain, and the wellbeing and upkeep of our mountain. Otherwise, why would we make this film if we didn't believe it? But I will say that I'm so proud of our team, who, as I say, are very diverse — and it just wasn't even much of a conversation, it was just a decision that was made very easily." [caption id="attachment_965113" align="alignnone" width="1917"] Lisa Tomasetti, Netflix[/caption] On What House Makes of Her Career So Far Both On-Screen and Behind the Camera "I will say that back in the day, I'm really glad I didn't listen to some of the people who told me I couldn't do stuff, that I wouldn't be on screen. When I was at drama school, I was told I probably wouldn't do any screen work because of the way I looked. I was told by a director that directing was probably a bit beyond me. There is a kind of tall-poppy thing that we have, I think particularly with women. There is a fear of women taking up space and shining. I am of that generation that had all those beliefs — or disbeliefs, I suppose, is a better way of describing it. So I feel like my age group and up — women, I'm just talking about — I feel like we're late bloomers because of the conditioning that we had when we were younger, particularly in our country. So I suppose it's taking me a long time to enjoy it and not feel so overwhelmed by gratitude, that it puts me in a sort of constant thank you, scarcity sort of vibe. I guess I feel good about it, but I don't feel up myself about it. I just feel grateful and empowered that I didn't listen to any of those voices." On How Working with Other Filmmakers Across House's Career, Including as an Acting Coach, Helped Prepare Her for Directing Her First Feature "I've told the story a couple of times now, but I think it's a really fantastic story for anyone who's going to be working with kids, and in fact adults, all actors. Something that I learned working on Whale Rider — there's an iconic moment in Whale Rider where Keisha Castle-Hughes gets up on stage and and does this extraordinary speech to Koro, her granddad. And I was in that scene, I got to sit there in the audience and watch her over and over — and watching Niki [Caro, Whale Rider's director] and the way that Niki was going through exactly what Keisha was going through. I don't think Keisha ever felt alone. I feel like as a director, you've got to go through it with your actors emotionally. It's something that I definitely witnessed between those two. I'd see them in-between and they'd be talking, they'd be really close and talking to each other, and Niki would be crying and Keisha would be crying — and it was extraordinary to watch. And you could see that Keisha didn't feel alone. And I've seen that with Jane [Campion], with adult actors as well, actually. I just feel like she goes through it with her actors. So that was an extraordinary learning. With Taika [Waititi], he really creates a lot of fun on set, and that's incredibly important, too. I mean, you can have fun and when you need to have focus, you have focus. I feel like that's how we went about things as we were shooting The Mountain. Although, I do have to say, we were in such incredible and sometimes difficult terrain on the daily — and because we're an independent New Zealand film, we were on the move, man. So we had to go into these incredible places that took quite a lot to get there, and then we had to get out in three hours. But it was a wonderful family dynamic that we had. And that's something that I've learned throughout my whole career: the importance of family in regards to the people that you're working with." The Mountain opened in Australian cinemas on Thursday, June 27, 2024 and in New Zealand cinemas on Thursday, March 28, 2024.
If you're after a traditional Italian grocer, look no further than Quattro Deli in Chatswood Chase. The delicatessen sources local and imported specialty items, offering a huge range of cheeses — think Italian gorgonzola, buffalo mozzarella and plenty of washed-rind numbers — and heaps of Italian cured meats, including salami, mortadella and prosciutto. Its impressive selection also extends to olives, antipasti, jams, spreads, fresh pasta and sauces. You can grab desserts aplenty, too, including Italian nougat, biscuits, chocolates and other packaged sweets. If that's not enough, a huge cellar features vinos from Italy, France, South America and Spain, along with Australia and New Zealand. Images: Trent van der Jagt.
Sydney sweet spot KOI Dessert Bar is going whimsical this month with a one-day pop-up restaurant inspired by Disney's upcoming blockbuster, The BFG. The restaurant, aptly named Rotsome, will open for one day only on Monday, July 4, just a few days prior to the film's Australia-wide release on June 30. The menu is the brainchild of Masterchef 2015 favourite, Reynold Poernomo, and the immersive dining experience is meant to stimulate your tastebuds and imagination alike. The details of the "deliciously disgusting" three-course degustation is still under lock and key, but will include a "snozzcumber" and some form of steaming green goo drink. Rotsome follows Sydney conventions with a strict no reservations policy; the restaurant will run on a first-come first-served basis from 1-6pm. All you grown-up BFG fans out there will have to hold your horses, though. As part of the deal, all "giants" (aka adults) will need to be accompanied by at least one "childler" (a small child over six years old) to get a table. Now's the time to suggest your siblings/nephews/nieces/cousins really need a day off school — you best get calling now before your brother beats you to it. The Rotsome pop-up restaurant will be open for one-day on Monday, July 4 at Koi Dessert Bar, 46 Kensington Street, Chippendale from 1pm until 6pm. For more information, visit the Facebook event. Updated: June 20, 2016. Please note that the date of the event has changed to Monday, July 4 after publication of this article. The above article has been changed to reflect this.
Take part in cooking classes, pick up some horticulture tips or just stuff yourself full of food from every corner of the world, when Bankstown Bites returns to the Olympic Parade on Saturday July 29. One of Sydney's best loved food festivals and attracting over 7000 foodies each year, this day long celebration of culinary culture will once again inundate the south-western suburb with a smorgasbord of food stalls, cooking demonstrations, guided food tours, live entertainment and more. Choose from Lebanese sweets to Vietnamese pho, and Chinese dim sum to locally made smallgoods and everything in between. The festival also features live entertainment, arts and crafts, bringing together a day not just for eating but also soaking in some of Bankstown's diverse culture. By Marissa Ciampi and Tom Clift.
The ghosts of Christmas Past, Christmas Present and Christmas Yet to Come are set to descend upon Australia — just as things are getting merry, of course. After haunting Ebenezer Scrooge on the page since 1843, and sparking the miserly Charles Dickens-penned character's change of attitude on stages for almost as long, they'll work their magic Down Under courtesy of The Old Vic's version of A Christmas Carol, which is heading our way for the first time. While A Christmas Carol itself has been delighting theatre audiences for close to two centuries — the first stage production reportedly debuted in the UK mere weeks after Dickens' novella was published — this new take on the tale initially premiered in London back in 2017. It has proven a huge smash since, including picking up five Tony Awards for its Broadway run. Next stop: Melbourne from November. Just in time for festive season, A Christmas Carol will enjoy its first Aussie season at the Comedy Theatre, kicking off on Saturday, November 12 and playing till Saturday, December 24 (of course). Whether it'll also hit up other Australian cities yet hasn't been revealed — but tickets to see it in Melbourne would make a mighty fine early Christmas present. This version hails from two Tony-winners, too: director Matthew Warchus (Matilda the Musical) and playwright Jack Thorne (Harry Potter and the Cursed Child). The list of impressive talent involved also includes Aussie actor David Wenham, with the Lord of the Rings, Seachange, Goldstone, Lion, Top of the Lake and Elvis star playing Scrooge. "A Christmas Carol is a ripping yarn, this production is as compelling as it is surprising. I'm counting the days to get back on the stage in the role of Scrooge. It's a story of hope, redemption and community. I guarantee the audience will leave the theatre feeling better about themselves and the world at the end of the show. A perfect story to be told at Christmas time," said Wenham, announcing the show's Australian debut. The rest of the local cast is yet to be revealed — and, story-wise, the production obviously still focuses on its selfish and greedy central character that's become synonymous with curmudgeonly behaviour, his Christmas-hating ways, and his journey of compassion and redemption with help from the spirits of Christmas Past, Christmas Present and Christmas Yet to Come. Not only does the play work through that beloved story, but it also incorporates 12 Christmas carols, including 'Joy to the World' and 'Silent Night'. The words you aren't looking for: "bah humbug!", unless you truly do despise Christmas — and haven't yet been given your own ghostly reasons to rethink your stance. A Christmas Carol will host its Australian premiere season in Melbourne, playing the Comedy Theatre, 240 Exhibition Street, Melbourne, from Saturday, November 12–Saturday, December 24, 2022. Tickets go on sale at 10am on Friday, September 16 — for more information, or to join the ticket waitlist, head to the musical's website.
How safe do these two activities sound to you? (a) Walking through a crowded urban centre with your phone screen five inches from your nose. (b) Walking alone through deserted areas of The Rocks at night. Well, surprise! You're about to do both, and you'll survive without a bruise on you. This is The City of Forking Paths, the Biennale of Sydney's first 'legacy' work that the City of Sydney gets to keep. It's really something. By Canadians Janet Cardiff and George Bures Miller, it's a 'video walk' that leads you on an artist-hijacked journey through some familiar (and not so familiar) places. This is an interesting use of the technology. Unlike what we typically think of as augmented reality, the app does not supplement the world you're walking through; it replaces it, with footage shot earlier by the artists. Some shots appear as ordinary, observational documentary; some are staged interventions into normality. Combined, they create a poetic in-between place that has you thinking about The Rocks' history, its present, your relationship with technology and your relationship with the world around you — despite, or because of, your removal from it. By keeping step with Cardiff's breathy, introspective narration, you keep step with the visuals (more or less). Don't worry about bumping into people; it turns out, people will amiably duck out of the way of oblivious weirdos who can't lift their eyes from their phones. Cardiff and Miller have been developing their sound walks for decades now, and it feels like they have been able to reach new levels of fullness in their practice with today's technologies. The rambling, exploratory, almost stream-of-consciousness nature of their work remains (although that's not to say anything's an accident; the sound and video production is immaculate and precise). By engaging the visual sense so totally, however, they've been able to create a truly exceptional feeling of immersion. Cardiff's monologue becomes your monologue. If you're lucky, it rattles you completely and allows you to step beyond yourself. In order to get the full effect, you really must follow the instructions for intended use and keep the device held up vertically in your line of sight, aligning it with your peripheral vision as much as possible. You also need good-quality, noise-cancelling headphones, as the sound design is essential to the work, and your dinky earbuds won't cut it. As easy as it might be to download the app direct to your phone (it's Android and iPhone compatible), you're probably best off borrowing an iPod Touch set from Customs House, where headphones from sponsor Harman/Kardon are provided. Live actively in your city and give this artwork a go. Don't let it fall to tourists alone. It's a remarkable piece with more stress-releasing power than after-work drinks. And with The Rocks destined to look quite different a few years from now, it's an artwork with a potent, evolving legacy. The City of Forking Paths is GPS-activated and time-locked and will only function from Customs House after dusk.
"We can all see the same night sky, but we impose different interpretations on the elements we see within it," says Cara Pinchbeck, senior curator of Aboriginal and Torres Strait Islander art at the Art Gallery of New South Wales, and co-curator of Under the Stars — a free exhibition that brings together artworks with a shared fascination of the night sky. "Here in Sydney, the Dark Emu exists within the dark spaces between the stars. In a predominantly European perspective, people look to the stars and don't see the emu. So even though we can be looking at the same thing, we might see things completely differently," says Pinchbeck. The exhibition marks 250 years since Captain Cook landed at Kamay (Botany Bay), in which one of his missions was to document the transit of Venus. Co-curators Pinchbeck and Jackie Dunn took inspiration from this stargazing mission to create an exhibition that highlights the "deep knowledge Aboriginal and Torres Strait Islander people have of the night sky that predates Cook by tens of thousands of years." The exhibition honours the way First Nations farmers, sailors, scientists and storytellers have looked to the night sky for centuries. By bringing together artworks by Indigenous artists with those made in many different eras by many different cultures, Under the Stars seeks to question what we know — and to celebrate what we share. Here are five artworks to seek out on your next visit. [caption id="attachment_778109" align="alignnone" width="1920"] Katie Paterson, 'Earth-Moon-Earth (Moonlight Sonata reflected from the surface of the moon)' (2007) Photo: AGNSW, Felicity Jenkins[/caption] A SONATA REFLECTED FROM THE SURFACE OF THE MOON One of the first pieces you might notice is a piano, seemingly playing a ghostly tune all by itself. Though the piano itself is not the artwork. "We don't actually own the piano as part of the work," says Pinchbeck. "Because it hadn't been displayed yet within the Gallery, we thought it was a really exciting moment to realise the work within the Gallery's space." The 2007 artwork 'Earth-Moon-Earth' is a sonic work by Scottish artist Katie Paterson, who translated Beethoven's Moonlight sonata into Morse code before sending it to the Moon. "It is such an evocative idea — this sonata is sent to the Moon, received back, and a loss of sound, or shift in translation, happens in that process," says Pinchbeck. As messages are received back to Earth via a radio-like transmission, information is 'lost' in the Moon's craters, which, when re-translated back into music produces a gap in sound. [caption id="attachment_778116" align="alignnone" width="1920"] Daniel Boyd, still from video 'History is made at night' (2013), courtesy of the artist and Roslyn Oxley9 Gallery, Sydney © Daniel Boyd[/caption] A PORTAL OF DOTS DESIGNED TO QUESTION WHAT WE KNOW 'History is made at night' is both a video artwork and series of paintings by artist Daniel Boyd. The artwork looks at recent science relating to dark matter to question if our understanding of history can ever be fully understood — as our knowledge of space and time is constantly changing. "He's looking at the fact that we will never really know the truth about what has happened historically, because so much is lost over time," says Pinchbeck. The paintings refer to artefacts that show how people in the Pacific navigated using the stars and knowledge of the currents. "It points to connections between people from Australia to other locations that aren't widely spoken of. So, in some ways, it's questioning why we always go back to Cook and we don't also talk about these other connections that people within Australia had to other places around the world." [caption id="attachment_778974" align="alignnone" width="1920"] Gail Mabo, 'Tagai' (2020), courtesy of the artist, with thanks to the staff of the Museum of Applied Arts and Sciences & Microscopy Australia, The University of Sydney © Gail Mabo[/caption] A NEW ARTWORK WITH INTIMATE HISTORY Renowned artist Gail Mabo created a new artwork for the exhibition; 'Tagai', commissioned for Under the Stars, is an intricate star chart made using bamboo grown by her father — land rights pioneer Eddie Koiki Mabo — at James Cook University. It also uses 3D-printed stars to define the shape of Tagai, a constellation that is important to Torres Strait Islander people and is used for navigation and harvesting. When his spear points to the horizon, it's time to harvest. "Gail planned the work and made the work in the Gallery space, so she only saw the work herself when it went up onto the wall the day before the exhibition opened, which was pretty amazing," says Pinchbeck. "Gail's generosity in embracing many ideas across the exhibition led to the creation of 'Tagai', which is an extremely personal work, but it also refers to a bigger idea about how we all have our own journey in life, and Tagai is there to guide us, but we're all going to see him and be guided by him differently." [caption id="attachment_778104" align="alignnone" width="1920"] Shaun Gladwell, video still of 'Planet and stars sequence: Barrier Highway' (2009), Art Gallery of New South Wales, gift of Peter Lin and Harry John Wilson 2015. Donated through the Australian Government's Cultural Gifts Program © Shaun Gladwell[/caption] A CYCLICAL VIDEO WORK OF CREATION AND DESTRUCTION Sydney-born artist Shaun Gladwell created a series of works in 2001, and one part of that series is 'Planet and stars sequence: Barrier Highway', which takes up an entire wall in the exhibition. You watch as Gladwell kneels beside the highway in remote New South Wales (80 kilometres east from Broken Hill), ready to create an image of planets and stars using an aerosol can and a white card, only to destroy it with a layer of black paint. "For me, it speaks to that constant cycle of the world, how things are appearing, disappearing, being created again," says Pinchbeck. "It has some connections with other works nearby that relate particularly to the Moon, and how it is constantly reborn each month, and then goes through its phases until it disappears and comes to life again. [caption id="attachment_778972" align="alignnone" width="1920"] An installation view from the exhibition 'Under the Stars' at the Art Gallery of New South Wales. Photo: AGNSW, Felicity Jenkins[/caption] SEVEN SISTERS THAT SHOWS CENTURIES-OLD CONNECTIONS Artist Gulumbu Yunupingu lived and worked in North East Arnhem Land, and there are two bark paintings of hers within the exhibition. "She used to speak about how we all look up and see the stars and so we're all connected as people," says Pinchbeck. There is also a series of prints that Gulumbu created with her six sisters. "There's a narrative connected to her country, which relates to the [star cluster] Seven Sisters, also known as Pleiades. It tells of the travels of a group of sisters to various islands off the coast of North East Arnhem Land, and one of those islands is Djakapurra (Singapore). It's really interesting because it points to people navigating and travelling via the stars. But it potentially speaks of connections between Aboriginal people and people in Asia that may go back centuries — and we don't necessarily appreciate that as much as we could." 'Under the Stars' runs until 2021 at the Art Gallery of New South Wales. It is free to attend. Top image: An installation view from 'Under the Stars' at the Art Gallery of New South Wales. Photo: AGNSW, Felicity Jenkins.
When your first year featured Nelly, Ne-Yo, Ja Rule, Bow Wow and Xzibit, and your second had T-Pain, Ashanti, The Game and Bone Thugs-n-Harmony, what comes next? For Juicy Festival, it's now time for Ludacris, Keyshia Cole, SWV and Blackstreet. The nostalgic R&B and hip hop fest has locked in its return Down Under in January 2025, again starting in New Zealand with gigs in Christchurch, Wellington, Tauranga and Auckland. After that, it'll head across the ditch for its Australian shows in Perth, Melbourne, Sydney and Queensland. And, as always, it hasn't skimped on the lineup. After making an appearance at Usher's 2024 Super Bowl halftime show — and spending two decades as part of the Fast and Furious franchise — Ludacris leads the Juicy Festival bill. Expect to hear everything from 'What's Your Fantasy' and 'Area Codes' to 'Runaway Love' and 'Rollout'. Keyshia Cole's 'Love', girl group SWV's 'Right Here' and Blackstreet's 'No Diggity' are all set to be fest highlights, on a lineup that'll also see Akon, Tyga, Omarion, Fat Joe and Jacquees take to the stage. "This year's lineup is packed with artists responsible for some of R&B and hip hop's biggest hits of the 1990s, 2000s and 2010s, and we're excited to see the crowd respond to the high energy of our artists," said festival promoter Matthew Spratt. "Every year we are excited to bring another line-up to Australia, and we believe we've come up with a high-calibre group of artists that people will be excited to see," added his colleague Glenn Meikle. "We've locked in some of the biggest names in R&B and hip hop from the 1990s and 2000s era, and they're just as excited about coming to Australia as we are to be hosting them," finished Spratt. When Juicy Fest debuted in January 2023, it attracted more than 100,000 attendees. The event hasn't announced 2025 venues so far, or exactly where in Queensland it'll be heading to, but tickets go on sale from Thursday, May 2. Juicy Fest 2025 Dates: Wednesday, January 8 — Christchurch, venue TBC Friday, January 10 — Wellington, venue TBC Saturday, January 11 — Auckland, venue TBC Sunday, January 12 — Tauranga, venue TBC Wednesday, January 15 – Perth, venue TBC Friday, January 17 – Melbourne, venue TBC Saturday, January 18 – Sydney, venue TBC Sunday, January 19 - Queensland, venue TBC Juicy Fest 2025 Lineup: Ludacris Akon Tyga Keyshia Cole Omarion Fat Joe SWV Blackstreet Jacquees Juicy Fest will tour Australia and New Zealand in January 2025, with tickets pre-registrations available from 6pm local time on Wednesday, May 1 — and tickets on sale from 6pm local time on Thursday, May 2. Head to the festival's website to register for pre-sale access.
If it's your opinion that the best running tracks noticeable lack scary hills, then The Bay Run is for you. Comprising a tidy seven-kilometre scenic circuit that sees you skirting the waterfronts of inner western suburbs like Leichhardt, Drummoyne, Russell Lea and Rozelle, The Bay Run is a popular track for locals wanting to combine their exercise with some outdoor time. You can walk, cycle or roller skate, too, if jogging is not your jam. Ramp up the leisure factor with a stop at Nield Park Pavilion for a takeaway coffee.
Warm weather, beach holidays and kicking back with a few cocktails all go hand in hand. But thanks to ever-changing border restrictions over the past few months — plus life during a pandemic in general — you mightn't have been able to enjoy this summertime routine recently. If you're the kind of person who can enjoy a few beverages and instantly feel like you're vacation, though, then you'll instantly want to add Four Pillars' latest tipple to your must-drink list. In collaboration with Melbourne venue Arbory Afloat, the highly awarded gin distillery is launching a new Beach House Gin. It comes in a cheery pink hue, and heroes citrus and fruit flavours — think lemon myrtle, grapefruit, orange, lemon peel, sweet strawberry gum, pineapple sage and davidson plums. The idea, as the name makes plain, is to make you feel like you're on holiday by the shore every time you take a sip. Melburnians will know that this isn't Four Pillars and Arbory Afloat's first joint venture, with the two pairing up in 2019 on a different – but still pink — limited-edition gin. This time around, however, the tipple won't just be available onboard at Arbory Afloat. It still will be, of course, including on tap in spritzes and mixed into G&Ts — but folks around the country can also order a bottle. If your gin shrine is screaming for a splash of colour, Beach House Gin goes on sale at 8am on Tuesday, February 9 for $90 a bottle — or you can get it with a four-pack of tonic for $100. While Melburnians can try the new gin at Arbory Afloat, bottles are only available to purchase from the venue's website. To complete the summery feel, Beach House Gin features a label from Melbourne design studio 21-19 and Finnish artist and illustrator Antti Kalevi, which uses shapes and textures to create an abstract beachy landscape. And, gin fans in Melbourne can also head to a launch party for the new drop on Thursday, February 4, with tickets costing $145, and gin cocktails, beer, wine, sparkling, oysters and canapes on the menu on Arbory Afloat's pool deck. Four Pillars x Arbory Afloat Beach House Gin is available on tap and in cocktails at Arbory Afloat, and to buy by the bottle via the venue's website from 8am on Tuesday, February 9.
After one of the hottest summers on record, the thought of throwing on a suit is just becoming bearable. And, in perfect timing, menswear label M.J. Bale has announced a huge autumn warehouse sale. Running from Thursday, April 4 to Sunday, April 7 at Paddington Town Hall, the sale will get you sorted for the season ahead (and maybe a few after that, too). Since Matt Jensen founded the quality menswear brand in 2009, it's since become a staple in many the Aussie male's wardrobe. From quality office attire to special occasion wear, the label prioritises maintaining a close supply chain between Australian wool growers, Italian weavers and Japanese tailors, so you're guaranteed to find clothing that is stylish, breathable and top quality. Along with suit wear, the brand also offers laidback linen, knitwear, cotton and lightweight flannel styles, plus a great selection of accessories. And you'll be able to score some of it for up to 70 percent across the four-day sale. Plus, we've heard there may also be some heavily discounted pieces from Australian-born womenswear label Ellery on offer there, too. The M.J. Bale warehouse sale will be running from 8am–8pm on Thursday, 9am–7pm on Friday, 9am–5pm on Saturday and 8am–5pm on Sunday. For more info, head here.
Keep your eyes peeled for Hendrick's Gin's hot air balloon flying over Sydney today. The floating gin bar, which offered free gin-filled balloon flights late last year, will be taking off as part of a fleet of balloons from Parramatta and floating across Sydney the city throughout today, Monday, March 15. The flight is part of a week-long series of activations Hendrick's is running across the city titled the Week of Wonders that will see free G&Ts offered up throughout the week. Unfortunately, Hendrick's isn't offering free flights in the balloon this time around, but if you catch glimpse of the hot air balloon and manage to snap a pic, you can take that picture to select venues in Parramatta and the city and exchange it for a free gin and tonic. The participating venues include Potts Point Hotel, Frisco Hotel, The Tilbury, Hotel Palisade, Glenmore Hotel, Nick & Nora's and Heritage Lounge. If you miss out on seeing the balloon, there are plenty more chances for free gin throughout the week, too. A pop-up gin bar will be residing at Campbells Cove, The Rocks between Thursday, March 18 and Saturday, March 20. The pop-up will be open 2–8pm each day and will be serving up free cucumber sandwiches and G&Ts. Between 4–7pm from Wednesday, March 17 and Saturday, March 20, you may also see Victorian-era characters riding around the CBD on penny-farthings. If you approach the riders, they'll offer you a cucumber which you can redeem for a Hendrick's Gin cocktail at a selection of Sydney venues including PS40 and The Barber Shop. More information will be available throughout the week via the Hendrick's Gin Facebook page. Hendrick's Gin's 'Week of Wonder' runs from Monday, March 15 until Saturday, March 20.
"What we need is a hot, fresh dead body — preferably right here or very near to here." So declares Oliver Putnam (Martin Short, Schmigadoon!) in the just-unveiled first trailer for Only Murders in the Building season four. Viewers of 2023's season three already know that exactly that is about to greet him, Mabel Mora (Selena Gomez , The Dead Don't Die) and Charles-Haden Savage (Steve Martin, It's Complicated), aka the three New York City-residing podcasters who started teaming up to record audio when murders began occurring in their building. Being aware that there has again been a killing in the Arconia doesn't mean knowing what's in store in the sleuthing comedy's return, though — with season four now locked in to start streaming from Tuesday, August 27, 2024. Indeed, something different is afoot this time around, taking Only Murders in the Building into territory not seen in 2021's season one or 2022's season two, either. Get ready for a trip to Hollywood. Both Oliver, Mabel and Charles' investigation and the cinema business beckon in Los Angeles. A studio wants to turn their podcast — which is also called Only Murders in the Building — into a film. Again, Oliver has the right words for the scenario in the sneak peek: "pack your bags, bitches — we're going to the movies". Cue not only the return of Meryl Streep (Don't Look Up), who joined the cast in season three, but also the arrival of Molly Shannon (The Other Two), Eugene Levy (Schitt's Creek), Eva Longoria (Tell It Like a Woman), Zach Galifianakis (The Beanie Bubble), Melissa McCarthy (Unfrosted), Kumail Nanjiani (Ghostbusters: Frozen Empire) and Richard Kind (Girls5eva) joining the cast. Alongside Short, Gomez and Martin, fellow long-running Only Murders in the Building regulars Michael Cyril Creighton (American Fiction), Da'Vine Joy Randolph (a newly minted Oscar-winner for The Holdovers) and Jane Lynch (Velma) are also back. When it premiered in 2021, the series started with three residents of the same NYC apartment complex crossing paths after a death in their building, then bonding over true-crime podcasts. Next, they did what everyone that's jumped on that bandwagon knows they would if they were ever in the same situation: started their own audio series. Every season has given aspiring artist Mabel, Broadway producer Oliver and actor Charles another case to dive into, smartly and amusingly so. In the show's third batch of episodes, it was the murder of star Ben Glenroy (Paul Rudd, Teenage Mutant Ninja Turtles: Mutant Mayhem) at the opening night of Oliver's latest show that had them turning detective. Check out the first trailer for Only Murders in the Building season four below: Only Murders in the Building streams Down Under via Star on Disney+, and will return for season four on Tuesday, August 27, 2024. Read our reviews of season one, season two and season three.
After introducing strict new rules surrounding social-distancing on Monday night, the NSW Police has today revealed those restrictions will be in place for 90 days. At a press conference this morning, NSW Police Commissioner Michael Fuller announced it's likely they'll be lifted after this three-month period, saying "I certainly won't be seeking an extension, hopefully people will have gotten the message by then." The new rules, introduced on Monday in a bid to contain COVID-19, stipulate that Australians should only be leaving their homes for one of four reasons: obtaining food or other goods and services, travelling for the purposes of work or education if the person cannot do it at home, exercise and medical or caring reasons. The NSW Government has also outlined another 16 reasonable excuses for leaving your home. A nationwide two-person limit on public gatherings also began on Monday, March 30 with exceptions for being in the company of with those in your household, and for weddings and funerals, which have limits of five and ten people respectively. In NSW, if you disobey either of these social-distancing and public-gathering rules, you can be hit with a $1000 on-the-spot fine, with the maximum penalty being a $11,000 fine and six months in jail. In the past 24 hours, the NSW police has fined three people for not complying with the new isolation rules, including a man who was drinking alcohol in a park with three of his friends. The NSW Police said while three of the men left when asked, the fourth refused and was fined. The Police Commissioner also reiterated that the NSW Police are using discretion when issuing these fines, but ensuring "the safety of the community" was of utmost priority. "The safest place is at home in isolation," he said. As of 8am on Thursday, April 2, NSW had 2298 confirmed cases of COVID-19, out of 4863 cases Australia-wide. The NSW Government's new rules on public gatherings and social-distancing are available to read here.
Sydneysiders are blessed to live in such a multicultural city harbouring a plethora of different cuisines from across the globe. And when it comes to Asian food, we're downright spoilt for choice — especially in the city's inner east. If you're searching for an Asian feast, the Sydney's inner east, including Zetland's East Village, is packed with regional Asian-style eateries. In fact, you're spoilt for choice. So, to help you hunt down the perfect prawn dumplings, Singapore noodles or barbecue pork buns, here are our picks of the bunch. Plus, after 6pm, you can score free parking at East Village — which means you can spend that money on an extra serving of spring rolls and enjoy them without watching the clock. So, if you're looking for a tasty, Asian-inspired feed, whether it's very authentic or a little bit experimental, these are some of the spots to consider. HAVE AN AUTHENTIC YUM CHA EXPERIENCE AT EAST PHOENIX Sydneysiders love an all-you-can-eat deal, and yum cha has to be the peak. The theatre of the trolleys zooming past, saying yes to way too any steaming plates of food and only stopping when you're on the precipice of a food coma — what an experience. East Phoenix — the fifth member of Sydney's Phoenix Restaurant Group — delivers on all fronts. If you're planning a special occasion, there is a private dining room available, but we recommend sitting in the main area during your visit where all the action is happening. Aside from the huge a la carte menu, the restaurant also offers banquets, starting at $40 per person, featuring all the big hits — spring rolls, Peking Duck pancakes and crispy skin chicken. Meanwhile, yum cha is available from 11am–3pm on weekdays and 10.30am–3pm on weekends. For $30 per person (excluding drinks), you can indulge in steam barbecue pork buns, steamed Chinese broccoli, fried prawn dumplings and more. GRAB A QUICK (AND AFFORDABLE) LUNCH FROM P'NUT STREET NOODLES For dishes inspired by popular streetside stalls in Thailand, make tracks to P'Nut Street Noodles. The eatery serves up street-style noodles, soups or salads using authentic sauces that are made from scratch. For a tasty lunch that'll barely dent your wallet, P'Nut also has a pretty stellar meal deal — you can nab Singapore noodles, cashew nut stir fry with rice or nasi goreng for under a tenner. If you're just after a snack, opt for chilli squid with sriracha mayonnaise or the popcorn chicken with sweet plum sauce, served in a crispy waffle cone. BECOME A TOP CHEF AT TAISHO WAGYU JAPANESE BBQ The Japanese term taisho is used to describe a chef of certain esteem and skill — which should give you an idea of what to expect at this East Village eatery of the same name. The folks behind Taisho Wagyu Japanese BBQ are all about traditional flavours, fresh ingredients and meticulous technique. Head down any day between 11am–10pm to enjoy edamame, gyoza and tempura vegetables, before launching into the main event. Every table at Taisho is fitted with a barbecue, so you can grill everything from shiitake mushrooms and pork belly to premium wagyu beef short rib to your heart's (and belly's) desire. TUCK INTO A JAPANESE-INSPIRED BURGER AT UNAYA A little further afield is Unaya, a bright and colourful eatery on Gadigal Avenue in Waterloo. Here, you'll find Japanese share-style snacks — think tempura popcorn prawn, edamame and takoyaki octopus balls — alongside a menu of grilled meat and veggie skewers, Japanese-inspired burgers and wraps. Our pick is the chicken katsu burger ($14.90) with cabbage slaw and chilli mayo served on a brioche bun. Not keen on a burg? Unaya's signature offering is its rice bowls, served with your choice of meat (teriyaki chicken, grilled unagi or wagyu beef), plus two sides and soup. You'll get change from a twenty for most of these bowls, too. Unaya also has an extensive sake selection, including yuzu, peach and green tea-flavoured umeshu, alongside a very creative cocktail menu — including one with Yakult, vodka and condensed milk. For dessert, you can enjoy matcha churros with white chocolate sauce DOWN AS MANY DUMPLINGS AS POSSIBLE AT E-DRAGON DUMPLING BAR For when nothing but a quality handmade dumpling will hit the spot, E-Dragon Dumpling Bar, based off the tastes of Shanghai, has just what you need. Whether you prefer yours steamed, pan-fried, deep-fried or in a soup, this eatery has just what your belly desires. And, if you're feeling like a bit of something extra on the side of all tiny morsels of flavour, there are plenty of cold plates, soups, sides and noodle dishes, too — think Taiwanese sausages, spicy duck wings, soy beef and wonton soup. SLURP CREAMY NOODLE SOUP AT UMAMI STONE POT The opportunity to get interactive at mealtime continues at Umami Stone Pot. Per hot pot tradition, you can expect a communal pot bubbling away in the centre of the table filled with a punchy, spice-heavy broth, noodles, vegetables, tofu and some form of meat. But unlike other hot pot joints you'll find around the city, Umami's hot pot is prepared in a stone pot embedded in the table. Based on the traditional technique from the Yunnan province in China, the dish is covered with a chimney-shaped straw lid, which allows the broth and ingredients to steam and intensify in flavour. Umami has several bases available, including a sweet and sour broth, beef, mushroom and milky fish. You have the option to order just one flavour or half and half. Winter may be over, but a giant, steaming bowl of noodles is a fine meal in any season. BUILD YOUR OWN BOWL AT MÁ LÀ TÀNG Má là tàng gives you the opportunity to explore the flavours of southwest China. This bright and spacious eatery specialises in malatang, the traditional Sichuan-style street dish. It's essentially customised hot pot for one. You'll start by selecting your ingredients, which span everything from vegetables and sliced meats to noodles and broth. Send your bowl off to the kitchen and a few minutes later, you'll be presented with a piping hot bowl of soup. Not up for a (mostly) liquid lunch? Opt for chaung chuan xiang — skewers with your choice of grilled meats, vegetables or bean products — or one of the daily bento boxes. Really, the options are endless and all hot, spicy and extremely tasty. We promise you won't leave hungry. GET A CHILLI HIT AT YASAKA RAMEN As we have already established, steaming, brothy noodle soups surpass the seasons — and ramen is right at the top of our list of not just noodle soups, but dishes in general, that make for a winning order no matter the weather forecast. The inner-city is teaming with top ramen joints, including the original outpost of this very business in the CBD. But if you're craving a quality, spicy broth when you're hanging around the eastern suburbs, Yasaka Ramen reigns supreme. This Waterloo spot, which is signposted with the epic slogan 'No Ramen No Life' (something we heartily agree with), opened in late-2018 and specialises in a hearty, rich tonkotsu broth. You can choose from a range of options, like the black garlic ramen with squid ink or the kakuni ramen with a slow-cooked soft pork bone. If you can handle the heat, opt for the spicy ramen — you can select your level of spiciness from a scale. Round up the crew and eat your way around Zetland's top Asian restaurants. To learn more about East Village, head this way.
Two men walk into a bar. One, Larry (Colin Friels), waiting to meet his daughter's fiance, is a Bostonian self-made man whose suave banker get-up is interrupted by a broken arm and accessorised with a reckless ownership over all that he touches. The other, Jimmy (Bryan Brown), is an Australian real-estate broker on the wrong side of the housing bubble who is bleeding from the head and will trade his limited-edition Hummer watch for a tab. It's 11am in the middle of a recession, so the bar is empty except for the salty barmaid, Robinson (Nadine Gardiner). There are punchlines coming aplenty. The STC's ZEBRA! is a new play by Ross Mueller (Concussion) with a transnational perspective and very funny, rambunctious, rapid-fire dialogue. It all unfolds on one set that looks like it won't be bumped out in a hurry — a fully realised, Irish-centric New York dive bar decked with leather stools, Celtics memorabilia, mounted game and firefighters' helmets, pictures of JFK and a framed harmonica gifted by Shane MacGowan. If you were to cross the worn timber floors, you could pull a beer from the tap. It's a marvel. Those hoping for the promised answers as to "who we are post-GFC" will likely be disappointed. It's a long time until the salesman and the entrepreneur start discussing the new financial world order, and the conversation rarely crystallises the surrounding abstract ideas. For something written with lofty intentions, ZEBRA! too often feels like it's about nothing at all. But sometimes, just sometimes, a thin thread does pull together the finest patches of verbal jousting and subtle introspection to evoke one very good question: What can be bought? Ultimately, the tension between the characters becomes a weight of shouting that blows out on near random lines, and it grates. Friels performs every word of it, but that's within the realms of possibility for the brash American Larry (who, after all, introduces himself to new acquaintances as "a millionaire"). Brown wears the ocker, make-do Jimmy like a comfy sweater. The two have a good dynamic, but the pleasant surprise is Robinson; her character is actually the one with the most depth, and Gardiner, ribald sass covering wounded stares, makes her especially compelling. The few leftover standing tickets will get you ringside for the rumble between these nationally prized actors, although maybe not close enough for the best bit of the play — seeing Friels' and Brown's brilliantly creviced faces at work.
If you weren't already astoundingly excited about The Rocky Horror Show's return to Sydney from March 2024, listen closely for the production's latest huge news: Dylan Alcott will take to the stage as The Narrator. The cult-favourite show will do the rounds once more after making its Australian comeback in 2023, with the tennis champion and presenter starring opposite Jason Donovan in the Harbour City. Hitting Theatre Royal Sydney from Sunday, March 31, The Rocky Horror Show's second Sydney season in two successive years also marks a repeat date for Donovan, who slips back into Frank N Furter's fishnets to do the 'Time Warp' again. During 2023's season, Spicks and Specks' Myf Warhurst played The Narrator, which she'll also do in Newcastle in January. When the production makes its return visit to Melbourne from February, Joel Creasey will do the honours. [caption id="attachment_931971" align="alignnone" width="1920"] Josh Robenstone[/caption] "Super pumped to join this incredible production of the iconic The Rocky Horror Show. Couldn't think of a better opportunity for my first theatre production, feeling very grateful. Can't wait to get to work and rock it out on stage in Sydney!" said Alcott. The Rocky Horror Show joins the disability advocate's ever-growing resume, which already includes completing both the Golden Slam and Grand Slam in tennis, being a Paralympian, getting named Australian of the Year in 2022, starting Ability Fest, hosting ABC's The Set and winning a Logie. The hit musical first made its Aussie comeback in 2023 to celebrate half a century of the Richard O'Brien-created production, and unsurprisingly wowed crowds with its trademark sci-fi/horror musical madness. On offer: the tale that theatre audiences have loved for five decades — and movie-goers as well, thanks to 1975's iconic big-screen release The Rocky Horror Picture Show. For the uninitiated, the story involves college-aged couple Brad Majors and Janet Weiss getting a flat tyre, then wandering over to an old castle to ask for help. That's where they discover an extra-terrestrial mad scientist from the galaxy of Transylvania, plus his staff and his Frankenstein-style experiments. The second Sydney season will also feature fellow returnees Ellis Dolan (School of Rock) as Eddie/Dr Scott, Darcey Eagle (Cruel Intentions: The 90s Musical) as Columbia, Deirdre Khoo (Once) as Janet and Henry Rollo (Jagged Little Pill the Musical) as Riff Raff. Since initially premiering in London in June 1973, The Rocky Horror Show has played in more than 30 countries — and over 30 million people have seen songs like 'Science Fiction/Double Feature', 'Dammit, Janet!', 'Sweet Transvestite', 'Over at the Frankenstein Place' and 'Touch-a, Touch-a, Touch-a, Touch Me'. If you haven't been before — and missed the live broadcast from Sydney back in March — this is your turn to join in. THE ROCKY HORROR SHOW 2024 AUSTRALIAN TOUR: From Friday, January 12 — Civic Theatre, Newcastle. From Friday, February 9 — Athenaeum Theatre, Melbourne From Sunday, March 31 — Theatre Royal Sydney The Rocky Horror Show's 2024 Australian tour will kick off in January 2024, with tickets on sale now via the production's website. Dylan Alcott image: Dylan Alcott at Ability Fest. Rocky Horror images: Daniel Boud.
For much of the past two weeks, Greater Sydney residents have been masking up as part of the New South Wales Government's response to two recent locally acquired cases of COVID-19. Donning face coverings has been compulsory in indoor public settings and on public transport, rules that were tweaked slightly last week but still scheduled to remain in place until 12.01am on Monday, May 17 — and today, Sunday, May 16, NSW Premier Gladys Berejiklian has confirmed that the mask mandate will indeed end tomorrow. Sydneysiders, including those who live in Wollongong, the Blue Mountains and the Central Coast, will no longer need to wear a mask on public transport and at public indoor venues. That covers customer-facing staff members in hospitality as well, and anyone in gaming areas. So, you won't have to don a mask in any situation across the state. But, they will still remain strongly recommended. Basically, if you can't guarantee social distancing somewhere — or you're using public transport — you're advised to wear them. https://twitter.com/NSWHealth/status/1393733822450081792 The restrictions have been eased because no further local COVID-19 cases have been identified over the past week. Although NSW Health is yet to find a direct link between the two recent community-acquired cases and a case with the same genomic sequence in a returned overseas traveller, the NSW Government is still happy to ease restrictions. Compulsory mask-wearing isn't the only current restriction that's changing for Greater Sydney residents. As also announced today, at-home gathering caps will be completely scrapped, singing and dancing will be permitted again in indoor venues, and you'll be able to standing up while drinking. To find out more about the status of COVID-19 in NSW, head to the NSW Health website.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning 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, comedies, music documentaries, 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. https://www.youtube.com/watch?v=W0UbkJD2KDY FRENCH EXIT "My plan was to die before the money ran out, but I kept and keep not dying — and here I am." When asked about her strategy as she faces financial ruin, that's Manhattan socialite Frances Price's (Michelle Pfeiffer, Maleficent: Mistress of Evil) frank response. Her fortune has dwindled, the banks are about to repossess everything she owns and she doesn't know what her now-precarious future holds; however, she's most annoyed about having to answer her financial advisor's exasperated questions. Conveying Frances' reply with little else but spikiness otherwise, Pfeiffer turns this early French Exit scene into a deadpan masterclass. The character's candour, irritation and sharp edges are all personality traits, rather than specific reactions to her current predicament, and Pfeiffer makes it clear that she'd still be spitting out acerbic retorts with the same poker face if Frances had been queried about absolutely anything else. She frequently does just that afterwards, in fact, and she's a caustic delight in this wry exploration of a familiar topic: weathering life's many disappointments. Widowed for a decade, and happy to keep cultivating an eccentric reputation as the years go on, Frances hasn't dedicated even a second to tangibly preparing for her present lack of funds. That said, she soon has another plan. Surreptitiously selling off her belongings as her accountant advises — and viciously haggling over commission rates in the process — she rustles up what cash she can and absconds to Paris, where a friend's empty apartment awaits rent-free. There, she reverts to her old approach. Once her remaining money has been frittered away on wine, coffee, and oversized tips to anyone and everyone, she doesn't see the point of going on. But her dysfunctionally codependent relationship with her twentysomething son Malcolm (Lucas Hedges, Waves), his on-and-off romance with his secret fiancée Susan (Imogen Poots, Black Christmas), and a new friendship with the lonely and besotted Madame Reynard (Valerie Mahaffey, Dead to Me) all add unexpected chaos to Frances' scheme, as does a cruise ship fortune teller (Danielle Macdonald, Unbelievable) and a runaway cat who just might be her reincarnated husband. Read our full review. https://www.youtube.com/watch?v=OP2MlPwflX4 SAINT MAUD If humanity ever managed to cure or circumvent death — or even just stop being despairingly afraid of our own mortality — the horror genre would immediately feel the difference. Lives are frequently in peril in films that are meant to spook and frighten. Fears of dying underscore everything from serial killer thrillers and body horror flicks to stories of zombies, ghosts and vampires, too. Indeed, if a scary movie isn't pondering the fact that our days are inescapably finite, it's often contemplating our easily damaged and destroyed anatomy. Or, it's recognising that our species' darkest urges can bring about brutal and fatal repercussions, or noting that the desperation to avoid our expiration dates can even spark our demise. Accordingly, Saint Maud's obsession with death isn't a rarity in an ever-growing genre that routinely serves it up, muses on it and makes audiences do the same whether they always realise it or not. In an immensely crowded realm, this striking, instantly unsettling feature debut by British writer/director Rose Glass definitely stands out, though. Bumps, jumps, shocks and scares come in all manner of shapes and sizes, as do worries and anxieties about the end that awaits us all. In Saint Maud, they're a matter of faith. The eponymous in-home nurse (Dracula and His Dark Materials' Morfydd Clark) has it. She has enough to share, actually, which she's keen to do daily. Maud is devoted to three things: Christianity, helping those in her care physically and saving them spiritually. Alas, her latest cancer-stricken patient doesn't hold the same convictions, or appreciate them. Amanda (Jennifer Ehle, Vox Lux) isn't fond of Maud's fixation on her salvation or her strict judgements about her lifestyle. She knows her time is waning, her body is failing and that she needs Maud's help, but the celebrated ex-dancer and choreographer does not want to go gently or faithfully in that good night. Instead, she'd much prefer the solace that sex and alcohol brings over her palliative care nurse's intensely devout zeal. Read our full review. https://www.youtube.com/watch?v=794vlC_wKJQ WHITE RIOT In 2020, as the world faced a crisis unlike any other in living memory, Gal Gadot led a bunch of fellow celebrities in an Instagram sing-along to John Lennon's 'Imagine'. The aim: to inspire a planet full of people grappling with suddenly living under lockdown. As no one could avoid (especially when we all had so little else to do and spent so much time glued to the news), the result was actually awkward and cringe-inducing. Perhaps punk rockers should've been trying to lift our spirits instead. Or, they could've used their talents and instruments to draw attention to a plethora of worthy causes — as Rock Against Racism did in the mid-to-late 70s. When right-wing views began to spread across Britain, a group of music lovers including Red Saunders, Roger Huddle, Jo Wreford and Pete Bruno decided to take action, waging a campaign to battle prejudice and discrimination. They didn't just choose to fight back via their favourite art form as an excuse to host gigs, though. From Eric Clapton to Rod Stewart, many of the country's music megastars of the era had all offered support to extremist views, and publicly. So, corralling a lineup of bands to help counter anti-immigration rhetoric became RAR's number one task, with the aim of bringing music fans together and discouraging them from adopting racist attitudes. Combining contemporary interviews, archival chats, a lively soundtrack, and a wealth of footage and photographs of its efforts in action nearly half a century ago, documentary White Riot chronicles RAR from its formation through to its 100,000-attendee 1978 national carnival — where The Clash, Tom Robinson Band, X-Ray Spex and Steel Pulse all played. Despite the movement's name, everything from reggae and soul to jazz and funk was also welcome. Britain's music lovers responded in a big way, travelling across the country to attend its gatherings and show their support for RAR's inclusive anti-hate message. Fluidly directed by first-time feature helmer Rubika Shah, White Riot steps through the grim reality of life in Britain at the time, to provide context to RAR's emphatic response. The film shows the abhorrent viewpoints uttered by politicians and their proponents, and the way in which Nazi imagery was worked into the far-right National Front party. Dense with detail, it also demonstrates how standing up to fascism was an almost-revolutionary act. If the footage had allowed it, Shah and co-writer Ed Gibbs could've made an entire docuseries about RAR and would've kept viewers glued to every second. In just 80 minutes, however, White Riot delivers a vital history lesson on a crucial piece of activism — as well as a reminder that inflammatory rhetoric always demands a response. https://www.youtube.com/watch?v=eQaIf-Erj94 CRISIS Crisis examines America's opioid epidemic by piecing together three individual, occasionally overlapping tales. It also hits cinemas two decades to the month that the film it strongly resembles took home four Oscars. At the turn of the 21st century, Steven Soderbergh's Traffic focused on illegal narcotics rather than prescription pills, but the similarities between it and this pensive thriller from Arbitrage director Nicholas Jarecki are both striking and inescapable. Here, undercover DEA agent Jake Kelly (Armie Hammer, Rebecca) has been working to bring down a fentanyl smuggling operation. His sister Emmie (Lily-Rose Depp, The King) is an addict, so yes, it's personal. Also struggling is architect Claire Reimann (Evangeline Lilly, Avengers: Endgame), who has been hooked on oxycodone since an accident, attends support meetings but finds herself tested when her teenage son goes missing. Then there's Dr Tyrone Brower (Gary Oldman, Mank), a university professor who funds his research by testing new products for pharmaceutical companies. After his colleagues let his lab's trial of a new, supposedly non-addictive painkiller run a few days longer than asked, they discover that it can be fatal in mice — which company employee Dr Bill Simons (Luke Evans, Angel of Mine) is eager to keep quiet. Michelle Rodriguez (She Dies Tomorrow) also plays Jake's boss, Greg Kinnear (Misbehaviour) gives Tyrone a hard time as his disapproving college dean and Kid Cudi (Bill & Ted Face the Music) pops up an FDA employee on the latter's side — with Crisis lacking in neither stars nor good intentions. Writer/director Jarecki can't shake the familiar feeling that lingers throughout the film, though. Viewers have seen everything peddled here before, and with far more surprises and subtlety. If you've paid any attention to news headlines over the past few decades, you'll already know how insidious opioid use has become, and how ruthless and destructive the industry behind it is, too. Still, as well as evoking a been-there, seen-that sensation, Crisis often hits its emotional marks. A movie can connect easy-to-spot dots, hit obvious points vehemently and repetitively, and follow a predictable narrative — or narratives, in this case — and still offer up stirring moments and engaging performances. No one will be mentioning Crisis in another 20 years if another crime-thriller attempts to follow in Traffic's footsteps, but as 2021's take on the topic, it's watchable albeit unshakeably generic. https://www.youtube.com/watch?v=4hfUomtqljs THE GRIZZLIES When newly graduated teacher Russ Shepherd (Ben Schnetzer, Saint Judy) is sent to Kugluktuk, in the frosty Nunavut in Canada's north, he has two self-serving aims. By working in a remote area as part of a program that rewards anyone willing to take such postings, he's able to to pay back his school tuition fees. He's also hoping to use his time to secure a permanent spot at a prestigious private school down south. But Russ is still unsettled when he realises how few of his students are eager to engage in his lessons. Principal Janace (Tantoo Cardinal, Stumptown) doesn't enforce attendance, in fact, knowing that the school's pupils have chores to complete at home, families to provide for and traditional ways to uphold. She doesn't like to push the teens out of their comfort zones either, with the town's youth suicide rate the highest in North America, and dealing with intergenerational trauma also part of life in the community. Already a lacrosse devotee, Russ decides to try to start a school club to get his students motivated — a task he's instantly told will fail. But while the popular Zach (Paul Nutarariaq, Iqaluit) is initially apprehensive, as is hunter Adam (feature first-timer Ricky Marty-Pahtaykan) and the reserved Kyle (Booboo Stewart, Let Him Go), their involvement in the sport has an impact. Directed by feature debutant Miranda de Pencier, and scripted by Moira Walley-Beckett (Anne with an E) and Graham Yost (Justified), The Grizzlies draws upon the the true story of the team that gives the film its name. While steeped in reality, it also leans heavily upon the inspirational sports underdog playbook — but this rousing movie is never weighed down by its tropes or predictability. Strong, complicated performances from Nutarariaq, Marty-Pahtaykanv, Stewart and Emerald MacDonald, who plays the school's most conscientious student, all help immensely. Their characters wade through familiar beats, but they're never one-note. Indeed, The Grizzlies doesn't shy away from complexity on multiple levels, including in depicting the lack of hope blighting Kugluktuk's teenagers, as well as the path their lacrosse journey takes. And, while the role of Russ could've played into white saviour cliches, the film stresses his naiveté, his mistakes and the fact that he has as much to learn, if not more, from his students and the broader community. Icily scenic cinematography that roves over the area's arresting but harsh terrain, and a sensitive yet never mawkish approach also add texture to feature that earns its heart, spirit and warmth. https://www.youtube.com/watch?v=c85aXHth_uQ&feature=youtu.be UNSOUND In Unsound, Finn (feature first-timer Yiana Pandelis) and Noah (Reece Noi, When They See Us) meet by chance. When the latter wanders into the club for Sydneysiders with hearing impairments that the former runs in the city's northern beaches, a connection springs, although both enter the relationship with other things on their mind. Attendance at the neighbourhood centre has been waning, and the locals complain about Finn's weekly dance parties. Tucking his long hair up under a cap while he stands behind the DJ decks by night and helps children learn Auslan by day, Finn is also slowly taking steps to cement his identity as a transgender man. As for the British-accented Noah, he's just arrived in Australia after touring the UK with his pop singer mentor Moniqua (Christine Anu), and his mother Angela (Paula Duncan, Neighbours) has hardly given him a warm welcome. So, Unsound follows Finn and Noah's romance, but that's just one of the things the film is interested in. While both lead characters receive ample screen time, Finn's experiences as a person who is deaf and with his transition are frequently thrust to the fore. That's a welcome move — not because Noah's efforts to step out of his absent father's shadow, take his career seriously and cope with his often-dismissive mum don't deserve attention, but because inclusive movies about trans men and people who are hearing impaired are rarely this thoughtful (and rarely exist at all, really). Directed by TV veteran Ian Watson (Heartbreak High, Home and Away) and penned by Ally Burnham (Nice Package), Unsound might bring both 52 Tuesdays and Sound of Metal to mind, which are excellent movies to even remotely resemble; however, this small feature with big ambitions and a heartfelt impact is always its own film. Absent touristy Sydney shots that constantly remind you where it's set, and favouring a low-key, lived-in aesthetic instead, it dedicates its running time to plunging into Finn's life and portraying it authentically, a task that it doesn't lose sight of even for a minute. The texture and detail in Burnham's script, especially in fleshing out the movie's characters, isn't just admirable but essential. It's little wonder, then, that Pandelis always makes Finn feel as if he could walk off the screen — although the performer also deserves ample credit. Noi also more than does his part justice, in a well-cast film all-round (see also: scene-stealer Olivia Beasley as one of Finn's colleagues, and a grounded turn from The Boy From Oz star Todd McKenney as Finn's father). And, the use of sound to convey the joy that Finn and his friends feel at their Saturday night dance parties is one of the picture's many astutely calibrated touches. Unsound opened in Sydney and Brisbane cinemas on March 18, after screening in Melbourne from February 11. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; and March 4. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah and Girls Can't Surf.
When we take that first sip of our barista-brewed coffee on a workday morning, a lot of us can't actually imagine living without coffee. But what about living without a roof over your head or a guaranteed meal? Unfortunately, this is what many homeless people around Australia face each day, but on Friday, August 4, you can help your fellow Aussies out simply by buying a coffee as part of CafeSmart. CafeSmart is an annual event from StreetSmart that raises money and awareness for the homeless and is back for its seventh year running. This year over 500 cafes will aim to raise more than last year's total of $160,523. So how does it work? From every coffee purchased on August 7 at a participating cafe around Australia, $1 will be donated towards local projects. So if your go-to local isn't participating, shake things up for a day and head to one that is. Prefer a hot chocolate? You can also donate at the counter. Simply by aiming for a bighearted cafe, you'll be helping some of our country's most in-need humans, so treat yourself to a third or fourth coffee guilt-free. There are a heap of cafes participating across the country, but some include: SYDNEY The Grounds of Alexandria The Boathouse Bills Artificer Coffee Tea and Me Single O Three Blue Ducks Brewtown Newtown Daisy's Milkbar MELBOURNE Seven Seeds Assembly Proud Mary Top Paddock Tivoli Road Bakery Dr Morse Barry Axil Earl Sensory Lab BRISBANE Felix for Goodness Campos Mylk and Co Grinders Dovetail on Overend
What happens when xenomorphs and other terrifying extra-terrestrial creatures find their way to earth? So explores Alien: Earth, which brings the iconic horror/sci-fi saga first started by Ridley Scott's (Gladiator II) Alien to humanity's home, as well as to television. Another way to discover the answer to that question has popped up in Australia to celebrate the new series' arrival: an IRL hive quarantine zone, complete with ominous eggs and organisms, which is enjoying a two-day stint in Sydney. From 12–8pm on Thursday, August 14, 2025 and also from 8am–8pm on Friday, August 15, 2025, 348 Kent Street in the Harbour City is undergoing an otherworldly makeover. Expect ovomorph eggs, a crate containing a "class-one" hostile critter and Prodigy Corp workers donning hazmat suits trying to control the area. As for the show itself, which debuted on Disney+ on Wednesday, August 13, 2025, one of the trailers has some pertinent words: "we don't lock them down, it will be too late." This time, as other sneak peeks have also made clear, there's more than just one type of extra-terrestrial to deal with. So, while watching, you can hear humanity's screams in response, with this spinoff from the iconic Alien films featuring "five different life forms from the darkest corners of the universe" wreaking havoc. Not once, not twice, but nine times now across 46 years, cinema audiences have stepped into the world of xenomorphs, facehuggers and chestbursters — and of cats onboard spaceships, androids resembling people and shouts not heard in the universe's vast expanse. When the initial Alien dropped in 1979, it started a phenomenon. 1986's Aliens, 1992's Alien 3, 1997's Alien Resurrection, 2012's Prometheus, 2017's Alien: Covenant and 2024's Alien: Romulus have all followed, as well as the 2004 Alien vs Predator and 2007 Aliens vs Predator: Requiem crossover flicks with the Predator franchise. 2025's Alien: Earth is a first, however, given that it's the franchise's debut TV series. Executive produced by Scott, this is Noah Hawley's addition to the saga — and another of his projects, after Fargo, where he's expanding upon the realm of a beloved film on the small screen. Set in 2120, his Alien entry follows the fallout of deep-space research vessel USCSS Maginot crashing onto earth, then the discoveries made as a result by a crew of soldiers that includes human-robot hybrid Wendy (Sydney Chandler, Sugar). As it peers just under a century into the future, Alien: Earth sees its namesake planet under the control of five companies: Weyland-Yutani, of course, because this is the Alien franchise, plus Prodigy, Lynch, Dynamic and Threshold. It also witnesses a society where hybrids like Wendy — the first of her kind, with human consciousness inside a robot body — live side by side with humans, cyborgs and AI-driven synthetics. Hawley's cast not only includes Chandler, but also Fargo alums Timothy Olyphant (Havoc) and David Rysdahl (The Luckiest Man in America), plus Alex Lawther (Andor), Essie Davis (The Narrow Road to the Deep North), Adrian Edmondson (Kidnapped), Samuel Blenkin (Mickey 17), Babou Ceesay (Killer Heat), Lily Newmark (A Gentleman in Moscow) and more. Find the Alien: Earth pop-up at 348 Kent Street, Sydney, from 12–8pm on Thursday, August 14, 2025 and also from 8am–8pm on Friday, August 15, 2025. Alien: Earth streams in Australia via Disney+.
Every story is built upon cause and effect. One thing happens, then another as a result, and so a narrative springs. Inspired by Andreas Malm's non-fiction book of the same name, How to Blow Up a Pipeline isn't just strung together by causality — it's firmly, actively and overtly about starting points, consequences and the connections between. Here's one source for this impassioned tale about determined and drastic environmental activism: the warming world. Here's an originator for that, too: fossil fuels, humanity's reliance upon them and the profits reaped from that status quo. Now, a few outcomes: pollution, catastrophic weather changes, terminal illnesses, stolen and seized land, corporate interests prioritised over ecological necessities, and a growing group that's driven to act because existence is at stake. Turning a text subtitled Learning to Fight in a World on Fire into a fictional feature, How to Blow Up a Pipeline joins all of the above, stressing links like it is looping string from pin to pin, and clue to clue, on a detective's corkboard. In his second feature after 2018's smart and effective camgirl horror Cam, writer/director Daniel Goldhaber isn't trying to be subtle about what dovetails in where. With co-screenwriters Jordan Sjol (a story editor on Cam) and Ariela Barer (also one of How to Blow Up a Pipeline's stars), he isn't attempting to rein in the film's agenda or complexity. This movie tells the tale that's right there in its name, as eight people from across America congregate in Texas' west with a plan — an octet of folks who mostly would've remained loosely connected, some strangers and others lovers and friends, if they weren't desperate to send a message that genuinely garners attention. Goldhaber's latest is explosive in its potency and thrills, and startling in its urgency, as it focuses on a decision of last resort, the preparation and the individual rationales before that. How to blow up hedging bets on-screen? That's also this tightly wound, instantly gripping, always rage-dripping picture. How to Blow Up a Pipeline's main players have a shared aim, but have taken different paths to get there. As the clock ticks on their mission, the film gets procedural as well as visceral, psychological and emotional — showing the method, and jumping backwards to flesh out motivations. The format is heist-flick 101, establishing a gang, then explaining how the motley crew came to be as they're pulling off their job. The treasure at stake: nothing less than a liveable planet. With cinematographer Tehillah De Castro (a recent veteran of Doja Cat, Olivia Rodrigo and Anderson .Paak music videos), editor Daniel Garber (a Cam alumni) and composer Gavin Brivik (yet another), Goldhaber makes a constantly bubbling throwback as much as an of-this-very-moment tension bomb. The details are all now, but the look and feel could've blasted out of 70s and 80s cinema. Those key on-screen figures: for starters, Xochitl (Barer, Saved by the Bell), a Long Beach resident who loses her mother to a heatwave, then gets mobilised when college eco-action groups aren't proactive enough; her childhood best friend Theo (Sasha Lane, The Crowded Room), who has the Californian city's proximity to oil refineries to blame for a rare leukaemia; and the latter's understandably stressed girlfriend Alisha (Jayme Lawson, Till). Also tied to each other: couple Rowan (Kristine Froseth, The First Lady) and Logan (Lukas Gage, The Other Two), complete with a history of making a splash for a cause. Then there's uni student Shawn (Marcus Scribner, Grown-ish), trading doomscrolling for something tangible; blue-collar Texan native Dwayne (Jake Weary, Animal Kingdom), after losing his family's land to oil companies via eminent domain; and self-taught bombmaker Michael (Forrest Goodluck, The English), who refuses to acquiesce to the many ways that America's Indigenous peoples, including himself, keep having the earth taken from them. As it charts blasting caps and more being assembled, and dives into everyone's histories as well, causation fizzes in How to Blow Up a Pipeline's structure, style, narrative and approach, too; William Friedkin's Sorcerer, Quentin Tarantino's Reservoir Dogs, Kelly Reichardt's Night Moves and Bertrand Bonello's Nocturama all plant seeds. On show is the nail-biting pressure that makes the first of those flicks, which owed a debt to The Wages of Fear, such dynamite viewing about transporting dynamite. Always evident is the flitting to the events behind the events, plus the unpacking of the loyalties amid loyalties, that's so key to QT's debut, alongside a few other shared plot points. And, echoing with oozing-off-the-screen force is a question that also gushed when Jesse Eisenberg (Fleishman Is in Trouble), Dakota Fanning (also The First Lady) and Peter Sarsgaard (The Batman) were blowing things up a decade ago, plus a game cast playing Parisian radicals in one of 2016's French standouts: what else can be done? Amassing this ensemble is a plan-comes-together feat itself, and the reason for naturalistic yet intense performances, a blend that isn't easy to make feel this raw and lived in. Here, everyone doesn't just get their moment as their characters navigate mistakes being made, equipment failing, drones hovering and bones getting broken — they blister. Goldhaber, Sjol and Barer's writing is that incisive, especially while moulding their entire script around joining dots, then more dots, then more still. They connect to healthcare struggles in a system where medical treatment to stay alive is the domain of the rich; to awareness-raising documentaries that share difficult true tales, but don't make a practical impact for their subjects; and to the massive and engrained chasm between the haves and the have nots. How to Blow Up a Pipeline doesn't ever forget for a second, though, that everything that this story links to is about people. When the film is propulsive, hectic and a non-stop cavalcade of building momentum, Barer, Lane, Goodluck and company are electrifying, and also exceptional at conveying who Xochitl, Theo, Michael and the crew are via their physicality, presence and expressions. When the movie gets talky as the synth-heavy score thrums, they give voice to the storm of complications lingering around their quest, destruction as a form of protest and going beyond endeavouring to appeal to energy companies' consciences. One such point arrives about a third of the way in, over drinks and chats about terrorism, if their planned efforts count and past revolutionaries that would've earned the label in their time. Even as debate bounces around the room, no one shies away from what they're doing, why and the commitment to sparking repercussions for those benefiting from destroying the environment. How to Blow Up a Pipeline doesn't ever dream of doing anything but staring straight on, either — and it's incendiary to watch.
Sunset Cinema is no stranger to St Ives Showground. In fact, it screened flicks there late in 2021. But for its new season from Wednesday, January 19–Saturday, March 12, the openair cinema has given things a revamp. The setup now takes a few cues from its other locations — including in North Sydney — and has ditched the drive-in component, but the main attraction is still the same: watching movies under the stars. Whether you're planning a cosy date night or an easy group hang outdoors, there'll be something on the bill for you — kicking off with that now-openair cinema must-have The Greatest Showman, and spanning plenty of new and recent titles as well. If you haven't yet given Spider-Man: No Way Home a spin, or taken The Matrix Resurrection's pill, or been shaken not stirred by No Time to Die, they're all on the lineup. Other highlights include Wes Anderson's The French Dispatch, the Lady Gaga-starring House of Gucci, Will Smith's applauded performance in King Richard and Kristen Stewart getting regal in Spencer. And, in the retro camp, sessions of Grease and Dirty Dancing are basically obligatory. BYO picnics are encouraged here, but the event is fully licensed, so alcohol can only be purchased onsite. Didn't pack enough snacks? There'll be hot food options, plus plenty of the requisite movie treats like chips, chocolates, lollies and popcorn.
Seven women, a dinner party and a bunch of relationships crying out for serious re-examination provide the dramatic drive behind Jonathan Gavin’s A Moment on the Lips. Having debuted on the Old Fitz stage 11 years ago, the play is now revisiting home territory via the Mad March Hare Theatre Company. Through one short scene after another, the lives of seven protagonists unravel. There’s Anne (Ainslie McGlynn), self-declared ‘home resource manager’ facing the challenges of first-time motherhood; Emma (Claudia Barrie), appearance-obsessed newsreader; Dominique (Sonya Kerr), possessor of prophetic powers; and two sets of sisters. The first is comprised of creatively frustrated, failing artist Victoria (Beth Aubrey) and PhD student Jenny (Sarah Aubrey — the Aubreys are sisters for real); the second of emotionally detached yet successful barrister Rowena (Lucy Goleby) and adopted Samoan sibling Bridget (Sabryna T’eo), who cares for dying patients. What’s more, Jenny is married to Rowena, for whom Emma still carries a flame. And pretty much every relationship — be it platonic, romantic or biological — is fraught with regret, dishonesty and confusion. A Moment on the Lips begs us to contemplate our values and consider the big impact of 'little things'. It’s a mountain of material to get through in just one play. Gavin ambitiously attempts to address every character’s strengths and weaknesses, but it’s a tough call, and, too often, lapses into one-dimensionality. It also means some rather uneven scriptwriting. Several clever one-liners elicit genuine laugh-out-loud moments, but there’s also an indigestible reliance on cliche. Occasionally it's used ironically with more punch. McGlynn delivers the standout performance as the struggling Anne — charismatic, sassy and funny. The other roles prove difficult to fill out, given their lack of meatiness, but director Mackenzie Steele does pull off a fast-paced, snappy show, accentuating eccentricities and dynamics where he can. Charlie Davis has come up with a beige, orderly set with bookshelves offering titles like The Way We Live that could easily pass for a trendy Bondi apartment and cleverly references the characters’ materialism and tendency to obsess over first-world problems. Costume designer Isabella Andronos delivers striking contrasts with bold, bright colours. A Moment on the Lips is an entertaining night out, but, ultimately, proves more simplistic than probing. Image by Katy Green Loughrey.
Every September and October, Germany erupts with brews, food and lederhosen-wearing revellers for its annual Oktoberfest celebrations. When that time rolls around Down Under, Australia follows suit. One such festivity is Oktoberfest in the Gardens, which has been throwing big Bavarian-themed celebrations around the country for 13 years — and is returning to Sydney for 2023. Oktoberfest in the Gardens will make its latest Harbour City stop at The Domain on Saturday, October 28. If you're keen to head along, expect company; the event expects to welcome in over 70,000 people enjoying steins, schnitties and German shindigs across this year's seven-city run. Sydney's fest will serve up the same kind of beer- and bratwurst-fuelled shenanigans that Germany has become so famous for. So, if you have a hankering for doppelbock and dancing to polka, it's the next best thing to heading to Europe. Oktoberfest in the Gardens boasts a crucial attraction, too: as well as serving a variety of pilsners, ciders, wine and non-alcoholic beverages, it constructs huge beer halls to house the boozy merriment. When you're not raising a stein — or several — at the day-long event, you can tuck into pretzels and other traditional snacks at food stalls, or check out the hefty array of entertainment. Live music, roving performers, a silent disco, rides and a sideshow alley are all on the agenda.
The Darlinghurst end of Oxford Street is known for a few things, but most arguably this strip of Sydney is famous for all things queer. Fabulous drag queens tottering into Stonewall and the rainbow pedestrian behind Taylor Square. And, of course, Mardi Gras. Also in this colourful corner of Sydney, you'll find The Bookshop Darlinghurst: a specialty store dedicated to LGBTQI+ literature and film. You may well have passed this little shopfront before, with the rainbow flag or a saucy book cover catching your eye. It's been around for over 35 years and has played an integral role in Sydney's queer community and culture. The Bookshop is jam-packed, stocking everything from books to calendars, magazines and DVDs. Whether you're here for the Priscilla Queen of The Desert DVD, some erotica, a calendar or a good read — Call Me by Your Name, Holding the Man and Benjamin Law's recent Growing Up Queer in Australia, for example — this bookshop's got it all.
Maxwell Wines isn't just known for its exceptional cellar — its flagship restaurant is lauded for its innovative and produce-led offerings. If a trip to McLaren Vale isn't on the cards, Executive Chef Fabian Lehmann brings a taste of Maxwell Restaurant to Arthur. [caption id="attachment_1019299" align="alignnone" width="1920"] Image supplied[/caption] For an intimate Monday night dinner, Lehmann is teaming up with Arthur's Head Chef Juwon Gwak on six innovative courses at the Surry Hills diner, paired with a curated Maxwell Wines selection. With both restaurants sharing a philosophy rooted in a respect for seasonality, producers and thoughtful technique, it's shaping up to be a promising meal that does right by its ingredients. Expect small bites like carrot tartlets filled with rosella and honey custard and kombu-cured hiramasa kingfish croustades, alongside contemporary rustic-style plates like carrot-glazed bay bugs in mussel butter sauce and dry-aged quail stuffed with mushroom duxelle. The highlight? A Maxwell Restaurant signature — smoked rainbow trout with chives and black garlic. [caption id="attachment_1019298" align="alignnone" width="1920"] Image supplied[/caption]
Let's change things up this Easter break. Instead of spending the weekend feeding on store-bought chocolates and lamb roast at home, why not go on a little adventure? You can escape the city (and, perhaps, your family) by running away to South Australian wineries to sample the latest vintage or to a Tasmanian farm to delight in world class produce. You can even join the world's first helicopter gin tour around Queenstown to marry your love of epic views with your fondness for gin. The world is your oyster — and you can either have it freshly shucked, served Kilpatrick or battered and fried down in Hobart. Read on to find four exclusive food and wine-filled travel packages that you'll only find on Concrete Playground Trips — each of which will have you spending the Easter break with a full belly and a glass in hand. A WINE LOVERS' LONG WEEKEND IN BAROSSA VALLEY AND MCLAREN VALE Wine tours can be such a hassle to organise. You've got to find a driver, pick the wineries and cellar doors, book lunch and find the best place to stay. That's why we teamed up with some of the best wineries and food producers in the Barossa Valley and McLaren Vale to create one mighty indulgent food and wine trip. We've done the research, all you have to do is rock up and enjoy this ever-thriving wine region. During this four-day trip, you'll have the opportunity to explore Adelaide's city centre before spending two big days out in wine country. During your big afternoon out in the Barossa Valley, we've organised guided tours and cellar door experiences at a few of our favourite wineries as well as a special tasting at Maggie Beer's Farm Shop and lunch with wine pairings at another vineyard. This will be followed up by an entire day of wine, beer and gin tastings in McLaren Vale — with morning tea and lunch included. It's a packed itinerary made for true wine enthusiasts. BOOK IT NOW. FIVE-DAY FOOD AND WINE ADVENTURE IN HOBART AND ITS SURROUNDS Tassie's culinary scene is booming. Whether you're road tripping around the north or south of the state, you're set to find some of Australia's most brilliant food and drink producers making all sorts of delicious things to eat and drink. To celebrate this, we've created a sensational Hobart travel package that will take you to local farms, wineries, breweries and distilleries — with exclusive tastings and tours at each spot. The package also includes car hire for all five days, so you can explore each of these spots at your own leisure. And lastly, we're putting up guests in the Vibe Hotel Hobart's Harbour View Room. Wake up to stunning water views before going out to explore this amazing part of Australia. BOOK IT NOW. [caption id="attachment_869501" align="alignnone" width="1920"] Tourism Australia[/caption] THE ULTIMATE VINEYARD GLAMPING GETAWAY Sanctuary By Sirromet is a sprawling vineyard located in the bucolic hills of Queensland's Mount Cotton and boasts a collection of luxury glamping tents overlooking a lagoon and a bushland home to wallabies and birdlife. It's an idyllic slice of wine country just 40 minutes south of the Brisbane CBD. That's why we teamed up with the Sirromet team on this one-of-a-kind wine-filled weekend getaway package. Guests will be treated to a behind-the-scenes winery tour and tasting, a picnic in its beloved lavender fields (with wine and a packed food hamper included), a three-course dinner with paired wines, and daily breakfast delivered to the door of your glamping tent. The Sanctuary by Sirromet team is throwing in a complimentary bottle of Le Sauvage 'The Wild' to be enjoyed on the tent's private balcony or taken home. Go on, spoil yourself. BOOK IT NOW. THE MOST EPIC QUEENSTOWN ROAD TRIP We've created the ultimate Queenstown holiday, combining the area's famous adventure experiences with its famed culinary scene. You'll go on the world's first heli gin tour — riding from distillery to distillery via helicopter — and visit a series of local wineries during your self-led road-trip around the region. We've even added a scenic flight up to the dramatic mountain ranges, pairing it with a speed boat ride back to your hotel. You're not gonna find a trip like this anywhere else. BOOK IT NOW. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
The West Wing first premiered in 1999, while Bill Clinton was president and over a year before George W Bush was elected. But when the latter happened, the acclaimed series inspired a strong and pervasive feeling — because every fan wished that Martin Sheen's President Jed Bartlet was really the commander in chief. That response wasn't just a case of escapism. It reflected The West Wing's top-notch writing and its passion. Unsurprisingly, even though the show wrapped up in 2006, that sentiment has echoed again throughout the past four years. In 2020, in fact, original cast members including Sheen, Rob Lowe, Dulé Hill, Allison Janney, Richard Schiff, Bradley Whitford and Janel Moloney reunited in the lead up to the election for a special stage version of a season-three episode. Called A West Wing Special to Benefit When We All Vote, it was filmed, of course. That means you can now stream the entire seven-season series and its trademark Aaron Sorkin-penned walk-and-talks, and also enjoy the political drama's most recent gift to the world. Yes, it's still as topical and timely as ever.
When it comes to international rivalries, it doesn't get much bigger than Australia and England. But before the Rugby League World cup kicks off next month and the first ball is pitched in the 2023 Ashes series, sport fans can satisfy their search for entertaining, adrenaline-pumping clashes by grabbing tickets to see the the Origin Australian Diamonds in the upcoming test series against the England Vitality Roses. So, whether you're a netball novice or you're happiest watching a zippy wing attack passing expertly to a flash of a centre, being courtside at a Diamonds game will get you right up close to this energy, with the crowd's cheers feeding the drilled-down plays being executed with quick feet, intense stares and powerful throws. The upcoming England Series is kicking off at Newcastle Entertainment Centre on Wednesday, October 26. The one-off competition will be the first time Aussie netball stars have the home-ground advantage over the Brits — and the last chance to catch the Diamonds live this year. After match one, the athletes will make their way to Sydney's Qudos Bank Arena on Sunday, October 30 and then head north to Brisbane Entertainment Centre for what could be a nail-biter of a decider on Thursday, November 3. Following their Quad Series win in January and a gold medal at the 2022 Birmingham Commonwealth Games — which, excitingly, was the 1000th Australian gold medal in Commonwealth history — the Origin Australian Diamonds are sure to come out confidently. However, the exceptional talents that make up the Roses will be keen to prove they're no dainty English flowers (and will be looking for redemption after the Aussies knocked them out of gold-medal contention in the aforementioned Commonwealth Games). Our hot tip? Bookend your wing-attack-watching experience with an extended stay at your destination city. Transforming your sporty spectating into a sneaky little vacay (where you can hit the best of Brissie, Newy or the Harbour City) is sure to leave you feeling like a winner, too — whichever team you support. The Origin Australian Diamonds take on the Vitality Roses on Wednesday, October 26; Sunday, October 30; and Thursday, November 3. Be quick to nab your tickets, the series is set to sell out.
This very galaxy's next spell in the Star Wars universe is on its way, and it's teasing adventure, alliances, battling the dark side, and giving warrior, outcast, rebel and Jedi Ahsoka Tano her due. After dropping its first sneak peek back in April, Disney+'s aptly named Ahsoka has finally unveiled its full trailer ahead of its August streaming arrival. The attitude: "once a rebel, always a rebel". Since Disney got its lightsabers out again with Star Wars: Episode VII — The Force Awakens, this franchise has rarely been far from screens. That includes at home, where the force has proven particularly strong across three seasons of The Mandalorian, 2021–22's The Book of Boba Fett, and also 2022's Obi-Wan Kenobi and Andor. Now, it's Ahsoka's turn to hit the queue, with Rosario Dawson (Clerks III) returning as the limited series' titular figure after playing the part in both The Mandalorian and The Book of Boba Fett. If you're new to the character, she was Anakin Skywalker's padawan before he became Darth Vader — and, here, she's an ex-Jedi Knight who is determined to battle a threat to the post-Empire galaxy. "Anakin never got to finish my training," she notes in the new trailer. "I walked away from him." When it hits Disney+ from Wednesday, August 23, Ahsoka will follow animated film Star Wars: The Clone Wars and the TV series it spawned, too, plus fellow animated show Star Wars Rebels — because yes, this saga just keeps spreading far and wide. From the latter series, Star Wars aficionados will spot rebel crew member Hera Syndulla and former bounty hunter Sabine Wren. Mary Elizabeth Winstead (Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)) plays the former in Ahsoka, while Natasha Liu Bordizzo (Guns Akimbo) steps into the latter's shoes. Also among the familiar characters: fellow Jedi padawan Ezra Bridger from Star Wars Rebels, with Eman Esfandi (King Richard) doing the live-action honours — and Grand Admiral Thrawn, too, as played by Lars Mikkelsen (The Kingdom). Ahoska's cast includes Ray Stevenson (RRR) and Ivanna Sakhno (The Reunion), plus David Tennant (Good Omens). Also, reports have been bubbling for years about Hayden Christensen returning as Anakin, as he did in Obi-Wan Kenobi. This is Disney+'s first series focused on a female Jedi; indeed, as a character, Ahoska has long been one of the few women among the franchise's Jedi ranks, dating back to 2008. Off-screen, The Mandalorian writer/director/executive producer Dave Filoni writes and executive produces Ahoska, with Jon Favreau, Kathleen Kennedy, Colin Wilson, and Carrie Beck also doing the latter — all seasoned Star Wars veterans. Check out the trailer for Ahsoka below: Ahsoka will stream via Disney+ from Wednesday, August 23. Images: ©2023 Lucasfilm Ltd & TM. All Rights Reserved.
Do you live in a dog-friendly house? Do you have some spare time on your hands? Do you fantasise about taking a pup to the pub with you? The good folk at Guide Dogs NSW/ACT need you. They're expecting more than 60 puppies to be born between now and Christmas and they're in desperate need of carers to raise them. In other words, they're giving away puppies. If you put up your hand, you'll get a puppy for about a year — from its eight-week birthday to when it turns 14 months. During that time, you'll be responsible for introducing the sights, sounds and smells it'll meet when it starts working as a guide dog (and giving your new friend heaps of cuddles). Of course, it's not all just fun, games and cuteness. You'll have to be responsible enough to take care of regular grooming, house training and exercise, and be available to attend local training days, along with vet checks and Puppy Pre-School. A car and a fenced-in property are mandatory, too. In return, the organisation provides a strong support network, food, vet care and prevention of fleas and ticks. "We are looking for people who are home most of the time, who are interested in putting effort into training and socialising the dog. What you will get in return is a fantastic experience," said Karen Hayter, puppy development manager at Guide Dogs NSW/ACT. Every day, 28 people in Australia get diagnosed with vision impairment, nine of whom can expect to go blind. Guide dogs are provided free to those in need, but each costs $35,000 to raise. "With the demand for Guide Dogs' services increasing due to growing numbers of people having trouble getting around as a result of vision loss, we're incredibly grateful for the support we receive from the community," said Hayter. "Our volunteer puppy raisers make a wonderful contribution in helping to transform a playful puppy into a responsible guide dog that will one day change the life of someone who is blind or vision impaired." Keen? Apply here. And send pics please.
