As you might have heard, the recently rejuvenated Cleveland Street Theatre is now the Giant Dwarf, a Chaser-run space bursting with cheeky antics and defamatory delights. Running alongside regular events such as Erotic Fan Fiction and Story Club is The Chaser's Empty Vessel. Featuring a lively, relaxed atmosphere and a scattering of comic surprises, this freewheelin' talkfest is a monthly event offering up a mix of Sydney's finest (and some of its worst). In the past, the event has been held at various venues about town, surfacing sporadically. However, it's settling into Giant Dwarf for the long haul. After the success of the March kick-off, there's a stack more pollies, comedians, Walkley-winners, and public personalities in store for future editions. If Tony Jones was a less diplomatic mediator and Q&A had a liquor license, it might come close to what The Chaser's Empty Vessel is all about.
A film festival that brings the best and brightest new Japanese movies to Australian cinemas each year is a film festival to cherish. Also ace: a film fest that features a solely digital lineup of flicks and TV shows from Japan that you can check out from your couch. So, while it isn't time for the IRL Japanese Film Festival for 2024 yet — it last hit locations around the country across September–November 2023 — the Japanese Film Festival Online will keep you entertained come winter. Both fests serve up a handy way to view the latest and greatest Japanese fare without hopping on a plane, but only the online version lets you do so from home. Running from Wednesday, June 5–Wednesday, July 3, 2024's version will feature 23 films and two TV dramas, the latter serving up 20 episodes. And, you'll be able to check out for four Japanese horror shorts, too, all of which initially debuted in 2023 at the first-ever Horror Film Competition in Japan. The other big drawcard: Japanese Film Festival Online screens its program for free. Accordingly, this lineup won't test your budget, whether you're keen on I Am What I Am, which stars Drive My Car's Toko Miura; Anime Supremacy!, about a new director and a hotshot facing off while making their own competing anime; Single8, a Steven Spielberg (The Fabelmans)-influenced picture about Star Wars-loving teens making their own movie; or classic anime Kimba the White Lion from 1966. Film lovers will be catching the movies on the program between Wednesday, June 5–Wednesday, June 19. Fellow feature options include Father of the Milky Way Railroad, a biopic about poet and novelist Kenji Miyazawa; magazine drama Kiba: The Fangs of Fiction; Baby Assassins, where teen assassins are forced to give up the murderous life; and The Handsome Suit, about a magical outfit. TV fans will be tuning in from Wednesday, June 19–Wednesday, July 3, with 2017's Rikuoh starring Kôji Yakusho (Perfect Days), and stepping inside a traditional Japanese sock company — and 2015's Downtown Rocket based on Shitamachi Rocket novels about an ex-aerospace researcher who leads a factor that he inherited. While you won't pay a thing to watch, you do still need to register via the fest's website. Won't be in Australia at the time? The fest is available in 27 countries. "JFF Online 2024 is not just a film festival; it's a cultural bridge connecting fans of Japanese cinema across the globe," said The Japan Foundation in Sydney's Manisay Oudomvilay. "From the comforts of your home, you can traverse a wide array of genres — from heartfelt dramas and engaging documentaries to captivating anime stories. This festival celebrates the breadth and diversity of Japanese storytelling." "Our lineup includes films that challenge the norms, explore deep human connections, and celebrate the artistry of both seasoned and emerging Japanese filmmakers. We invite cinema lovers and Japanophiles alike from around the world to join us in this unique virtual celebration of Japanese cinematic artistry," continued Manisay. The 2024 Japanese Film Festival Online runs from Wednesday, June 5–Wednesday, July 3. For more information and to register to watch, visit the festival website. Top images: Single8 Film Partners / Jun Ikeido, TBS / Kenji Yamamoto / Anime Supremacy! The Movie Production Committee.
Mexican kitsch shrine and firm placeholder in our list of Sydney's best tacos, Mexico Food & Liquor is moving. The restaurant-bar closed its doors on Sunday, April 6, and promises to reopen in an as-yet-unknown spot. The team is seeking "a more expansive location better suited to its buzzy format which swings from lunch through dinner and with a healthy following for post-work and apres-dinner drinks". That reads a lot like 'CBD', but only time will tell. It's easy to see why the colourful joint would want to move from its entirely romanceless spot across the road from Central Station; however, Mexico was plugging a cool-dining-shaped hole in the area that is now once again gaping. Opening at the end of 2012, Mexico was the casual dream of New Zealand chef and ex-District Dining restaurateur Warren Turnbull. The staple tacos are among the most innovative we’ve come across, combining favourite flavours from other cuisines that make you wonder why you never thought of wrapping it up in a tortilla earlier. For example: blackened duck with mango, coriander and sour tamarind ($7); pork cheek cooked in beer with guajillo chillies, olives and citrus cured apple ($7); and chimichurri fish with bacon and mussels with pickled green tomato and mayo ($7). Come back soon, Mexico. We'll keep our bocas at the ready. By Rima Sabina Aouf and Eloise Basuki.
UPDATE, August 27, 2021: From Friday, August 27, Cruella will be available to stream via Disney+ — and as part of your regular subscription. A killer dress, a statement jacket, a devastating head-to-toe ensemble: if they truly match their descriptions, they stand the test of time. Set in 70s London as punk takes over the aesthetic, live-action 101 Dalmatians prequel Cruella is full of such outfits — plus a white-and-black fur coat that's suspected of being made from slaughtered dogs. If the film itself was a fashion item, though, it'd be a knockoff. It'd be a piece that appears fabulous from afar, but can't hide its seams. That's hardly surprising given this origin tale stitches together pieces from The Devil Wears Prada, The Favourite, Superman, Star Wars and Dickens, and doesn't give two yaps if anyone notices. The Emmas — Stone, playing the dalmatian-hating future villain; Thompson, doing her best Miranda Priestly impression as a ruthless designer — have a ball. Oscar-winning Mad Max: Fury Road costume designer Jenny Beavan is chief among the movie's MVPs. But for a film placed amid the punk-rock revolution, it's happy to merely look the part, not live and breathe it. And, in aiming to explain away its anti-heroine's wicked ways, it's really not sure what it wants to say about her. Here, the needle drops have it. If compiling Cruella's soundtrack involved more than typing "60s, 70s and 80s hits" into Spotify, it doesn't show. A snarling rendition of The Stooges' 'I Wanna Be Your Dog' proves as blatant as it sounds. When a plan comes together to The Beatles' 'Come Together', you'll wonder if the laziest algorithm in the world made that choice. And would it really be a film about someone called de Vil — a naming choice that's spelled out with such force, you could spot it from the moon — if The Rolling Stones' 'Sympathy for the Devil' wasn't given a spin? As the Mouse House keeps exploring its antagonists' nefarious urges (see also: the two Maleficent movies), it routinely just covers the bare necessities, story-wise. Here, it takes that approach in as many places as it can. Indeed, in telling viewers that Cruella is saddled with childhood traumas, too, it seems to think that two-plus over-stretched hours of 70s cosplay will suffice. Before she becomes the puppy-skinning fashionista that remains among Glenn Close's best-known roles, and before she's both a wannabe designer and the revenge-seeking talk of the town played by Stone (Zombieland: Double Tap), Cruella is actually 12-year-old girl Estella (Tipper Seifert-Cleveland, Game of Thrones). Sporting two-toned hair and a cruel that streak her mother (Emily Beecham, Little Joe) tries to tame with kindness, she's a target for bullies, but has the gumption to handle them. Then tragedy strikes, an orphan is born, loss haunts her every move and, after falling in with a couple of likeable London thieves, those black-and-white locks get a scarlet dye job. By the time that Estella is in her twenties, she's well-versed in pulling quick heists with Jasper (Joel Fry, Yesterday) and Horace (Paul Walter Hauser, Songbird). She loves sewing the costumes required more than anything else, however. After years spent dreaming of knockout gowns, upmarket department stores and threads made by the Baroness (Thompson, Last Christmas), she eventually gets her chance — for fashion domination, as well as vengeance. It worked for director Craig Gillespie in I, Tonya, but the wry narration that guides Cruella's story quickly overstays its welcome. The knowing tone, obvious observations and taunts of a death that can't stick in a prequel all purely hit the expected beats, as almost everything here does. Co-screenwriter Dana Fox also penned Isn't It Romantic, but trades satirising one genre's tropes for leaning into another's (yes, villain origin stories are their own genre now). Fellow scribe Tony McNamara was nominated for an Oscar for The Favourite and an Emmy for The Great, so the fact that Stone often feels like she has stepped out of the former and into this — right down to her subterfuge and scheming beneath the Baroness' feet — is no surprise. The Devil Wears Prada's Aline Brosh McKenna gets a story credit, too, because Disney isn't attempting to conceal its inspirations. Cruella may stem from Dodie Smith's book, then the cartoon, then the live-action remake, but it has been cut from a clear pattern. There's zero vampishness in the end result, but plenty of botched ideas and muddled themes. When Estella is driven to succeed, rebel against being treated poorly at work and punish the person responsible for her pain, they're far more fascinating aspects of her character than the movie meaningfully examines — perhaps because they don't quite fit her journey to the monochrome side. Empathising with her plight is easy several times over. After an early incident, understanding why she doesn't love dalmatians is as well. Gillespie and company don't come close to selling the leap from ambitious and avenging to future animal cruelty, though. The latter isn't actually a part of Cruella, but in giving its central figure the Joker treatment, the film's character arc is always a stretch. It also undercuts the much more potent notion that some people are just evil, and don't need a sob story as an excuse. If, in all of their eagerness to stick to a template, Cruella's powers-that-be just wanted to pair Stone up with another English acting titan — swapping The Favourite's Olivia Colman for the on-screen treasure that is Thompson — and then let them have at it, that's understandable. It's also as a good enough reason as any for this or any movie to exist. Alongside Beavan's Vivienne Westwood- and Alexander McQueen-influenced costumes, plus Nicolas Karakatsanis' (another I, Tonya alum) constantly moving camerawork, the acerbic Oscar-winning Emmas are the reason that the film has any bite to go along with its empty barks. But the duo's gleeful cartoonishness, flamboyance and winning ability to wear the hell out of their outfits only takes Cruella so far. Even with their obvious commitment, this intellectual property-extending exercise is more filler than killer. After you give it a whirl, you'll put it back on the rack and rarely spare it another thought. https://www.youtube.com/watch?v=pgZgFHDGHrY&feature=youtu.be Top image: Photo courtesy of Disney. © 2021 Disney Enterprises Inc. All Rights Reserved.
Stay tuned. More info on its way.
The couple at the centre of relationship dramedy Before Midnight is one we know oddly well, Jesse (Ethan Hawke) and Celine (Julie Delpy). In a typically Gen X act of slacker romanticism, they spent one night walking and talking around Vienna in 1995's Before Sunrise and were finally reunited for a further afternoon in Paris in 2004's Before Sunset. In the nine years since, it turns out they've stuck with each other, but the insouciance of those early encounters has gone now they're into their early forties. "When was the last time we just walked around bullshitting?" Jesse says in one beautifully self-aware moment, as they rediscover the pastime on holiday in Greece. With this series of films, dialogue is everything. In Before Midnight, it sparkles, dances and defies the bounds we expect of film. All three instalments are the product of a unique collaborative partnership between director Richard Linklater, Hawke and Delpy; from the start the actors have written parts of their own selves into the characters, and the possibility for honest exploration seems to have deepened with the passing of time. Before Midnight is in cinemas on Thursday, July 18, and thanks to Hopscotch Films, we have ten double in-season passes to give away to. To be in the running, sign up to the Concrete Playground newsletter (if you haven't already), then email hello@concreteplayground.com.au with your name and address. Read our full review of Before Midnight here.
'ZomRomComs'. That's what you get when you add zombies to romantic comedies. First came Shaun of the Dead, then Zombieland and now Warm Bodies, a delightful Romeo and Juliet meets Frankenstein tale, in that two star-crossed lovers must overcome deep-seeded family prejudices, and that Romeo is a monstrous zombie. That zombie is 'R' (Nicholas Hoult), and his Juliet is 'Julie' (played by Australian actress Teresa Palmer). R is just your everyday teenage boy, grappling with your everyday teenage problems: a changing body, crippling social isolation and a tendency to grunt instead of speak. He's also a zombie, but instead of being scary that's mostly just a source of embarrassment. R's charming and self-deprecating narration throughout the film provides a constant source of laughter, particularly with self-aware lines like: "……God we walk slowly!" It's a sublime mix of dark comedy and tender romance, centred on a familiar yet infinitely more appealing relationship than Twilight's Bella and Edward. For an adaptation that openly acknowledges its Shakespearean underpinnings, this has somehow still emerged as one of the most original stories of the year. Thanks to Icon Film, we have 10 double passes to give away to see Warm Bodies. To be in the running, subscribe to Concrete Playground (if you haven't already) then email us with your name and postal address at hello@concreteplayground.com.au. Warm Bodies opens nationally on April 11. Read our full review here. https://youtube.com/watch?v=07s-cNFffDM
Unless you took advantage of Australia's trans-Tasman travel bubble with New Zealand while it was open earlier this year, you've probably forgotten what an overseas holiday feels like at this stage of the pandemic. And with the entire states of New South Wales and Victoria currently in lockdown, and plenty of domestic borders closed as a result, the idea of jetting off overseas probably still seems like a dream. Qantas and its discount airline Jetstar are hoping it'll become a reality before the year is out, however. The Qantas Group, the company behind both carriers, is planning for that to happen in fact. Back in February, the airlines were aiming to start flying Aussies around the globe again in October. Then, in May, that idea was pushed back to December. Obviously, the latter is now inching closer, so Qantas has revealed that it's still working towards getting its international flights back in the air before 2022 hits. At present, those plans depend upon Australia's vaccine rollout, and also the National Plan to transition Australia's National COVID Response — which outlines what Aussies will be able to do once the country reaches various jab thresholds. When 80 percent of adults are fully vaccinated, Australians will be permitted to travel overseas again for holidays under the current proposal. At the time of writing, 31.6 percent of people over the age of 18 have had both doses. Previously, Qantas had revealed its intention to recommence flights to 22 of its 25 international destinations — including London, Singapore and Los Angeles — while Jetstar was intending to resume trips to all of its 13 international routes. In a statement today, Thursday, August 26, the Qantas Group have now advised that it'll be focusing on destinations with high vaccination rates, including Singapore, Japan, the US, the UK, Canada and Fiji. Singapore has previously been floated as a possible candidate for a future travel bubble by the Australian Government. Also, Qantas will put flights for Australia–New Zealand routes back on sale, operating on the assumption they'll be able to resume in mid-December. "Key markets like the UK, North America and parts of Asia have high and increasing levels of vaccination. This makes them highly likely to be classed as low risk countries for vaccinated travellers to visit and return from under reduced quarantine requirements, pending decisions by the Australian Government and entry policies of other countries," said Qantas. "This creates a range of potential travel options that Qantas and Jetstar are now preparing for. While COVID has shown that circumstances can change unexpectedly, the long lead times for international readiness means the Group needs to make some reasonable assumptions based on the latest data to make sure it can offer flights to customers as soon as they become feasible." Obviously, a lot still needs to go to plan for the two airlines to have you jetting off to overseas spots this summer. That's Qantas and Jetstar's current target date, though. Hong Kong flights are targeted to restart in February, too. And, if you're interested in trips to other destinations, Qantas has pushed back its expected takeoff dates in places that have low vaccine rates and high COVID-19 cases — including Bali, Jakarta, Manila, Bangkok, Phuket, Ho Chi Minh City and Johannesburg — to April 2022. When overseas flights do resume, Qantas will use digital health passes to verify vaccination and testing status. Qantas CEO Alan Joyce has also previously stated that the airline would only allow vaccinated passengers to travel on international flights. Of course, even once international flights are up and running again, you can expect a much lower capacity than pre-COVID travel — Qantas previously said that it's not anticipating a full return to normality until 2024. As part of its efforts to encourage vaccinations — and to help speed up the return to its normal operations — the airline is also currently giving away discounts and frequent flyer points to vaxxed Aussies. To find out more about Qantas and Jetstar's international travel plans, visit the Qantas website.
Celebrity chef Luke Mangan and his meticulous Luke's Kitchen crew at Pitt Street's Kimpton Margot Hotel are doing a luxurious rendition of Mother's Day brunch. Mangan relocated his popular Dank Street eatery into the sleek Art Deco lobby of the Kimpton Margot, but his culinary focus — combining French and Asian influences with fresh local produce, beautifully plated — remains true to his original vision. The menu for Mother's Day Brunch brings it to life in five generous courses. The lineup includes: sashimi of hiramasa kingfish with nam jim, coconut yoghurt wild rice and kaffir lime; onion galette topped with soft poached egg; barbecue spiced king prawns; grilled Brooklyn Valley sirloin; and pear and raspberry crumble with vanilla bean ice cream. A vegan menu is also available for plant-based diners. For $125 per person you'll get the five-course meal and a glass of Taittinger on arrival. There will also be a roving bartender on hand to mix table-side Bloody Marys to your exact specifications, if you're mum is after something with a bit more kick. Seats are limited so book now at the Kimpton Margot website.
Here's some news worth slathering whichever type of food you love in McDonald's coveted Szechuan sauce: in less than a month, Rick and Morty will return for its sixth season. Anything can happen in the animated show's next batch of episodes, because that's the kind of dimension-hopping sci-fi series it is. Don't just take our word for it, though — the just-dropped full trailer for the upcoming season drips with chaos, unsurprisingly, and also paranoia. Well, actually, the sneak peek is set to the sounds of 'Paranoid' by Black Sabbath, but it's also a rather apt theme tune for the show's titular duo. When you're zipping around the galaxy and sliding through time, changing multiple worlds, making a whole lot of enemies and just generally causing interstellar mayhem in the process, being suspicious and mistrustful is bound to come with the territory. As for what'll occur from there, the trailer teases lectures about Die Hard, killer robots, vanishing from reality, alien armies, Wolverine-style claws, using Jerry as a human shield, arcade shootouts and exploding cars. So, just your usual Rick and Morty shenanigans. As always, anyone keen to get schwifty with the episodes can probably expect that Rick Sanchez and Morty Smith (both voiced by show co-creator Justin Roiland, Solar Opposites) will keep wreaking havoc, and that the series will keep zooming between as many universes as it can. And, because that's the way the news goes, Rick and Morty's hijinks will keep drawing in Morty's mother Beth (Sarah Chalke, Firefly Lane), father Jerry (Chris Parnell, Archer) and sister Summer (Spencer Grammer, Tell Me a Story). Everywhere across earth where television is screened and streamed — interdimensional cable, too — Rick and Morty is set to return on Sunday, September 4 in America. That's on Monday, September 5 Down Under, where the series beams into your queue via Netflix. And if you're wondering what kinds of chaos are in store this time around, Adult Swim, the US channel behind the show, has advised that the new season will pick up with its titular pair "where we left them, worse for wear and down on their luck". "Will they manage to bounce back for more adventures? Or will they get swept up in an ocean of piss! Who knows?! Piss! Family! Intrigue! A bunch of dinosaurs! More piss!" the network also teased. Check out the trailer for Rick and Morty's sixth season below: Rick and Morty's sixth season will premiere globally on Monday, September 5 Down Under. It streams via Netflix in Australia and New Zealand.
Perhaps your pooch really loves seeing cars drive across the small screen. Maybe they seem to adore Wes Anderson's Isle of Dogs. One day, you might've even come home from work to find your puppy watching the television all by themselves — because they'd stepped on the remote, accidentally turned it on, then gotten comfy. Every pet owner has noticed their four-legged companion staring intently at the tube once or twice — and likely more than that. Usually, though, your TV-loving canine isn't watching a streaming platform that's been designed especially for barking, tail-wagging, bone-coveting viewers. Dog TV is exactly that kind of streaming service: an online channel that's all about entertaining your woofer, and creates videos that are specifically designed to do just that. Now available in Australia, it features content filled with sights and sounds that'll appeal to your pooch. Some programs aim to relax them, focusing on calming and soothing your little fluffball. Others endeavour to keep them mentally stimulated, and feature scenes of dogs and other animals playing. Indeed, making sure that your pupper is fine when you go out is one of Dog TV's big motivations — with its content also made to ease doggo boredom. If you're the kind of person who leaves the television or radio on for your pooch when you head off to work, then you're familiar with the concept. Here, though, your canine can feast their eyes and ears on footage and audio created especially for them, and not be forced to endure whatever daytime TV is currently serving up. Some clips attempt to do more than just relax or stimulate — by helping dogs get used to car rides and ringing doorbells as well. In fact, you could say that the entire streaming platform is designed to help canines cope, given that anyone who has recently transitioned from working from home full-time to venturing back into the office is now forced to leave their four-legged friend in the house alone far more often. Overall, the whole service takes into account a dog's usual daily cycle, including when they're most active, and tailors its content to match. "Three programs, including stimulation, relaxation and exposure, have been scientifically created to keep your dog feeling happy and confident," says Dog TV General Manager, Beke Lubeach. "Each program is scheduled throughout the day, exposing dogs to visual stimuli and sounds that positively impact their behaviour and reduce feelings of anxiety." If you're eager to add another streaming platform to your list of subscriptions (well, to your woofer's list), Dog TV has launched in Australia via Petstock — and if you're one of the retailer's members, you can access a month for free. Monthly subscriptions cost $8.95 otherwise, or you can pay $69.95 for an annual pass. For more information about Dog TV, or to sign up for your pooch, head to the streaming service's website — or to Petstock's website.
Still: motionless, placid, calm, unruffled. Still: a denudation of impossibly complex human relationships, where true desires and needs are explored to a depth beyond the quotidian and lives become overturned by the wild emotions that spring from deep romantic involvement. Independent theatre company Mad March Hare Theatre presents this play by Jane Bodie (This Year's Ashes) at the bohemian warehouse space of the Old 505 Theatre inside Hibernian House. In a series of eight monologues, a motif is made of the idea of wanting, and all the baggage that it carries: sexual tension, anxiety and sheer agony. From the personal humiliation of a failed sexual conquest to the painful state of denial that bumping into your ex-lover and his new partner in the supermarket causes, Still exposes the harsh truth and bloody mess of relationships with searing wit and empathy. This collaborative project is realised through the thinking hats of five established and versatile female directors working collectively on the gritty urban set: Lara Kerestes, Fiona Hallenan-Barker, Cathy Hunt, Scarlet McGlynn and Jessica Tuckwell. Still won its British, Sydney-based playwright the Green Room Award for Best Writing in 2002. Now Head of Playwriting at NIDA, Bodie claimed in 2003 she was a "hopeless romantic" — a debatable claim owing to her nettlesome storylines. Still may have you a little ruffled after all.
Paul Manser really puts himself into his writing. When reading the self-penned adventures and misadventures of the Melbourne-based travel scribe, you experience the destination and surrounds from his singular POV. The scenes he often sets have a shambolic, gonzo feel as though something is about to go terribly awry, with Paul giving huge main character energy as both narrator and observer. Things often do go terribly awry and those breakneck narrative zags make for great stories, many of which are featured in his recently published collection of travel mini-memoirs Life Plans On Dive Bar Napkins, a series of stories that include a profane interlude at San Francisco's disgracefully under-recognised Hunky Jesus Contest, stinking out Pamplona due to an unfortunate case of missing luggage, and other incidents that imply Paul is fortunate to be alive and/or not incarcerated. If you are planning a trip to Los Angeles in the coming months and would be interested in some sound, sensible advice on what to do, please do not read the following guide that Paul Manser kindly compiled for us. [caption id="attachment_875641" align="alignnone" width="1920"] The author Paul Manser on a bike[/caption] PAUL MANSER: Los Angeles is the suggestive, shapely leg that slips out from beneath conservative Middle America's full-length skirt. It is the kind of leg that shows enough skin to let you know there are good times to be had, but that you could have your bank account cleaned out for your indiscretions. Not just a city built for good times, LA is also a magnet for aspiring movie stars who are drawn to the city like a mosquito, drunk on summer's blood, is to a caravan park's fluorescent blue bug zapper. You jump in an Uber and before you know it, you're listening to the CV of an out-of-work actor who played a lactose intolerant lifeguard in Baywatch for two episodes in the 90s, as they take you the long way from Santa Monica to West Hollywood just to make a few extra dollars. With so many people waiting to be 'discovered', it can be a little hard to find the real Los Angeles these days; the city the locals live. To help, here's my guide that you may (or may not) want to follow: [caption id="attachment_875639" align="alignnone" width="1920"] Santa Monica pier by Vincentas Liskauskas via Unsplash[/caption] WHERE TO GO On my first visit to LA I was told don't drink the tap water, avoid hiking Runyon Canyon in flip flops and don't ever, under any circumstances, be out in Downtown LA after dark unless you are so enamoured with acupuncture you're willing to let a teenager poke you with a blunt knife for the contents of your wallet. However, things have changed. These days Downtown LA is so cool the ice wouldn't melt on the sidewalk in a mid-afternoon heatwave. With some of the most innovative restaurants in the city like 71Above, amazing rooftop bars like Upstairs at The Ace, boutique designer hotels and an abundance of skinny-jeaned, bushranger bearded locals, downtown LA is now the place to go to eat, get rowdy and find a drinkable coffee the day after — which is no mean feat in America. [caption id="attachment_875643" align="alignnone" width="1920"] Upstairs at The Ace, The Ace Hotel Los Angeles via The Ace Hotel[/caption] WHERE TO DRINK If New York is the city that never sleeps, LA is where the beautiful people doze in seal-placenta face masks before spending their days doing hot yoga, discussing the latest colonic hotspot and looking fabulously bored poolside at one of the many party hotels of West Hollywood. While the city is undoubtedly glamorous, any self-respecting traveller with a thirst to quench will forgo the latest Insta-famous rooftop restaurant to trawl the city's bars of yesteryear. Sunset Boulevard's infamous Viper Room, Whisky a Go Go and Rainbow Bar and Grill have seen stars come and go and given birth to many a road trip playlist's favourite band, including Guns 'N' Roses. Don't assume that because the venues are a little less polished, that your night will be devoid of celebrities, although the high-profile patrons may be less 'washed' and more 'washed up' these days. That is not to say that you won't be rewarded for seeking out a more sophisticated drinking environment. Located in downtown LA, The Wolves is a spectacularly overindulged Parisian-style cocktail bar featuring Tiffany glass ceilings. The dark, moody bar features more wood and dark leather than you'd find in a friendly neighbourhood BDSM swingers club. The Wolves draws an eclectic crowd on the weekends with a cocktail list as long as the security line at LAX, but if you really feel adventurous let one of the bartenders guide your evening. That way at least you'll know who to blame when you wake up in the morning full of regret. [caption id="attachment_875652" align="alignnone" width="1920"] The Wolves at Downtown LA, image via The Wolves[/caption] WHERE TO EAT While sucking down a wheatgrass and kale smoothie next to Billie Eilish as she chews on a raw vegan lasagne at Crossroads Kitchen might seem peak Los Angeles, you're probably going to need something more substantial (and a bit greasier) to soak up the booze. Try the ramen burger at Tatsu Ramen (if it is on the menu at the time.) A glorious artery-clogging delicious patty of beef sandwiched between to ramen noodle buns. Five stars. WHERE NOT TO STAY Last time I stayed in LA, I awoke to sunlight piercing the soft mustard surrounds of a hotel room that self-proclaimed three stars, but that would soon be on the receiving end of a biting TripAdvisor review I was penning in my mind. Four paragraphs alone were to be dedicated to reporting the hotel owner to the war crimes tribunal in The Hague over the fluorescent purple shower curtain that would burn holes into the retinas of small children. Then I decided that a negative review was not enough. No. A parody webpage dedicated to a hotel room that went missing in the 1970's was more fitting. It would include photos and satirical descriptions for how best to recognise the room. "ATTENTION: Be on the lookout for a hotel room with a burn mark in the two-tone green carpet resembling a snake making love to The Leaning Tower of Pisa. A stain that looks like the outline of where a jockey had been murdered with an ice cream scooper. And a bible with a series of stunningly accurate genitalia drawn throughout." Honestly, I'd tell you where this hotel was in LA, but I don't want to be sued. So maybe just avoid every hotel in the city to be safe and stay in an Airbnb instead. This guest house looks pretty good: WHERE TO BE SEEN LA is one of those cities where you go not only to see, but to be seen. With more instantly recognisable faces big screen packed into a few square miles than anywhere else in the world, paparazzi-dodging-people-watching can resemble a bloodsport at times. But what fun is merely watching others get all of the attention? Where can you go to not only watch others, be a part of the action yourself? Chateau Marmont is a place of celebrity legend. It's where Led Zeppelin rode motorcycles through the lobby in the 1960s and one of the first places to ban Lindsay Lohan from entry. These days drinking poolside at Chateau still offers up a decent chance of lounging next to brutally hungover, non-communicative, blood-shot eyed celebrity. If the Chateau sounds like the spot for you, maybe pack a pair of reflective Ray-Bans so you can get a good look at everybody, without coming across as some crazed stalker. AND, WHERE TO ESCAPE TO Los Angeles is a hot mess. The city is impossible to cross at peak hour and realistically you shouldn't attempt using the public transport unless contracting dysentery is on your bucket list. Sometimes it's a city you just need to get away from. But where to? While the internet is plastered with images of celebrities escaping to sun themselves on the beaches of Malibu, those looking for a piece of old Hollywood glamour should head inland to Palm Springs. A playground for the icons of Hollywood in the golden age of cinema, Palm Springs was the place that fabled celebrities like Marilyn Monroe and Dean Martin came to escape Los Angeles. A sun drenched desert Oasis, these days travellers come to Palm Springs to admire its mid-century modern architecture, for mammoth music festivals like Coachella and Stagecoach and relax and people watch poolside in one of the many impeccably styled hotels which appear to have jumped straight out of a photo-spread in a design magazine. [caption id="attachment_875657" align="alignnone" width="1920"] Palm Springs by Cody Board via Unsplash[/caption] Paul Manser's book Life Plans On Dive Bar Napkins is available from various book stores or you can order it from Dymocks. For more of Paul's travel tales visit his website. Main image by Jake Blucker via Unsplash.
UPDATE: 1.19PM, MARCH 29 — Staff have returned to Sydney Airport's Air Traffic Control Tower and all arrivals and departures have resumed. Head to your airline's website to check on the status of your flight. Have an interstate — or overseas — getaway planned for this weekend? Prepare for some possible flight delays and cancellations. A fire at Sydney Airport led to a temporary full ground stop — with no aircraft departing or arriving at midday on Friday, March 29. Air Services Australia reported that the Sydney Air Traffic Control Tower had been evacuated after smoke was detected in the building. While there's no further information as to the extent of the fire at this point, at 12.17pm, the Sydney Airport reported that some arrivals were being processed — but still no planes were leaving. https://twitter.com/AirservicesNews/status/1111437366156115969 With Fridays being one of the busiest days for Sydney Airport, this could lead to delays throughout the afternoon and, possibly, into the weekend. Passengers are being advised to check the status of their flight with their airline. We'll update you as soon as we know more and when services resume. For more updates, head to the Air Services Australia Twitter or to the relevant airline website.
Since 2023, Shadow Baking has seen three current and former Gelato Messina head chefs turn their attention from gelato to pastries. Now the trio is kicking things off a little earlier, with a brand-new breakfast menu served exclusively at Messina's Marrickville HQ. So, what can you expect from this dine-in offering? Croissant loaf french toast with maple butter, crème anglaise and a scoop of gelato will satisfy any sweet cravings, while a pork sausage and egg bun served with a potato rosti and apple cider hollandaise is another brekkie treat. There are fresh takes on classics too, like the avo on toasted focaccia with whipped feta, confit tomato and jammy egg. The drinks menu hasn't been forgotten either, with a well-rounded coffee selection featuring beans from Toby's Estate. The Marrickville HQ will also be serving Nitro Coffee — that's cold brew with added nitrogen for maximum creaminess — and a strawberry matcha topped with pandan foam. Served every Thursday–Sunday from 8am–12pm, Shadow Baking's breakfast menu might just become your new morning ritual. And don't worry, if you're just swinging by for your usual pastry and coffee combo, the full spectrum of baked goods is still up for grabs.
What's better than one stunning glimpse well beyond this pale blue dot we all call home? Several, each as spectacular as the next. If you're a fan of space — and aren't we all? — then this week has been huge for peering past the earth, with NASA releasing a number of images from the James Webb Space Telescope. First came the snap dubbed Webb's First Deep Field, aka the deepest and sharpest view of the universe that's ever been captured. Yes, showing the galaxy cluster SMACS 0723 as it appeared a whopping 4.6 billion years ago, and covering thousands of galaxies, it's quite the sight. NASA then backed that up with more pictures from the space science observatory that's been charged with peering deeply into our solar system and far beyond, and taking images of what it spots. Prepare to be dazzled again. Cosmic cliffs & a sea of stars. @NASAWebb reveals baby stars in the Carina Nebula, where ultraviolet radiation and stellar winds shape colossal walls of dust and gas. https://t.co/63zxpNDi4I #UnfoldTheUniverse pic.twitter.com/dXCokBAYGQ — NASA (@NASA) July 12, 2022 Perhaps the most astonishing has been called 'Cosmic Cliffs', and looks at a star-forming region NGC 3324 in the Carina Nebula — around 7600 light-years away. As captured in infrared light by the Webb telescope's near-infrared camera (NIRCam), it shows areas of star birth that have been obscured previously, and also proves the kind of sight that'll inspire a thousand big-screen space operas. Also phenomenal: two looks at the Southern Ring Nebula, a hot, dense white dwarf star, including one at its centre for the first time. One shows jagged rings of gas and dust, with light emanating from it — and, because perhaps the only reference point we have for looks at the heavens this stunning is everything that movies have thrown at us, it blows the best special effects you've ever seen out of the water. [caption id="attachment_861133" align="alignnone" width="1920"] Southern Ring Nebula[/caption] And, the Webb telescope has also captured Stephan's Quintet, a grouping of five galaxies. Again, there's a cinema tie — it's what the angel figures at the beginning of Christmas classic It's a Wonderful Life are based on. Located in the Pegasus constellation, it features galaxies located between 40 million and 290 million light-years from Earth: galaxies NGC 7320, NGC 7317, NGC 7318A, NGC 7318B, and NGC 7319. With these jaw-dropping visuals, NASA now has images of a dying star's last hurrah thanks to the Southern Ring Nebula shots, and pictures that'll help scientists explore galactic mergers and interactions, as well as black holes. Indeed, showing the world staggering sights is really just the beginning when it comes to the telescope's output. [caption id="attachment_861135" align="alignnone" width="1920"] Stephan's Quintet[/caption] "Today, we present humanity with a groundbreaking new view of the cosmos from the James Webb Space Telescope — a view the world has never seen before," said NASA Administrator Bill Nelson. "These images, including the deepest infrared view of our universe that has ever been taken, show us how Webb will help to uncover the answers to questions we don't even yet know to ask; questions that will help us better understand our universe and humanity's place within it." Yes, you're allowed to only want to stare at these pics for the next few minutes, hours and days. You're also allowed to summon your inner Keanu and exclaim the only thing that's appropriate right now: "whoa!". [caption id="attachment_861132" align="alignnone" width="1920"] Southern Ring Nebula[/caption] For more information about the James Webb Space Telescope, head to the NASA and James Web Space Telescope websites. Images: NASA, ESA, CSA, and STScI.
The Somedays gallery/store is making a habit of hand picking the best artistic talent from our southern neighbour state and spoiling/embarrassing us with their brilliance. They have the pleasure of hosting design collaboration Tin&Ed's first solo Sydney exhibition and I will bet my left arm it won't be their last. The exhibition is titled United Eye. It features pieces of 'HOLY-GRAMS' — a recent Tin&Ed installation that drew crowds to the Melbourne festival. There are also risographic prints which continue the HOLY-GRAMS theme of cultural and societal icons and symbols. I'm not going to pretend I didn't have to google 'risograph'. Don't worry — I'll save you the trouble — it's a simplified, rustic photocopier that applies ink to a hot roller which is set on the paper that passes through. Im told it delivers a more authentic result than most traditional mass-produced prints. Hours were spent labouring over the handmade cut-outs that will feature in United Eye. Each cut-out represents one or more recognisable icons that have featured in society's exploration of spirituality, culture and existence. There is a flawless, simplistic flow to them which represents so many ideas but maintains the uniformity of a neatly constructed font set. Looking at the risographs and cut-out silhouettes, I can't help but think of Keith Haring. In my opinion United Eye is an example of what Haring might have achieved if he didn't restrict his subject matter to social causes. Tin&Ed should need no introduction with a condensed CV that is intimidating to say the least (AMEX, Nike, MTV, Vice, MYER to name a few clients). It's little wonder you need to RSVP to opening night.
When a TV show or movie hits the screen adapted from the pages of a novel, maybe you're the kind of person who just has to read the book before watching. Perhaps you prefer the opposite, soaking in every minute of the series or film afresh with no knowledge of what's to come, then devouring the source material to spending more time in its world and fill in the details. Whichever best describes your style of page-to-screen fandom, you're welcome at a new Australian event that's all about streaming hits that started as novels. In fact, it's Prime Video's very own book club. You might've noticed that plenty of the streaming platform's recent fare began on the page. It's true of The Summer I Turned Pretty, which is about to drop its third and final season — and of the Culpable trilogy and also We Were Liars, for instance. So, the service is celebrating that fact in Sydney, putting on Prime Book Club LIVE with a number of authors and actors connected to its lineup as guests. The last season of The Summer I Turned Pretty begins on Wednesday, July 16, with the streamer's most-successful original series releasing episodes through until Wednesday, September 17. So, author Jenny Han — who not only penned the books The Summer I Turned Pretty, It's Not Summer Without You and We'll Always Have Summer that the show is based on and is the series' showrunner, but also wrote the To All The Boys I've Loved Before trilogy — will be in attendance. Stars Lola Tung and Rain Spencer (Test Screening) will also be there. Ahead of Culpa Nuestra (Our Fault), the third and final Culpable trilogy flick after films Culpa Mia (My Fault) and Culpa Tuya (Your Fault), reaching Prime Video in October, author Mercedes Ron will also get chatting in the Harbour City. Taking place from 5pm on Thursday, July 31, 2025 at Machine Hall in Sydney, Prime Book Club LIVE will boast Lucinda 'Froomes' Price as its host, feature a #BookTok panel, and sport an immersive setup spanning interactive experiences, giveaways and more. The event will also cover We Were Liars — which has an Australian connection thanks to Invisible Boys talent and future The Hunger Games: Sunrise on the Reaping star Joseph Zada — and others that fit the page-to-screen mould, including upcoming book-to-screen titles. Attendance is free, but you'll either need to register for a ticket in advance from 12pm AEST on Monday, July 14 or try your luck for one of the limited seats that'll be available on the day. "Prime Book Club LIVE celebrates our prolific book-to-screen storytelling and is a chance for our customers and fans to engage with Prime Video's series and films, and hear directly from talent about how these stories were brought to the screen. We're thrilled to have Jenny Han, Lola Tung, Rain Spencer and Mercedes Ron join us in Sydney for this exciting event," said Hwei Loke, head of Prime Video Australia and New Zealand. Prime Book Club LIVE takes place at 5pm on Thursday, July 31, 2025 at Machine Hall, 185 Clarence Street, Sydney, with free tickets available from 12pm AEST on Monday, July 14 and limited seats available on the day. The Summer I Turned Pretty images: Erika Doss © AMAZON CONTENT SERVICES LLC / Craig Barritt/Getty Images for Prime Video.
One of the artist statements for Global Gallery's current Russian Artists show proudly proclaims painter, Leeka Gruzdeff, as the "winner of over 100 first prizes in local and country exhibitions." That's a pretty good summation of this show, with most of the five artists' work displaying the sort of technical competence that would fare well at a smaller exhibition, but not necessarily producing much in the way of emotional impact. There's a good deal of fine draftsmanship on show at this small Paddington gallery, with Gruzdeff's musical scenes being one example. A more striking one being Helen Kosenko's finely detailed, vaguely pop-art pieces, which make excellent use of limited palettes and fine detail. But few of the artists have applied their skills in a particularly moving way, with beach scenes, fairly unimaginative collage and some decent but unamazing abstract art making up the rest of the show. Arguably one exception is Edward Galkin. The most stereotypically "Russian" of the artists being exhibited, his series of ostensibly crude paintings of the uniquely snide (or perhaps retarded) East European interpretation of court jestery easily stand out in their concern with more difficult experiences. The stupid, lustful, or (maybe?) cunning wide-eyed grin of Petrushka, the paintings' protagonist, accompanies him on a series of escapes alongside such dour and absurd captions as "I have no mummy," "Death takes Petrushka" and "Petrushka is mocking Malevich." It's vaguely unsettling stuff, which is definitely a plus, but without much in the way of context these mildly sinister scenes lose some of their power, coming across a bit like Itchy and Scratchy's iron curtain counterparts Worker and Parasite. I'd be letting my own East European heritage down if I didn't suggest that this show is still worth seeing — Petrushka's good company, no doubt — but maybe not at the top of your list.
After launching in 2004 — and creating its own womenswear label Alice Underground soon after — Lotus Pod has continued to do things a little differently. The store's styles are recognisable — they're flowy and feminine and feature lots of earthy colours. Plus, they're matched with local jewellery, bags and accessories. And you might be pleased to know that the store is also a charity, and contributes some of its profits towards philanthropic and welfare activities such as food relief, education, and enabling self-sufficiency.
Aim high. Go low. That's the fitting credo of this cocktail bar-slash-eatery-slash-live music venue. And I can tell you, they don't miss the mark. Darlo bar hoppers may not be starved for their pick of small bars, but Low's got a little something the others don't. For one, this place is sexy. Dark leather lounges are set against draping red curtains, with a grand piano tucked in the corner - an open invitation for musos to hammer out a good tune, and for hammered rockers looking for extra stage room. Throw in some low lighting, incense, intimate side rooms and an outdoor sitting that opens out onto Crown Street, and you've got your night off to a very good start. The only thing that's as sophisticated as the digs is Low's bar menu. With things like Octopus Carpaccio ($15) and Twice Cooked Lemon Chicken Wings ($11) on offer, this ain't your usual pub fare. I'd suggest getting stuck into their Short Ribs and keeping an eye out for the weekly specials. Match it with a frosty can of Yebisu ($8.50) or Lord Nelson ($9). If we're talking cocktails, the skilled bartenders are adept at leading the most indecisive of patrons to their new favourite drink. Despite my doubts, I was talked into a classic New York Sour ($16). Unconvincing on paper (bourbon, red wine and lemon juice) but phenomenal in a glass. The wine list features drops from Oz, NZ and France and is reasonably priced, rarely pushing the $45 mark. Having said that, Low probably won't suit those on a shoestring budget. While the no-fuss Brighton Bar is close by, it's worth considering whether you can put a price on dignity. Lastly, don't rock up at Low around midnight and expect to cruise on in. The queue on Friday and Saturday nights is impressive and the bouncer cares little for name-droppers. If you're through the door before 9pm and nab yourself a table, you're laughing. One of the best nights to drop in is Sundays for Low's live music gigs, which have seen some local and international talent tear it up on regular occasions. Aim high, and go Low indeed. Images: Alex Relic [nggallery id=82]
Sydney's Gay and Lesbian Mardi Gras celebrations are coming back in force, but past the parade, fair day and special events popping up over town, there's a special celebration of LGBTQI+ filmmaking that's also making its return: the 33rd Mardi Gras Film Festival, which returns to Event Cinemas George Street and Dendy Newtown from Thursday, February 12 to Thursday, February 26. Queer Screen has announced the full program for this year's festival, packed with 139 outstanding feature films, documentaries and short films sourced from 38 countries — including six world premieres, five international premieres and 64 Australian premieres. [caption id="attachment_1065285" align="aligncenter" width="1920"] 'She's the He', directed by Siobhan McCarthy[/caption] Highlight entries in the program include an opening night screening of Jimpa, directed by Australian filmmaker Sophie Hyde and starring Olivia Colman (The Roses), John Lithgow (The Old Man) and Aud Mason-Hyde (Fucking Adelaide). There's also the steamy, leather-clad Pillion, starring Alexander Skarsgård (Murderbot) opposite Harry Melling (The Queen's Gambit) and closing night film She's the He starring Misha Osherovich (Freaky), Malia Pyles (Pretty Little Liars: Original Sin) and Nico Carney. Also featuring in the program is The Chronology of Water, the directorial debut of Kristen Stewart, starring Imogen Poots (28 Weeks Later) as a young woman who escapes a toxic childhood through competitive swimming and sexual experimentation; Love Me Tender, starring Vicky Krieps (Phantom Thread) and Antoine Reinartz (Anatomy of a Fall) in a story about a woman maintaining a maternal bond in the midst of a divorce and A Deeper Love: The Story of Miss Peppermint, a look behind the scenes of the RuPaul's Drag Race star's rise to fame. [caption id="attachment_1065286" align="aligncenter" width="1920"] 'The Chronology of Water', directed by Kristen Stewart[/caption] In terms of returning classics, attendees can look forward to a 4k restoration of Lisa Cholodenko's High Art, a 30th anniversary screening of the Australian classic Love and Other Catastrophes, the 50th anniversary of the John Hurt-starring The Naked Civil Servant and a showcase of Castration Movie Anthology II: The Best of Both Worlds, presented in partnership with Pink Flamingo and with director Louise Weard in attendance. "This festival would not be possible without our generous partners, donors, members, community supporters, as well as the festival team and volunteers who have put in countless hours to make it happen. It's an honour to be able to lead the team and carry forward Queer Screen's legacy after 32 years. I warmly welcome you back to the cinema to experience the magic with us," said Queer Screen CEO Benson Wu. [caption id="attachment_1065283" align="aligncenter" width="1920"] 'Love and Other Catastrophes', directed by Emma Kate-Croghan[/caption] Queer Screen Programming and Industry Manager Andrew Wilkie added, "At a time when our community is facing increased persecution both here and abroad – particularly our trans siblings – seeing authentic LGBTIQ+ stories on our screens is more important than ever. Our continued visibility in the face of bigotry sends a clear message: we refuse to hide or be silenced. And that's the theme that permeates this entire program, films all about being unapologetically queer and finding community." Mardi Gras Film Festival will run at Event Cinemas George Street and Dendy Newtown from Thursday, February 12 to Thursday, February 26. For the full program or for more information, visit the website. Lead image: 'Pillion', directed by Harry Lighton. Images courtesy of Queer Screen.
Twenty-six years ago, "do you like scary movies?" stopped being just an ordinary question. Posed by a wrong-number caller who happened to be a ghostface-masked killer with a fondness for kitchen knives, it was the snappiest and savviest line in one of the 90s' biggest horror films — a feature filled with snappy and savvy lines, too — and it's now one of cinema's iconic pieces of dialogue. It also perfectly summarised Scream's whole reason for being. The franchise-starting slasher flick didn't just like scary movies, though. It was one, plus a winking, nudging comedy, and it gleefully worshipped at the altar of all horror films that came before it. Wes Craven helmed plenty of those frightening features prior to Scream, so the A Nightmare on Elm Street and The Hills Have Eyes director was well-equipped to splash around love for the genre like his villain splashed around entrails — and to eagerly and happily satirise all of horror's well-known tropes in the stab-happy process. If you've seen the 1996 film or its three sequels till now, you've bathed in all that scary movie affection. You might've gleaned the horror basics from their rules and references; the OG film even had its characters watch Halloween and borrows the 70s classic's stellar score for key scenes. Geeking out over spooky cinema is the franchise's main personality trait, to the point that it has its own saga-within-a-saga, aka the Stab movies, and its fifth entry — also just called Scream — wouldn't dream of making that over. The famous question gets asked, obviously. Debates rage about the genre, enough other horror films are name-checked to fill a weekend-long movie marathon, cliches get skewered and dissected, and there's a Psycho-style shower scene. 'Elevated' horror standouts The Babadook, It Follows, The Witch and Hereditary earn a shoutout as well, but Scream itself just might be an elevator horror flick. It isn't set in one, but it crams in so much scary movie love that it always feels like it's stopping every few moments to let its nods and nerding-out disembark. In other words, you'd really best answer Scream's go-to query with the heartiest yes possible, and also like watching people keep nattering about all things horror. Taking over from Craven, who also directed 1997's Scream 2, 2000's Scream 3 and 2011's Scream 4 but died in 2015, Ready or Not's Matt Bettinelli-Olpin and Tyler Gillett task their next generation of slasher fodder with showing their devotion with all the subtlety of a masked murderer who can't stop taunting their prey. It's playful, irreverent, loving and meta but also overdone, even as the film has something savage to say about internet-era fandom and its non-stop demands (especially with big, popular and ongoing franchises like this). A little too often, the new Scream resembles chatting to that one person at a party who won't stop going on about the sole thing they adore, even if you love it with equal passion. One of those cinephile titbits that gets mentioned over and over: that the film considers itself a requel, aka a flick that keeps the same context as its predecessors — same timeline, same world and some legacy characters, too — but introduces fresh faces to give the original a remake. So it is that this Scream dispatches Ghostface upon today's Woodsboro high schoolers, because the fictional spot is up there with Sunnydale and Twin Peaks on the list of places that are flat-out hellish for teens. Scream 4 did the same, but the first new attack by the saga's killer is designed to lure home someone who's left town. Sam Carpenter (Melissa Barrera, In the Heights) hightailed it the moment she was old enough, fleeing a family secret, but is beckoned back when her sister Tara (Jenna Ortega, You) receives the feature's opening "do you like scary movies?" call. Soon, bodies are piling up, Ghostface gives Woodsboro that grim sense of deja vu again, and Tara's friends — including the horror film-obsessed Mindy (Jasmin Savoy Brown, Yellowjackets), her twin Chad (Mason Gooding, Love, Victor), his girlfriend Liv (Sonia Ammar, Jappeloup), and other pals Wes (Dylan Minnette, 13 Reasons Why) and Amber (Mikey Madison, Better Things) — are trying to both survive while basically cycling through the OG feature again, complete with a crucial location, and sleuth out the culprit using their scary movie knowledge. Everyone's a suspect, including Sam herself and her out-of-towner boyfriend Richie (Jack Quaid, The Boys), and also the begrudging resident expert on this exact situation: ex-sheriff Dewey Riley (David Arquette, Spree). The latter is the reason that morning show host Gale Weathers (Courteney Cox, Cougar Town) and initial Ghostface target Sidney Prescott (Skyscraper) make the trip back to Woodsboro again as well. Working with a script by Murder Mystery's James Vanderbilt and Ready or Not's Guy Busick, Bettinelli-Olpin and Gillett are in familiar territory several times over — their ace last release was all about attempting to outwit disturbed murderers, too — and they're well-aware that their audience knows it. "I've seen this movie before," Sidney slyly comments in one pivotal scene, which is this Scream's most telling moment. Just like the thin line between intriguing and unhinged in all those gravelly-voiced phone chats, the line between fun and repetitive is oh-so-slight here. Because this kind of sequel is currently Hollywood's favourite thing, Scream splits the difference between Ghostbusters: Afterlife and The Matrix Resurrections; it's never anywhere near as dull and grating as the first, but it's not as smart and ambitious as the second, either. It is gloriously gory, though. Blood, like horror movie references, flows thick and fast. Indeed, Scream 2022 is at its best when it's doing two things: staging those teased-out kills with stylish flair, which is where the flick's self-referential obsession gets its finest time to shine, and taking another slice at its three franchise mainstays' stories. Sidney and co are supporting players this time, as per requel rules, but they're the callbacks that are worth the price of admission over the Stab chatter and obligatory 'Red Right Hand' needle-drop. The new cast members put in a fair effort — Barrera and Savoy Brown especially; both have had a killer on-screen past 12 months anyway — but the bulk of the movie's first-timers always feel too disposable. Yes, this slasher sequel falls victim to unshakeable tropes far more than it successfully subverts them. It's still mostly entertaining enough, and the franchise had endured other average-at-best chapters (see: Scream 3 and Scream 4); however, looking self-satisfiedly backwards instead of leaping forwards, it's basically running up the stairs when it should be heading out the front door.
Potts Point's new French restaurant Bistrot 916 has been offering up fun and exciting new takeaway options throughout lockdown. It started with the Burger 916, a limited-edition burger which sold out daily. In the last couple of weeks, the team have taken things up a notch with the neighbourhood bistro launching a full takeaway menu that spans from caviar service to cheeseburgers and hash browns. You have two choices when ordering takeaway from Bistrot 916: browse the takeaway menu and swing past its Challis Ave home to pick up your food, or choose from the more extravagant options available on Providoor. Here you can order two-person steak, duck and vegetarian banquets ($120-180). The more reserved duck banquet comes with duck frites, chicken liver parfait, lumache a l'escargot (tomato-braised snails), Valrhona chocolate mousse, plus salad, bread and butter. Not excessive enough? The steak banquet swaps the duck for steak and adds a set of 12 oysters. Each banquet can be ordered alongside an at-home beverage pairing experience that includes four glasses of wine designed to complement the meal. If you're not looking for such a luxe and bank-blowing meal, you can order a set of two next-level cheeseburgers made with Rangers Valley beef patties and topped with Bistrot 916 burger sauce, hash browns and soft drinks for the still-pricey but more reasonable $69. Or, if you're looking to get just a little fancy, order yourself 12 oysters with mignonette, lemon, lime and ginger gelee for $48. Wine and cocktails are available for purchase on their own if you want to pair your cheeseburger with a negroni. Images: Steven Woodburn
According to one urban myth, Sydney's jacarandas are the work of an unknown hospital matron who sent every new mother home with a seedling. Another states that soldiers brought the trees home as gifts on their return from World War II. The problem is that there's no evidence for either. So, no one really knows how Sydney came to have so many of these. What we do know, though, is that, come late October, the city begins to transform into a vision of purple, as hundreds of jacarandas bloom. But they don't hang around for long — the flowers typically peak in mid-November and usually disappear by early December. So, if you're keen to see them, it's time to start planning a day out. Here are a few spots — both in and near Sydney — where you can get your jacaranda fix this spring. Recommended reads: The Best Walks in and Around Sydney The Best Day Trips from Sydney — for Summer The Best Bike Rides in and Around Sydney CIRCULAR QUAY AND THE ROCKS The Rocks' heritage-listed sandstone provides a particularly striking backdrop to see blooming jacarandas in Sydney. Turn your adventure into a lovely walk by starting at the Royal Botanic Gardens and following the Harbour shore line to The Rocks, taking in the sights as you go. And while you're there, make a proper day of it by grabbing some drinks at The Glenmore Hotel's rooftop, a natural wine at Le Foote or a Nashville-style chicken burger at the Circular Quay outpost of Belles Hot Chicken. PADDINGTON Paddington's most famous jacarandas line is Oxford Street, just outside Victoria Barracks. But you'll find plenty more among the suburb's back streets and parks — especially around Five Ways. Grab a coffee and pastry from Funkis Koket Cafe or Padre, and take your time wandering around the neighbourhood streets on a sunny weekend. HUNTERS HILL While you're on the north shore, head a little west to take a stroll through Hunters Hill. For a local's perspective, jump on board a walking tour with the Hunters Hill Trust. But if you prefer to go at your own pace when checking out Sydney's blooming jacarandas, you can take the self-guided tour around Hunters Hill. LAVENDER BAY To see a purple sea against the brilliant blue of the Harbour, head to Lavender Bay on the lower north shore. Other spots to check out nearby include Wollstonecraft, Waverton and Kirribilli's famous (and always packed with photo-takers) jacaranda 'tunnel' on McDougall Street. Follow it up with a venture to The Greens for food, bevs and barefoot bowls in the sun. GRAFTON Located six hours north of Sydney just above Coffs Harbour, Grafton should be top of any Jacaranda lovers' hit list for Spring. The regional town even hosts its own Jacaranda Festival every year, kicking off on Friday, October 27 in 2023. The festivities celebrate the violet-hued blooms and include a float parade, drag bungo and a long lunch underneath the colourful trees. [caption id="attachment_782750" align="alignnone" width="1920"] Destination NSW[/caption] Images: Destination NSW.
French Canadian filmmaker Jean-Marc Vallee is famed for masterfully ingraining music into his films. The name of his most recent work comes from the chill out song 'Cafe de Flore' by Matthew Herbert, a song that holds extreme resonance for the characters, connecting them across time and place. The music in the film — dominated by the otherworldly Sigur Ros with a smattering of electro, pop and dance in between — is not merely decorative or utilised to invoke emotion; rather, it galvanises people in the most intense of ways and serves to remind them of the tragedy of love lost. In the world of Vallee's characters, music is life altering and transcendent, a profound expression and experience of love. Vallee presents us with two seemingly distinct stories, tales that will be joined at the end in the most surprising of ways. In modern-day Montreal, DJ Antoine (Kevin Parent) is deeply in love with his partner, Rose (Evelyne Brochu), but is emotionally displaced by his ineffable connection to his teenage sweetheart and ex-wife Carole (Helene Florent), the mother of his two children. Antoine questions during the film how one can have two soul mates in a lifetime. "If it's a soul mate," he asks, "it's not supposed to end, right?" Carole, in turn, is haunted by the disappearance of a love she thought was "written in the stars". The other story, set in an unspectacular Paris of browns and greys in 1969, follows Jacqueline (Vanessa Paradis) and her obsessive devotion to her son, Laurent (Marin Gerrier), who has Down syndrome, along with his fervent attachment to a little girl also with Down Syndrome called Veronique (Alice Dubois). How the two stories converge will be divisive for audiences — some will be in awe of the magnitude of it all while some will walk out and roll their eyes. I was unfortunately in the latter camp. The final revelation let Cafe de Flore down in my opinion, but it didn't take away from the beauty of it as a whole. The film has a hypnotic quality that truly entrances. The use of photos of times past; stunning, ethereal visuals; and the inclusion of scenes showing Antoine and Carole as teenagers bound by love and a shared passion for music infuse the film with a sense of nostalgia and history that renders it dreamlike and sad. It won't be to everyone's taste, but if you appreciate good music and a complex, interesting story, then this might have something for you. https://youtube.com/watch?v=Y3HAgq7aQOk
"Written and directed by" is a significant phrase in Hollywood. In an industry notorious for taking a screenwriter's story and completely bastardising it during production, directors like Christopher Nolan, Woody Allen and the brothers Wachowski and Cohen have all demonstrated the virtues of controlling a film's production from its very inception right through to its, well… Inception. In essence, the words "written and directed by" offer audiences the greatest guarantee that the film they're about to see is the closest thing to the film the director actually set out to make. Which begs the question: why did Boaz Yakin set out to make this movie? Safe, starring England's best whispering frown — Jason Statham — is a violent action flick written and directed by Yakin; however, 'written' might be a touch generous. Statham has more hair than this film has plot, and with lines like "I’ve been in restaurants all night but all I've been served is lead", the dialogue is equally sparse. As an action film, Safe operates squarely within the boundaries of its genre's logic. The Chinese bad guys are Chinese, so they all know martial arts. The Russian bad guys are Russian, so they all laugh while killing people and sound exactly like Boris Badenov from Rocky and Bullwinkle. Last but not least, the cops and politicians are all so corrupt, the only person who can stop them is a good cop who's not a cop any more. Throw in a young Chinese maths prodigy (Catherine Chan) whose memory is abused by the Triads as an untraceable ledger for their illegal activities and you've got all the ingredients you'll need. All the ingredients, that is, to bake yourself a pie. A pie made of lead. A death pie.
As we inch ever closer to the 20s of the modern day, take a step back to last century's roaring era of swinging jazz, flapper dresses and underground drinking dens. Hatted CBD restaurant, Silvester's, is throwing a Gatsby-themed party with all the glitz and glamour of the roaring twenties. The cocktail party is an ode to the Silvester Brothers: one of Sydney's finest butchers and providores that operated in the 1920s in the same spot where you'll now find the fine diner. Expect over-the-top culinary treats, including a massive chocolate centrepiece, plus a flowing wine fountain at the centre of it all. As it's a stand up do, you'll be feasting on canapés, small treats and some Silvester's signature dishes, with different food offerings set up throughout the grand space. Wander through the (fabulously dressed) crowd and start at the caviar bar, then head to the oyster bar or the crudo bar with kingfish, snapper and tuna on offer. You'll also find charcuterie, a parmesan cheese wheel gnocchi stall, and an open kitchen-cum-butcher serving duck and hollandaise trout, plus carving beef to order. For dessert, you can either feast on liquid nitrogen desserts or get creative at the interactive pastry lab. On the drinks front there'll be a roaming tray service of fine Australian wines and aperitifs. The soiree will be swinging, too, with a live jazz band performing prohibition-era favourites. The dress code is 'Gatsby and chic', so think dapper suits, beaded dresses with tassels, feather hairpieces and long strings of pearls. Tickets start at $89 (limited release) and cover all food and drinks. To purchase, head here.
UPDATE, October 9, 2021: In the Heights is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video, and is also screening in Sydney cinemas when they reopen on Monday, October 11. Lin-Manuel Miranda isn't the first lyricist to pen tunes so catchy that they get stuck in your head for years (yes, years), but his rhythmic tracks and thoughtful lines always stand out. Miranda's songs are melodic and snappy, as anyone who has seen Hamilton onstage or via streaming definitely knows. The multi-talented songwriter's lyrics also pinball around your brain because they resonate with such feeling — and because they're usually about something substantial. The musical that made his name before his date with US history, In the Heights echoes with affection for its eponymous Latinx New York neighbourhood. Now that it's reverberating through cinemas, its sentiments about community, culture, facing change and fighting prejudice all seem stronger, too. To watch the film's characters sing about their daily lives and deepest dreams in Washington Heights is to understand what it's like to feel as if you truly belong in your patch of the city, to navigate your everyday routine with high hopes shining in your heart, and to weather every blow that tries to take that turf and those wishes away. That's what great show tunes do, whisking the audience off on both a narrative and an emotional journey. Miranda sets his words to hip hop beats, but make no mistake: he writes barnstorming songs that are just as rousing and moving, and that've earned their place among the very best stage and screen ditties as a result. Watching In the Heights, it's hard not to think about all those stirring tracks that've graced previous musicals. That isn't a sign of derivation here, though. Directing with dazzling flair and a joyous mood, Crazy Rich Asians filmmaker Jon M Chu nods to cinema's lengthy love affair with musicals in all the right ways. His song-and-dance numbers are clearly influenced by fellow filmic fare, and yet they recall their predecessors only because they slide in so seamlessly alongside them. Take his staging of '96000', for instance. It's about winning the lottery, after word filters around that bodega owner Usnavi (Anthony Ramos, a Hamilton alum) has sold a lucky ticket. Due to the sweltering summer heat, the whole neighbourhood is at the public pool, which is where Chu captures a colourful sea of performers expressing their feelings through exuberantly shot, staged and choreographed music and movement — and it's as touching and glorious as anything that's ever graced celluloid. $96,000 won't set anyone up for life, but it'd make an enormous difference to Usnavi, In the Heights' protagonist and narrator. It'd also help absolutely everyone he loves. As he explains long before anyone even hears about the winning ticket, or buys it, every Heights local has their own sueñitos — little dreams they're chasing, such as his determination to relocate to the Dominican Republic. That's where his late father hailed from, and where he's set his sights on finding happiness. As Usnavi tells the movie's tale, he does so looking back while talking to kids on a beach, so his commitment to pursuing his chosen future can't be doubted. But this isn't just the story of how and if his sueñito eventuates. It's also about his fondness for hairdresser Vanessa (Melissa Barrera, Vida), who he can't muster up the courage to ask out. It's about her quest to pursue a fashion career in Manhattan, too, and about the yearnings stirring inside fellow locals Nina (film debutant Leslie Grace) and Benny (Corey Hawkins, BlacKkKlansman). The former is back from Stanford to tell her dad (Jimmy Smits, The Tax Collector) she doesn't want to return — and the latter, who works for her father, dreams of business school. Usnavi's young cousin Sonny (Gregory Diaz IV, Vampires vs The Bronx) also pines for a different path, as does salon owner and local mainstay Daniela (Daphne Rubin-Vega, Katy Keen). Some of In the Heights' sueñitos are big and bold, while others value beauty in the everyday — such as the resolve to seek dignity in minutiae that drives neighbourhood Abuela Claudia (Olga Merediz, reprising her role from the stage). One of the things that's so entrancing about the film's narrative, which Pulitzer Prize-winning playwright Quiara Alegría Hudes adapts from her own stage efforts with Miranda, is the textured snapshot it builds by flitting between different Heights residents. Not just through its lively and heartfelt songs, but also via its energetic and loving lensing, it scratches away at their hopes and desires, chronicling how they're toiling, trying and persisting day in, day out. Miranda and Hudes don't shy away from the struggles faced by Usnavi and his friends, of course, or from the ups and downs in life that come for us all. But character by character, they build a vision of heart and hope in one very specific place, as aided by Chu putting his past experience directing Step Up: 2 the Streets and Step Up 3D to exceptional use. In the Heights isn't just about dreams — it's also dreamy. Some of its musical numbers literally climb the walls with jubilation, or evocatively peer back in time, and it's just like stepping into Usnavi, Claudia and company's fantasies, emotions and memories with them. The grounding factor, other than the passion in every word, and the issues such as gentrification, economic inequality, racism and oppressive immigration policy that get pushed to the fore: Chu's phenomenal cast. Taking over the role that Miranda earned a Tony nomination for, Ramos is a dream, fittingly. His performance is so warm and engaging that hanging on his every rapped syllable is just part of the experience. He's surrounded by just-as-impressive co-stars, spanning the spectrum from Grace's simmering resolve and Barrera's pluck to Stephanie Beatriz's (Brooklyn Nine-Nine) scene-stealing supporting turn as a salon co-owner— and a singing and dancing Smits, too, as well as Miranda as a piragua cart vendor. The cinematic reverie they're all in isn't quite perfect, as its pacing often signals, but neither is any genuine dream. The best fantasies are always intoxicating, invigorating, impassioned and infectious, however, and truly mean something. In the Heights ticks all those boxes, and also finds time for a delightful Hamilton reference.
In season one of Netflix's Ugly Delicious, Momofuku founder David Chang and his cohort of famous chefs, comedians and street artists ate pizza in Naples, streetside tacos in LA, hot chicken in Nashville and deer tendons in Beijing. In season two of the non-fiction food show, which hits the streaming platform on March 6, Chang and co are heading Down Under. The four-episode second season will see Chang travel around Istanbul, Tokyo, Mumbai and Sydney with actors Nick Kroll and Danny McBride, comedian Aziz Ansari, Top Chef host Padma Lakshmi, food writers Helen Rosner and Chris Ying, and street artist Dave Choe, among others. While the just-dropped trailer doesn't give too much away in terms of Sydney locations, it does feature a Crocodile Dundee 'that's not a knife' gag at an Outback Steakhouse. It's possible Chang visited one of the 700-plus Australian-themed, American chain stores located in the US, but it's also possible he tracked down one of the eight scattered around the countryside in Australia — for the sake of, perhaps, authenticity. You also see a flash of Paul Carmichael, head chef at Sydney's Momofuku Seiobo, and taking into account how often Chang waxes lyrical about Golden Century's pipis in XO on Instagram, you can assume the chef will head to both of those spots, too. It also looks like the show will dive into Chang's personal life a little, with the trailer teasing discussions about his and wife Grace's nearly one-year-old baby Hugo. Chang will do a bit of a Jamie Oliver's Food Revolution, too, and cook a meal for schoolchildren. While you wait for the second season to hit Netflix next month, you can wait the trailer below. https://youtu.be/1eyFq3addMs Ugly Delicious 2 hits Netflix on March 6.
On Steve Zahn's 2020s-era resume, there's no place like Maui resorts and buried silos that house 10,000 souls across 144 underground levels. The actor has been calling both home, or home away from home, in two of the best television series of this decade. In the process, he's also been giving some of the finest performances of his career. An Outstanding Supporting Actor in a Limited or Anthology Series or Movie Emmy nomination came his way for The White Lotus, an accolade won by his co-star Murray Bartlett (The Last of Us). More awards attention deserves to arrive now that Zahn is among the cast of Apple TV+'s page-to-screen sci-fi dystopian thriller series Silo in its second season. The Minnesota-born and -raised actor has been a screen mainstay since the 90s, when he starred in one of the defining movies of the period: alongside Winona Ryder (Stranger Things), Ethan Hawke (Leave the World Behind), Ben Stiller (Nutcrackers) and Janeane Garofalo (The Apology), he was part of Reality Bites' core quintet. From there, everything from That Thing You Do! and Out of Sight to You've Got Mail and an episode of Friends followed before the 00s even hit — and his Independent Spirit Award-winning performance in Happy, Texas as well. Zahn has since voiced a Stuart Little character, acted for Werner Herzog in Rescue Dawn and played Bad Ape in War for the Planet of the Apes, alongside parts in Riding in Cars with Boys, Dallas Buyers Club, Treme and plenty more. [caption id="attachment_984317" align="alignnone" width="1920"] Mario Perez/HBO[/caption] In The White Lotus, he portrayed a husband (to Dear Edward's Connie Britton) and dad (to Immaculate's Sydney Sweeney and Gladiator II's Fred Hechinger) endeavouring to escape his worries in Hawaii. One such concern: his character's health. Joining Silo sees Zahn go from one extreme to another, then. Instead of opting for the tried-and-tested route of a vacation to avoid your everyday life — not that that ever works out well in The White Lotus, either in the Zahn-starring first season in 2021 or the anthology series' second in 2022 — he's now locked in with his woes. Zahn's Solo dwells in a new setting for the show: Silo 17, where Juliette Nichols (Rebecca Ferguson, Dune: Part Two) ventures after leaving her own. As streaming via Apple TV+ since mid-November 2024, dropping its ten-episode season weekly, Silo opens its second run with a glimpse of how life can go awry drastically and devastatingly when human existence is confined beneath the earth. That's been one of the series' throughlines overall anyway, but the situation in Silo 17 has left Solo alone behind a locked door after a revolution cleared out his fellow residents. He's wary of newcomers, unsurprisingly, but Solo is also curious about the world beyond his vault and empathetic to Juliette's need for help. After the events of season one cast her outside the only walls that she'd ever called home, she's eager to return back to her own silo to stop Silo 17's fate repeating there. So unfurls a season split across two places, and hopping between the aftermath of Juliette being sent out to clean — as being forced outside a silo is dubbed in the series' parlance — and her and Solo's efforts in the other bunker. In one of season two's locations, rebellion festers among the masses. In the other, two people attempt to survive. Chatting with Concrete Playground, Zahn compares his portion of Silo to a play. Since its 2023 debut, this has always been a TV must-see that feels the intimacy of creating societies beneath the ground, but that sensation earns a new dimension when it's just Solo and Juliette in Silo 17. How did Zahn approach portraying someone who is rediscovering what it's like to have company after being on his lonesome, and is clearly traumatised by his experiences while also eager to do the right thing by assisting Juliette? What was he excited about digging into as Solo? And what make he make of his jump from The White Lotus' beaches to Silo's subterranean levels? We talked with Zahn about the above, and also about how shooting their scenes in order helped him and Ferguson build their characters' rapport organically, what excites him about new projects more than three decades into his career and more. On Going From Playing Someone Trying to Escape Their Worries on Holiday in The White Lotus to a Man Locked in with His Traumas in Silo "Lately I've been lucky enough to do the extremes. And this character is definitely — the world is extreme but also the character. I've never played anything quite like this. And it was it was daunting, but it was also quite simple. I think because of Rebecca and the story, I really love it. It's daunting to play a character like this. It's hard. Day one is really difficult, because you're so self-conscious, right, when you play characters like that. Day one of playing Bad Ape in War for the Planet of the Apes was unbelievably hard, because that character that you establish goes to the end, whether it's good or bad, compelling or not. So you just hope your instincts are right. And you get addicted to playing people like this. I'm a proud character actor, put it that way." On Zahn's First Take on Solo in Silo, and What He Was Excited About Bringing to the Character "I found his childlike vulnerability to be fascinating, and I thought that was something that spoke to me and that I could tap into. That was compelling to me. I loved the story under a microscope, compared to the rest of the story. In season two, you've got chaos happening in volume, and then in this world you have water dripping and quiet and calm. And those two worlds together are insane." On Portraying Someone Who Is Dutiful to His Task to Protect His Vault, But Also Curious About the World — and Lonely and Yearning to Connect "It was a constant balancing act. There are times when he's a child — kids wear their emotions on their sleeves, they don't know the boundaries, they haven't learned all these things that we learn from other people. So at times he can be very scary, almost violent, and then in the next breath it turns on a dime and he can be this kid again. So you don't know how he's going to act in any certain situation. I felt like, and Rebecca and I felt like, we were doing a play — like we are doing some Beckett or some Pinter play in the West End. And every day we just got to explore these two individuals. And we shot it into order, which was actually really unique. We had a controlled environment. We had all these sets. And it was just her and I. So we could actually go in order. So the first week of shooting, you didn't see me. It was just really unique. It just doesn't happen." On How Filming in Order Helped Zahn Unpack Solo and Juliette's Relationship with Rebecca Ferguson Basically in Real Time "It absolutely helps, especially when it's incremental like this. It's these tiny steps that they take towards each other — and away from each other, depending. Honestly, if we had to shoot this out of order, it would have been really difficult to track all that. We would have had to spend a lot of time talking about that, where we didn't have to because it was a natural progression. We learned to trust each other as human beings, as actors, at the same time — it paralleled our characters, which was interesting. And so we could actually live in moments and let them breathe, and let that story evolve on its own. And so dialogue changed and intention changed, because of what we were doing, which is really cool. It happened. So much of the time you feel preoccupied with what you're doing that you don't live freely in moments. And when you're an actor and you get lost in a moment, that's the goal. I mean, I always joke like 'god, we were almost acting'. Which is a real compliment to the show, because it's rare when you're really just acting and everything else goes away. Usually it's in a play that you're doing. You get lost in that. This is all heavy actor shit, but you know, it was really fun, man. It was really fun." [caption id="attachment_984315" align="alignnone" width="1920"] Mario Perez/HBO[/caption] On What Gets Zahn Excited About a New Project After More Than Three Decades On-Screen "Story. Being a part of a really cool story. That's what, day one, that's what compelled me. Being in a really good play was awesome, that people liked. And then character and all that stuff, but for me it's the story. And I've been lucky enough to be approached by people that are good storytellers. I've been able to work with so many great, amazing people. And now Graham Yost [Silo's creator], he's a legend. And I worked with him a long time ago on From the Earth to the Moon back in the 90s. It's funny, when I'm walking around, I think of myself as 25. And it's weird to be the guy that people are calling 'sir' on set. It's weird. It's weird, it's bizarre, getting older. Because it's not a bank. We don't have that kind of hierarchy in our business. If I'm working with a 15-year-old, they're my peer. Fred on White Lotus, he's the same age as my son, we're like pals — because we did a show together." Silo streams via Apple TV+. Read our review of season one.
Lunar New Year is just around the corner, running from January 25–February 8. Ring in the Year of the Rat and celebrate Chinese culture by hitting up a street party in Haymarket, watching dragon boat racing in Darling Harbour and gawking at large-scale lanterns of the 12 lunar zodiac animals, plus a gold tower of nine 2.8m-tall robotic rats in Circular Quay. After your cultural fix, it's time to tuck into a feast. For those looking to ring in the New Year in style, you can head to one of the city's best restaurants — Aria — which is serving up Chinese-inspired dishes in celebration. Executive Chef Joel Bickford's specialty menu will be on offer from January 22–29, so you can either start the festivities early or head there after a day of exploring the many lunar events around Sydney. You'll be feasting on chilled lobster and potato salad topped with oyster emulsion and caviar; slow-cooked pork jowl, greenlip abalone, king oyster mushrooms and greens in XO sauce; steamed red emperor fish with creamed miso eggplant and shellfish oil; and cherry-glazed organic duck breast, aged in-house for seven days. Then, for dessert, a blood plum sorbet and a white chocolate, lychee and mango pudding. And, of course, it's all accompanied by sweeping Opera House and harbour views. This decadent six-course menu will cost you a cool $260 per person, with additional wine pairings ranging from $128–328 (or opt for a non-alcoholic drinks pairing for $78). After all, the Year of the Rat is one of wealth and surplus. Aria's Chinese New Year Celebration menu is available for lunch and dinner, from January 22–29. To book, head here. Images: Cole Bennetts, Steven Woodburn and Kitti Gould.
The Strand Hotel, a Darlinghurst favourite that's often in pursuit of its next great culinary idea, has switched up its offering yet again (last renovating its space and menus in 2023) with a facelift for the Public Bar and gourmet burgers. A corner bar that always has patrons spilling onto the sidewalk, The Strand has upped its appeal for anyone in the area in need of a post-work pint. That's thanks to Toby Wilson (executive chef at Rico's Tacos and The Norfolk) and Solotel's Executive Chef Hamish Ingram. Together, they've crafted a main menu of six burgers, and you can give them a try for five sweet days of discounts, starting Wednesday, August 20. Samples from said menu include hero burgers like the Smashed Burger with American cheese, bacon, burger sauce and pickles, the Hot Bird burger with fried chicken, black pepper, hot honey and iceberg and chive slaw, and the Fresh Fish burger with crumbed ling and house tartare — all of which are $5 for the first five days. Toby Wilson said "We've looked at what everyone else is doing and realised what the neighbourhood was missing — a seriously good burger. Between Hamish and I we've come up with six cracking burgers that cater to a few tastes." "We're celebrating the new menu launch [Wednesday, August 20] with $5 burgers for five days only - our way of inviting the neighbours, regulars, and anyone passing through to come in and road test the lot - the perfect excuse to grab a mate and work your way through the menu without breaking the bank." It's not just the menu that saw a revamp. The cocktail list now stars four signature sips, including the punchy-sounding Bulls on Parade, with pisco, macadamia, passionflower, lime and paprika oil. Strand regulars will also notice jazzy new interiors — no more carpets, it's back to the original marble flooring, with a fresh new fireplace for cold nights and a sprinkling of art deco throughout the entire space. Images: Take Studios
It was home to music institution The World Bar (and its cocktails in teapots) for a huge 18 years, before it closed in November 2018 and the short-lived Cali Club took over. Now, after sitting vacant since February, the site at 24 Bayswater Road, Potts Point, is being reborn once again — this time as a multi-venue arts hub run by Sydney Fringe Festival. Fringe HQ, as it shall be known, will see the Kings Cross institution reopened this Sunday, September 1 with the launch of the 2019 Sydney Fringe Festival. Instead of being just one venue, it will be multiple — the building will be home to four separate low-cost performance spaces and a ground-floor pop-up by local wine bar Dulcie's. With no curatorial guidelines, it's set to deliver a broad program covering everything from comedy to theatre to live music. The aim is to provide emerging artists with an affordable place to hone their talents, and a space for more established acts to test out new ideas. [caption id="attachment_699691" align="alignnone" width="1920"] The site when it was operating as The World Bar.[/caption] On the ground floor, with the bar, will be the New Blood Theatre, which will seat between 60 and 70 theatregoers, while upstairs has a smaller 40-person space called Level Up! On level two is Top Shelf, a space for work-in-progress shows. This one can be hired for free if you're part of Fringe's 10,000 Hours initiative. If you're an artist, you can apply to perform at the hub. While it will get a good workout during the festival, Fringe HQ will remain open for the next six months under a pilot project jointly funded by the NSW Government and the City of Sydney. As well as making good use of one of the area's prime buildings, Fringe HQ will join a local theatre scene that includes venues like the Old Fitz, the Hayes Theatre, SBW Stables Theatre, and Kings Cross Theatre at the Kings Cross Hotel. It follows Sydney Fringe's strong tradition of activating unused and underutilised spaces for use by Sydney's independent artists. The festival returns for its 2019 edition this weekend, taking over more than 60 venues across the city for a jam-packed program from September 1–30. Fringe HQ will open this Sunday, September 1 to coincide with the launch of Sydney Fringe Festival 2019. TO find out whats on at Fringe HQ, check the website. Image: Joe Cheng.
As the Australian Government increases its efforts to contain COVID-19, Aussies are getting rather accustomed to spending time at home. Non-essential mass events have been banned, indoor gatherings are restricted, anyone arriving from overseas is required to self-isolate for 14 days, and the country's borders have closed to non-citizens and non-residents. As a result, festivals and gigs are cancelling and postponing in swathes, cultural institutions are shutting down and moving their activities online, restaurants and bars are transitioning to takeaway options, and Aussie airlines are suspending all international flights. So far, few limitations on domestic travel have been put in place; however that's now beginning to change, too. The Federal Government has already banned non-essential travel to 76 remote Indigenous communities, while both Tasmania and the Northern Territory have effectively closed their state borders by mandating 14-day self-isolation requirements for anyone arriving from interstate. Now, Prime Minister Scott Morrison is advising that all non-essential travel anywhere — not just overseas but interstate — should be cancelled. The recommendation came as part of the Prime Minister's latest press conference about the coronavirus, held on Sunday, March 22. It isn't a ban at this stage, but advice that the Federal Government is asking Australians to take seriously. And, with school holidays arriving soon, this recommendation is particularly timely. "Those holidays you might've been planning to take interstate over the school holidays — cancel them," Morrison said bluntly. The Prime Minister also advised that "more severe measures are coming", with local lockdowns under discussion — a topic that's also timely after Aussies have been seen flouting mass-gathering restrictions and flocking to popular beaches. However, such measures will only be made in line with medical advice. Also, what might work for one area of Australia at any given time may not work for another area of the country at the same time. With that in mind, when they next meet tonight, the national coronavirus cabinet will consider shutting down particular places to enforce social distancing tactics. "What may be necessary in a part of Sydney may not be necessary at all in rural NSW or in Perth or other parts of the country," the Prime Minister noted, also stating that a consistent set of measures and tools for the entirety of Australia are currently being worked on. After the national coronavirus cabinet convenes tonight, expect more updates tomorrow morning — with developments in Australia's response to COVID-19 happening not just daily, but hourly and even by the minute. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Maxim 75 via Wikimedia Commons.
As a dancer, he joined the New York Ballet while still a teenager. As a choreographer working in film, he's given Denis Villeneuve's versions of Dune their sandwalk. Making a dance film in the desert seems like the logical next step for Benjamin Millepied, then. The French talent's resume isn't short on other highlights — including the LA Dance Project, which he initiated; Black Swan, which he both choreographed and starred in; and the Paris Opera Ballet, where he was Director of Dance from 2014–16 — but a reimagining of Carmen not only shot in Australia, but backdropped by the outback town of Broken Hill, is quite the unique way to make his feature directorial debut. This is Carmen in name and spirit first and foremost, though. This is Carmen broken down and built back up again, too. Despite the contents of its frames, this is Carmen set not Down Under, but across the US-Mexico border amid fleeing to Los Angeles. This is Carmen following strangers who become lovers on the run, its namesake escaping cartel brutality and then racist prejudices when she migrates north, and the ex-marine that she crosses paths with post-smuggling dashing away from his own dalliances with violence. This is also Carmen led by Melissa Barrera and Paul Mescal, the former more in In the Heights mode than Scream, and the latter as entrancing as he's proven in Normal People and his Oscar-nominated performance in Aftersun. It was the pandemic that took filming in Mexico out of the equation, and brought Millepied to Australia. His visit, like Mescal's when he was cast, didn't slink under the radar — that Millepied is married to Black Swan Oscar-winner Natalie Portman, who shot Thor: Love and Thunder in Sydney, meant ample media attention. Carmen was made when much of Hollywood seemed to relocate this way; however, as spectacular as its dance sequences are, and as impressive as it leads prove as well (plus iconic Spanish actor and Pedro Almodóvar favourite Rossy de Palma, Parallel Mothers), it's as intimate as an opera-inspired drama that dances against sweeping plains of ochre Aussie soil can be. "I personally enjoyed it so much out there," Millepied tells Concrete Playground. "I love the desert. I love the light in the desert. I really loved being out there. I'm going back to Australia in a few weeks, and I'm tempted to go back out there." With Carmen now in Aussie cinemas and also screening at the New Zealand International Film Festival, the acclaimed dancer-turned-filmmaker chatted about swapping North America for Broken Hill, giving Prosper Mérimée's novella and Georges Bizet's opera his own spin, his leads, being driven by Succession composer Nicholas Britell's new score, and what he learned in making the leap from performing — or didn't. ON REIMAGINING CARMEN "I wanted to lean on a classical tragedy. I was instinctively attracted to it culturally, for its relationship to the Roma culture — and this idea of someone expressing her freedom through dance. Those were those were the key components. And really thinking that this would be a musical that was a drama with music and dance — that fantasy, that the dancing, would come through dreams, and that it was a drama. I think people forget that there's actually very few musicals that have a more realistic [approach] — here, of course, we're not fully in in realism, but I think that it's still a dark film. That's quite unusual for musicals, because you can make very light musicals, fluffy musicals, where people sing and dance. I probably will make something lighter like that. Hopefully, maybe someday, I get the opportunity. But that's not Carmen — Carmen took a different sort of sense." ON MAKING A DRAMA WITH DANCE, RATHER THAN A CLASSICAL MUSICAL, TO SUIT THE STORY "I don't think you can tackle a political subject like that and just have migrants dancing, for example. I think the subject matter implied that we had to bring a certain depth to the approach of how dance and music existed in the film. When I started to look at the history of the Roma culture in South America, and I started to think about the border — I don't know how it came up — I found out there's an important Roma community that migrated to Mexico in the early 20th century. And that story was quite fascinating, and the way they live, and the way that Mexican culture influenced their own, as they did in everywhere they went, and took on traditions and cultures. So it just made a lot of sense, this idea of the Roma culture being free and moving through the world, and with deep traditions. It made sense to set it on the Mexico-US border." ON AUSTRALIA STANDING IN FOR NORTH AMERICA "When I when I realised that I couldn't shoot in Mexico because of COVID and everything, and I had scouted and I'd done all this work, I looked at Australia because we were supposed to go there. It just made sense. I felt like I could pull it off, and I actually thought that the heightened reality that I was thinking of could really work there — I would just push that element, make it real. So that's how I thought of it, and it worked great. It was really incredible to shoot in in Australia. Just creatively, the team that I had was was really amazing. I loved it out there. We were really so lucky, and it actually looked a lot like the desert in the north of Mexico where I say it is early in the film. It was just this proximity in landscape that was really, really incredible." ON CASTING MELISSA BARRERA AND PAUL MESCAL, AND CAPITALISING UPON THEIR CHEMISTRY It's not easy to find someone who could really be a triple threat — dance and sing and act, and have that kind of magnetism, and [is] Mexican. She was really right. She was really perfect. I needed someone who was believable as a marine. I needed someone who was a real man — someone who was physical, who wasn't a dancer. He was perfect. I mean, how amazing is he in the film! She prepared a lot in terms of movement, in terms of flamenco. She prepared quite a bit, and so did he. You just hope that [the chemistry] is something that happens. You don't know. I mean, you get them together, but you just hope for the best, honestly." ON THE IMPORTANCE OF NICHOLAS BRITELL'S SCORE "The score implied so much of the film. We started with the music — so essentially the whole visual language came from the music, I would say. That was really wonderful. I even had score written that I could play on set. I think what I'm so proud of for this score is just it's so unique — so unique a sound for film, and it's filled with different influences, which is what we were going for. It's been a really beautiful journey with the music. When you hear the last hip hop track, it has West African rhythm influences. When you hear the choir, it's Eastern Europe voices — and then you have the French in the lyrics. And yet you have synths and strings, and so it's really rich in terms of its influences. That's what makes the score so unique. People wouldn't necessarily know it, but it is that way very specifically unique, I think. And I'm really proud of that for Nick, and for the film, that it doesn't sound like any other score that you've heard." ON MAKING HIS FEATURE DIRECTORIAL DEBUT WITH CARMEN "[It springs] from years of wanting to, of playing with film and the camera, and having a desire to actually make a film. It didn't come from one single thing. I think it's my love for photography, for film, for being interested in it — curious to, essentially, explore my own expression in something that has a bit more of an intellectual approach, in a way, and less instinctive like dance. Dance, I can just walk in the studio and just create something out of my dream — but a movie, you're interested in a theme, then you understand why, then you have to dig into it. I learned a lot through the process — of what to do, what not to do. And particularly the screenwriting stuff for me. I'm excited to to do it again, frankly." ON LEARNING FROM DANCING, CHOREOGRAPHY, BLACK SWAN AND DUNE FOR HIS FIRST FEATURE — OR NOT "I think nothing prepares you for really directing a film. I mean, there's little elements, but the magnitude of directing a film is so big that, no, it doesn't prepare you. But that's okay. I think there's a lot you can prepare yourself for, and yet there's so much to learn once you do it — and I love that. I love being thrown in the fire and and having to figure out everything on the go. I will make hopefully at some point a second film with so much more understanding of how do it." Carmen opened in Australian cinemas on July 13, and plays the 2023 New Zealand International Film Festival. Read our review. Images: Lisa Tomasetti / Goalpost Pictures.
In Love Lies Bleeding, a craggy ravine just outside a dusty New Mexico town beckons, ready to swallow sordid secrets in the dark of the desert's starry night. Tumbling into it, a car explodes in flames partway through the movie, exactly as the person pushing it in wants it to. There's the experience of watching Rose Glass' sophomore film emblazoned across the feature's very frames. After the expertly unsettling Saint Maud, the British writer/director returns with a second psychological horror, this time starring Kristen Stewart in the latest of her exceptionally chosen post-Twilight roles (see: Crimes of the Future, Spencer, Happiest Season, Lizzie, Personal Shopper, Certain Women and Clouds of Sils Maria). An 80s-set queer and sensual tale of love, lust, blood and violence, Love Lies Bleeding is as inkily alluring as the gorge that's pivotal to its plot, and as fiery as the inferno that swells from the canyon's depths. This neon-lit, synth-scored neo-noir thriller scorches, too — and burns so brightly that there's no escaping its glow. When the words "you have to see it to believe it" also grace Love Lies Bleeding — diving into gyms and in the bodybuilding world, it's no stranger to motivational statements such as "no pain no gain", "destiny is a decision" and "the body achieves what the mind believes" — they help sum up this wild cinematic ride as well. Glass co-scripts here with Weronika Tofilska (they each previously penned and helmed segments of 2015's A Moment in Horror), but her features feel like the result of specific, singular and searing visions that aren't afraid to swerve and veer boldly and committedly to weave their stories and leave an imprint. Accordingly, Love Lies Bleeding is indeed a romance, a crime flick and a revenge quest. It's about lovers on the run and intergenerational griminess. It rages against the machine. It's erotic, a road trip and unashamedly pulpy. It also takes the concept of strong female leads to a place that nothing else has, and you do need to witness it to fathom it. Stewart is Love Lies Bleeding's shaggy mullet-wearing heartthrob, a surly and oft-silent type who knows what she wants and doesn't. In the first category for the gym-managing Lou: a life free of abuse for her sister Beth (Jena Malone, Rebel Moon — Part One: A Child of Fire), who has scuzzy and vicious husband JJ (Dave Franco, Day Shift) lurking about; nothing to do with the shooting range-owning, gun-running, insect-obsessed, ponytailed Lou Sr (the scene-stealing Ed Harris, Top Gun: Maverick); and, from when she first sets eyes on her, muscular and permed out-of-towner Jackie (Katy O'Brian, Ant-Man and the Wasp: Quantumania). It's 1989, Lou is unwilling to be anyone but herself — iron-pumping patrons try and fail to insult her with "grade-a dyke" — and she's also introduced knowing how to clean up a mess and navigate amorous complications. Glass initially finds one of her protagonists with a hand deep in a backed-up toilet, and with local hang-about and past fling Daisy (Anna Baryshnikov, Dickinson) pleading for a date. More muck and more relationship chaos are in store for both Lou and for Love Lies Bleeding. Breezing in en route to a bodybuilding championship in Las Vegas, Jackie reciprocates her affections, then moves into her house — but the day before they meet, she's sleeping with JJ for a job at Lou Sr's. That's just some of the shit, metaphorical rather than literal, that Lou will have to get more than elbow-deep in. The FBI agents hovering around asking questions fall into the same camp. Alongside gleefully subverting the usual take on powerful women characters on-screen, Glass carves into idyllic perceptions of love. Love Lies Bleeding's central romance is urgent, instant, sweaty and horny, and also opportunistic, perilous and thorny. The idea that discovering your special someone is transformative also receives a stunning spin, and far beyond the fact that bulging biceps and doing everything on steroids — sometimes literally there — are rarely far from returning Saint Maud cinematographer Ben Fordesman's lens. It isn't merely Glass, Fordesman, editor Mark Towns (another Saint Maud alum), composer Clint Mansell (Sharper) and the meticulous team of sound designers who go all in on crafting Lou and Jackie's plight as an evocatively visceral and squelchy fever dream, heated sex scenes, an onslaught of gore and brutality, and an eagerness to get weird all included. Almost every time that she rolls out a new performance, Stewart is in never-better form again and again, which is true once more in this phenomenal portrayal. The anxiety, tension and vulnerability that's pulsating through Lou is evident in a look, a line reading and posture alone, as is determination, devotion, grit and complexity. Stewart masters something that's only matched by the electric O'Brian, as Glass demands: mesmerising viewers, and making them fall as head over heels for this chemistry-dripping pair and the movie they're in as they do with each other. For O'Brian, who also has The Mandalorian and Agents of S.H.I.E.L.D. as well as Westworld and The Walking Dead on her resume, has studied martial arts since childhood, takes part in bodybuilding contests off-screen and was previously a cop, it's a star-making, can't-look-away turn. Add obsession to the forces pumping ravenously through Love Lies Bleeding, which befits its filmmaker; this isn't her first picture about transformation and connection. The links between Saint Maud and Love Lies Bleeding mirror Lou and Jackie, with the two duos as much kindred spirits as opposites. Glass relishes the magnetic clash, then revels in it. What it truly means to change, and why, and the motivations to try; attempting to abandon old and forge new habits; what a person can and can't find in another; where faith and trust kick in: they all throb through both flicks. But jumping from a claustrophobic British setting to the expansive American west, plus from ailing bodies to musclebound figures, is also Glass' journey. Contrasts abound within Love Lies Bleeding itself, which is intimate but sprawling, raw and tender, sweet and savage, gets love and sex butting heads with carnage and death, grim but blackly comedic, and also dark and distressing yet swoonworthy and romantic. In her two features so far — a helluva debut, then this astounding follow-up — Glass has also proven herself a builder, but not of the bodies that her second movie peers at with as female a gaze that cinema is capable of. There's no watching Love Lies Bleeding and not spying its influences, as was the case with Saint Maud. That said, that both take those inspirations as foundations to construct something else entirely is equally inescapable. These are no one's copies. True Romance, Wild at Heart, Lost Highway, Thelma & Louise, Showgirls, Badlands, Paris, Texas, Raising Arizona, Bonnie & Clyde, Natural Born Killers: consider them all Love Lies Bleeding's siblings. So are Nicolas Winding Refn's Drive, Only God Forgives and The Neon Demon, as spied in the intoxicating hues that dance across the screen. Although it similarly only reached cinemas in 2024, Ethan Coen's Drive-Away Dolls would make a glorious double with one of the standout movies of the year. For a burning, bulging, blistering and brilliant plunge into filmmaking at its most exhilarating, however, Love Lies Bleeding stands and shines fiercely atop its own cliff.
This Australia Day, the Watsons Bay Boutique Hotel, in conjunction with WATTSUP Stand Up Paddling, present an event both your pooch and you will be pumped for: The Every Man and His Dog stand-up paddle race. Also open to those without a paddleboard (it can be hired on the day) or a four-legged friend (can't hire, go without), the race offers something for everyone, with different categories including long distance, sprint and kids' races. Kicking off at 7.30am, The Every Man and His Dog stand-up paddle race will leave your tummy grumbling. Luckily, the Watsons Bay Boutique Hotel have your back (or stomach) with their public holiday-only, all-you-can-eat buffet brunch. But what would Aus Day be without a little oomph? Stick around for DJ Dirty Sandshoes and a beach barbecue, or get your dance on early with Euphoria Australia Day Eve Party.
Hot on the heels of Babylon opening its doors last week is Westfield Sydney's second sprawling rooftop venue. Duck & Rice is a 500-seat contemporary Cantonese restaurant with 1920s Shanghai vibes. Opening its doors yesterday, Wednesday, June 26, it boasts an expansive outdoor terrace, Asian-inspired cocktails and dim sum aplenty. The 400-square-metre venue spans multiple spaces including a restaurant, 200-seat bar and the aforementioned terrace. Head chef Kago Fong is plating up fresh seafood, dim sum and whole roast duck with plum sauce. Dishes you might find on the main menu include drunken pork knuckle, five spice beef shin with chilli vinaigrette and whole barramundi with pine nuts. For dim sum, there are pork and crab siu mai, saltwater duck and wild mushroom dumplings and scallop wontons with chilli. Get it all in the assorted dim sum basket or try one of the banquet menus ($50–88) for the full experience. [caption id="attachment_728587" align="alignnone" width="1920"] Steven Woodburn[/caption] The bar offers its own reduced menu until midnight daily, too. It includes the likes of buns stuffed with slow-cooked pork, crispy chicken wings slathered in kung pao sauce and XO fried rice topped with duck. The bar is, of course, also stirring and shaking Cantonese-inspired cocktails, courtesy of bar manager Luke Nicola (Mr Wong, Mercado). There's the Guns 'n' Roses (rum and spiced vermouth with strawberry and black rose tea) and the Spice Trade Punch #5 (star anise-infused cognac and Campari mixed with yuzu and pineapple). Plus, an old fashioned that uses black sesame-spiked rum and activated charcoal, and a spicy G&T with sichuan pepper gin. Absinthe and Chinese baijiu flights also make the cut, as do a whopping 28 wines by the glass and another 100 by the bottle — you can thank sommelier Simon Howland (Nomad, Catalina) for that bit. For those attempting Dry July, Chinese teas, house lychee and elderflower sodas and high-end mocktails are also up for grabs. [caption id="attachment_728584" align="alignnone" width="1920"] Steven Woodburn[/caption] The fit-out is the work of Brisbane-based architect firm Hogg & Lamb, and the design fuses traditional Chinese art with the art deco stylings of 1920s Hong Kong and Shanghai. Expect a glowing, glass-fringed bar top, Brazilian teak flooring, blue and gold wallpaper and tabletops made from oak and emerald marble. There's also marble tiling and a dedicated lantern room on the terrace —it features 250 handmade Chinese iron lanterns. Duck & Rice is the third Sydney venue for Mantle Group Hospitality, which also opened Babylon last week, as well as James Squires' restaurant and microbrewery, The Squire's Landing, in Circular Quay last year. Duck & Rice is now open at Level 7, Westfield Pitt Street, Sydney. Opening hours are 11am–midnight daily. Images: Steven Woodburn.
Baby, baby, baby, 2023 is looking better — funnier, too — with the news that one of the best comedies currently being made will return with new episodes. Come Tuesday, May 30, I Think You Should Leave with Tim Robinson will drop six new instalments like coffins drop bodies on Corncob TV hit Coffin Flop. As always, the very real Netflix rather than the extremely fictional Corncob TV will be the place to see comedian and Detroiters star Tim Robinson unfurl his surreal sketch-comedy stylings — a sense of humour that's already gifted viewers hot dog suits, Garfield houses and sloppy steaks. If you've got slicked-back hair and babies know you used to be a piece shit, you'll be keen to see what this sidesplitting sketch comedy series serve up next. Here, literally anything can happen. I Think You Should Leave with Tim Robinson first arrived in 2019 when, on one otherwise normal day, folks sat down on the couch, switched on their televisions, started scrolling through Netflix and came across an instant cult-hit comedy. The best sketch comedy of that year, and one of the best TV shows in general, too, the series' first season was ridiculously easily to binge. You don't even need two hours to get through all six episodes but, once you're done, you'll wish that it went for at least twice as long. When season two arrived in 2021, it was just as phenomenal. Absurd, hilarious, finding gags about a secret excuse to help men explain away pee stains on their pants, plus quite the loud and lurid shirt, and then a daggy hat — that's this series. Absolutely no one excavates, explores and satirises social awkwardness with the gusto, commitment and left-of-centre viewpoint of Robinson, with his skits diving headfirst into uncomfortable and excruciating situations, dwelling there, and letting them fester. It's no wonder that the former Saturday Night Live comic has a hit on his hands. Just try looking away from his flexible face expressions alone. So far, Netflix hasn't spilled exactly what's in store for season three, or dropped a trailer, but it doesn't matter — whatever Robinson unleashes won't be like anything else. Haven't watched the first two seasons yet, and not sure I Think You Should Leave with Tim Robinson is for you? It is. Robinson has had plenty of recognisable co-stars by his side over the initial two batches of episodes, too — talents such as Sam Richardson (The Afterparty), Will Forte (Weird: The Al Yankovic Story), Steven Yeun (Nope), Vanessa Bayer (I Love That for You) and Bob Odenkirk (Better Call Saul). And, the series also boasts some big names off-screen too, with The Lonely Island (aka Brooklyn Nine-Nine's Andy Samberg and his regular comedy partners Akiva Schaffer and Jorma Taccone) its executive producers. Check out the trailers for I Think You Should Leave with Tim Robinson season one and two below: I Think You Should Leave with Tim Robinson's third season will be available to stream via Netflix from Tuesday, May 30. Images: Terence Patrick, Netflix.
How far would you go to keep a roof over your family's head? That's the question posed by 99 Homes, the blistering new moral melodrama from writer-director Ramin Bahrani. Set in Orlando, Florida during the height of the 2010 foreclosure crisis, it is perhaps the most compelling film yet made about the global economic downturn and the everyday people whose lives it tore apart. Forget serial killers wielding machetes. This is a horror movie for the modern age. Trading his spandex and web-shooters for a toolbox and blue collar, Amazing Spider-Man star Andrew Garfield plays protagonist Dennis Nash, a construction worker and single parent forced to move his family into a motel after they're thrown out of their home. Adding insult to injury, the only work Nash is able to find is as a day labourer for Rick Carver (Michael Shannon), the same ruthless real estate broker who evicted him in the first place. But Carver soon sees potential in the desperate young father and invites him to take a greater role in his business. But what will it take for Nash to sell his soul? 99 Homes is Bahrani's fifth feature effort, although it's the first to receive a significant release here in Australia. Still, those who have seen his earlier work, including Chop Shop, Goodbye Solo and At Any Price, will recognise his signature motifs. He's an unapologetically earnest filmmaker with a strong social conscience, taking major issues that dominate headlines and using them as a basis for intimate human stories. During the film's numerous eviction scenes, he employs handheld cameras and a low, pulsating score, creating an atmosphere of overwhelming helplessness. Watching Carver throw Nash and his family out of their home will likely leave viewers feeling nauseous – although not half as nauseous as they'll feel later in the film, when Nash begins evicting families on Carver's behalf. After a few years languishing in superhero limbo, Garfield recaptures the stellar dramatic form seen in The Social Network and Never Let Me Go. Every compromise Nash considers the actor makes us understand, forcing us to ponder what we'd do in the same situation. Laura Dern is likewise strong in the admittedly thankless role as Nash's kind-hearted mother. Both, however, are overshadowed by Shannon. With the same simmering intensity he brought to Take Shelter and Boardwalk Empire, the Oscar-nominated actor is captivating whenever he's on screen. A callous big screen capitalist in the vein of Gordon Gecko, Carver is at once repellent and uncomfortably persuasive – characteristics best exemplified in a monologue midway through the film in which the e-cig smoking realtor gives us a glimpse into what drives him while raining rhetorical fire down on everyone from federal regulators to homeowners themselves. It is, quite simply, one of the best written, best acted scenes you'll see in a cinema this year. That's not to say that Bahrani's screenplay isn't also without its weak points. Nuance isn't exactly his strong suit, and there are stretches of the film that feel rather histrionic. More frustrating is the ending, in which the writer-director strips away any sense of moral ambiguity in favour of a simpler, less interesting conflict between right and wrong. Yet even in the moments where the narrative falters, the weight and sincerity of Bahrani's intention are enough to carry you through. That, along with the phenomenal work of one of the finest actors working today. https://www.youtube.com/watch?v=sfttvNCIJvE
Holding this in Paddington Town Hall is fitting (har) for several reasons: (1) FASHAN is SRS BIZNISS; (2) it's based around community participation, even if not of the 'objection to proposed development' type; (3) if you're in that area, you're probably already paying attention to your outfit. Civic-mindedness goes beyond the venue, though, with the Fashion Forward Festival giving emerging labels a platform and raising funds for the AIDS Trust of Australia. A bit more underground and a lot more public-access than RAFW, the well-cut edge of Australian design is showcased and paraded here across a couple of days of garments, swimwear and accessories. The venue is practical, too: as well as fresh-faced and probably still only faux-jaded designers, some buyers and some people who would like to be buying, there will clearly be models at a fashion thing, and models are really tall. Not to suggest that they'd hit their heads on the ceilings of a less capacious space, but in terms of sense of scale this ends up being like an average-sized situation through a magnifying lens. That'll make you feel like you have brilliant attention to detail, which you're going to need to spot the careers as well as pieces being launched. A lot of care is taken in the festival's look(s) and there's a lot to care about in where the money it raises is going.
After six years on south King Street, much-loved cafe Rolling Penny is set to close its doors for good next month. Owners Robin and Duncan announced that the cafe's last day of service will be Sunday, October 9, via a statement on Instagram. "All good things apparently must come to an end," their post reads. "Over the past 6 years we've seen loving couples have children, we've had pandemics and natural disasters come through the wazoo, we've seen south king street develop into the thriving amazing community it is now. The memories we have made serving all you amazing people can never be forgotten and the impact rolling penny has made on all of us will surely not be forgotten and will be remembered by every single person that has stepped through those doors." While we don't have any news on what's next for the Rolling Penny team, the owners' statement did finish by hinting at the possibility of future ventures, stating: "For now its time for a well earned break and we promise you in some shape or other that rolling penny will be back. This isn't a goodbye, it's a casual see ya later darling." Rolling Penny has built a cult following over the years through its commitment to fresh produce and interesting takes on breakfast classics, including its top-notch burgers and brekky rolls. It also hosted a range of events and pop-ups throughout the years, even acting as the initial home to the Baba's Place team before they would go on to open their Marrickville warehouse restaurant. The cafe is open seven days a week and is walk-in only, so if you want to head in for one last roast chicken or smoked bacon roll before it closes, you'll have to make the journey to Newtown and hope you can nab a table. View this post on Instagram A post shared by Rolling Penny (@rollingpenny) Rolling Penny is located at 583A King Street, Newtown. It will be closing on Sunday, October 9.
No local adventure is complete until you've tried a local drop. In Parramatta, your beer-themed destination is Riverside Brewing Company, a brewery on Darling Mills Creek, one of the Parramatta River's tributaries. All made onsite, the brews range from the crisp, hoppy, fruit-driven Thirty Three Golden Ale, to the refreshing, passionfruit-y Sixty Nine Sumer Ale, to the Eighty Eight Robust Porter, a smooth, dark beer, which, with its coffee and chocolate notes, is perfect for chilly nights.
Although it's impossible for viewers to tell while watching it, as over 7000 handcrafted items that took around 20 different artisans 48 weeks to make bring Memoir of a Snail to glorious life — pieces that were used to animate the film's 310,000 individual movements, too — Adam Elliot's latest feature Memoir of a Snail is the result of compromises. Every movie by every filmmaker is, of course. Existence in general is a series of bargains and trade-offs anyway. But the Australian animator's output is so distinctive, so clearly the product of its guiding force's vision, and so deeply moving in its balance of laughs and darkness, that each one plays like it's been lifted from his brain wholesale. It has almost been three decades since Elliot first made stop-motion magic with 1996's three-minute short Uncle, starting what he's dubbed a trilogy of trilogies. The plan: to make three short shorts, three long shorts and three features, all using his instantly recognisable style of animation. The fondness for brown and grey hues, the hand-moulded appearance of each clump of clay, the intricate character studies that see the ups and downs that life takes us all on: they've all continued through his two other short shorts, 1999's Cousin and 2000's Brother, and then in his lengthier efforts. 2024 marks 21 years since Elliot initially went slightly longer with the 23-minute Harvie Krumpet — and two decades since he earned one of filmmaking's highest and most-coveted honours, taking home the 2004 Academy Award for Best Short Animation. Then, six years later, came his debut feature Mary and Max, which continued adding to what's now a swag of more than 100 career accolades. The 21-minute Ernie Biscuit followed in 2015, but Memoir of a Snail arrives 15 years since Elliot first ticked off that debut full-length effort. It too has been boosting his prizes. Upon its premiere at the prestigious Annecy International Animated Film Festival in France, it was named the fest's Best Feature. At the London Film Festival, it won the event's 2024 official competition. Memoir of a Snail also opened this year's Melbourne International Film Festival — aptly given that Melbourne plays a key part in its early scenes — on its many fest stops around the world. Unsurprisingly, it's been a whirlwind few months for Elliot when he speaks with Concrete Playground about the movie. "I think this is my seventh film and each one feels like a birth. You just want to make sure the baby has all its fingers and toes, and it's a pretty baby, and no one thinks it's ugly. So it's this sort of very precarious nerve-wracking period. It's no different for any other filmmaker. It's stressful for several reasons. It's not just 'will the film work?', but 'will I have a career to continue on with?'," he advises. "But, I have to admit, not that I had low expectations, but our budget was so much lower than Mary and Max — and so we couldn't afford walking, so we had to do the Muppet technique, and there was a lot of compromises. Everybody worked on award rates. So I didn't think it would be as well received as Mary and Max, but it's still early days, but it seems it seems to be getting a better response than Mary and Max." Elliot continues. "I do find the pressure and the expectation with each film gets greater and greater. I mean, you try to block that out. But the reactions are very consistent. France, then Telluride Film Festival, Melbourne Film Festival and Spain, San Sebastian. And even with the language — France and Spain had subtitling — most of the jokes, excluding Chiko rolls, most of the jokes were understood. So that's a big relief. I think the word 'relief' is probably the word I've been using the most for the last couple of months." With Succession star Sarah Snook leading the cast — and Eric Bana (Force of Nature: The Dry 2), Tony Armstrong (Tony Armstrong's Extra-Ordinary Things), Nick Cave (The Electrical Life of Louis Wain) and Magda Szubanski (After the Trial) among the others loaning their voices — Memoir of a Snail tells another of Elliot's outsider tales, focusing on the lonely Grace Pudel. The film unfurls as Grace's reflection upon her life, from her childhood in Melbourne with her fire-obsessed twin brother Gilbert (Kodi Smit-McPhee, Disclaimer) and their widowed father Percy (French actor Dominique Pinon, The Walking Dead: Daryl Dixon) onwards, as told to a snail named Sylvia. The movie's protagonist has long loved garden molluscs, literally wearing her love for them on her head. She's also largely been happy in her shell, until she meets and befriends the elderly Pinky (Jacki Weaver, Hello Tomorrow!). Elliot coined the term 'clayography' to describe his films, which use his preferred medium to unpack rich stories about his chosen characters — figures that spring from real-life tidbits gleaned from a lifetime love of observing others. The folks in his frames are as detailed and idiosyncratic as anyone living and breathing, and his movies have always proven deeply resonant as a result. We also chatted with the writer/director about his process of building characters, and finding that mix of humour and heart. Similarly part of our discussion: Elliot's initial animation and filmmaking dream, the path to Memoir of a Snail, his approach to writing, casting the movie and more. On Elliot's Initial Animation and Filmmaking Dream — and How Everything That's Come Since Stacks Up Against It "Well, certainly an Oscar was never even in the realm of something I thought would happen, mainly because I thought my films were too arthouse or boutique, or for adults. I never have had a strong long-term ambition. I did come up with this pretentious idea of doing a trilogy of trilogies: three short shorts, three long shorts and three features. I never thought I'd be up to number seven, so I've really only got two left and then I can die. I think I was very surprised at how universal the films have become, and that they haven't really dated. I still get people who have seen Harvie Krumpet for the first time sending me emails. And I'm constantly aware of and surprised by how people's suspension of disbelief, how they really do invest themselves in these plasticine blobs. It's hard for me to be objective. I've got a friend who's a GP and she just can't watch animation. She can't pretend to believe these characters are real. I think it's quite humbling to know that people really do give over to the characters and their stories. I thought at this point in my career that maybe stop-motion would be an artform that had disappeared. I was told that when I was at film school — I was told that stop motion was a dying artform and CGI would kill it, but the opposite has happened. Stop-motion is going through a bit of a renaissance or a golden period, and there's a lot of reasons for that, but it's alive." On the Path to Memoir of a Snail "I don't want to refer to Woody Allen, but I will. I've always liked his methodology of just finishing one and going straight into the other, and not getting caught up in the hype and the buzz. And, of course, you have to do promotion as an auteur. And you are part of the marketing campaign and strategy by Madman and the distributors and sales agents. But I'm thinking to the next film, and you've got to practice what you're preaching. In Memoir of a Snail, I'm always talking about moving forwards, moving forwards — and it's literally back to the drawing board. I'm starting to think about the next characters. What are they going to look like? And more so narrative and the story and what type of film I want to do next. I'm one of those lucky few filmmakers who hasn't had to revert to TV commercials or TV series or other forms. I've been very lucky that Screen Australia and the state funding bodies, VicScreen here, perpetually fund me. I know I'm lucky. And I know we're lucky in Australia, even having government support. So, I remind myself that quite often. Having said that, I'm always prepared to criticise the funding bodies because I think they could be doing more. I'm very annoyed they no longer fund short films. I do also worry, just quickly, that each film has a lot of references to previous films I've made, and there's a lot of repeated motifs I bring back. And I do start to worry my films are becoming formulaic and repetitive. I know somebody in IMDb posted a comment 'Adam Elliot's films are all the same'. They're right." On Elliot's Entry Point Into His Films and Approach to Making Each One Stand Out From the Rest "I do start each screenplay, I have to wait until I'm agitated by something or frustrated or extremely curious. And this film, I was going through the death of my father, the grieving process, and also getting rid of all his stuff. He had three sheds full of stuff, so I became fascinated by that. So I do a lot of research. I'm a very slow writer and I have to be enthused and driven by something. I can't just force myself to sit down and write. And sometimes it takes a few years. But when I do start the writing process, I really do become obsessed with it, and I love rewriting and writing. I mean, I could just do endless drafts. I never really ever want to start making the film. I just want to keep writing. I try to create films that I don't see and that deal with subject matter you don't see. And not that I'm trying to shock or deal with taboo subject matter, I just feel that there's things — there shouldn't be rules to animation. I don't want to offend, but I get annoyed when people think that animation is a genre. It's not, it's a medium. There was someone in the audience last night, who was talking about 'oh this film's not for the young children'. The onus is not on me. The onus is on the parents. The film's rated M. And I never get this problem in France and Germany, when I go. They have a long history of adult animation, particularly in countries like Estonia and the Czech Republic, there's a lot of surrealist animation. I think it's a job of a writer and a director to push the boundaries and push themselves. I'm very self-conscious of not just becoming stale. And if the artform of stop-motion has got to survive, it's got to move beyond Wallace and Gromit. It's got to move beyond family-friendly. And there's certainly many other stop-motion artists out there who would love to sink their teeth into an adult animation or an abstract stop-motion film, or an experimental. But of course, the thing that prohibits all this is money. It's a very slow, therefore very expensive art form. And again, I'm one of the lucky few who — every year, there's probably only three or four stop-motion features made. There's only been three in the history of Australian cinema and I made one of the others, Mary and Max. So we're very, very rare." On Finding Inspiration for His Characters in Real Life "I'm self-diagnosed OCD. I haven't had a clinical diagnosis, but I know I am. I'm very, very, extremely neat, and I obsess about detail. And I start with the detail and work backwards. So I don't worry about the three-act structure and the plot and the narrative until much later. I just gather all my ingredients — and I have very detailed notebooks going back decades. I collect quotes, I collect names, I collect sounds, I collect smells. I'm a hoarder of words, I suppose. And I just love going over my notes, and there's so many that I've forgotten that I've written. I also have very long descriptions of people I've just seen on the street. And I invent stories. I write poetry. I went through a period during COVID where I would write a poem every morning before nine o'clock. And so if I ever lost these journals, I wouldn't know what to do because they're my recipe books. It's where I get all my ingredients. I love observing people. I'm always staring at people on public transport. Even today, on the plane, I got caught staring at someone, so I'll probably get arrested, too. 'Why are they wearing those shoes? Why did they choose those earrings? I wonder what their backstory is.' I love backstories. Pinky has this whole backstory that no one will ever know about. It's mentioned briefly in the film, but to create very dimensional characters, I think you really have to go into every layer and dimension of them — because I'm aiming to create authenticity and believable characters. To give them dimension, you have to give them incongruities and contradictions. And it's not a matter of just pinning the character full of all these quirks. They have to be human. They have to have contrast and contradictions. So I'm certainly character-driven more than I am plot- and narrative-driven. On Elliot's Casting Process, Knowing Sarah Snook Was Perfect for Grace and Getting Lucky with Tony Armstrong "Well, I collect voices as well. So I have long lists of people who I think have fantastic voices for animation, or I might be able to use in the future. So I had listened to Sarah's voice, one of her early films, These Final Hours, when she was just starting out. There was the quality I loved. There was a quietness and vulnerability about her voice. So she was in my head very early on. But I did then listen to the Blanchetts and the Kidmans and the Wilsons and all the others, but none of them really ticked the boxes that Sarah did. But there's always a danger, too, that you might have this fantastic voice and then the animators do some lovely animation, and you marry them together and it just doesn't gel for generally an unknown reason. A good example is the very first Paddington film, five or ten years ago, was originally going to be Colin Firth. And they paid him. They cast him and they put his voice to the animation, and it didn't work. So they had to let him go and then in the end, they got Ben Whishaw — and he works beautifully as Paddington. So you never know. And you certainly don't want to have to tell an actor 'sorry, your voice doesn't work'. But I'm very intuitive and I also love non-actors. I do like getting people who — for example, Tony Armstrong, we'd already animated Ken, and I just couldn't find the person I wanted to voice Ken. And then I was watching ABC News Breakfast and Tony came on. And not only did he look like Ken, but he had that bass to his voice, that suaveness. And I thought 'oooh, I wonder if he can act?'. So we got in touch. And my gut instinct was actually he'd work. And it did. But sometimes you can get it wrong. And also, too, with casting, they're not the actors — the actors are the animators. I always remind the actors — I call them my voice, they're loaning us their voices, really, that's what they're doing. And they get paid a lot of money for only a few hours work. So you've got to make sure when they're in the studio, you get exactly what you want. So I do work my actors, my voice talent, quite hard, and we do many, many takes." On Filling Out Memoir of a Snail's Voices with an Australian Who's Who "It ends up being quite eclectic, and luckily we don't have to cast everybody upfront. So we only cast the voices where there's lip-sync. So it's quite leisurely in a way. My producer and I, Liz [Kearney, Sweet As], had a lot of time to go through every casting book and listen to every voice. We listened to everybody from Jimmy Barnes through to politicians. Then in the end, I did some of the voices, Liz did a voice. It's just a lot of experimentation, actually — a lot of just closing your eyes and listening, and watching some clips of animation. Certainly we got our dream cast, I have to be honest. We got pretty much everyone we wanted and thankfully it all worked out. But as I say, it's risky, and sometimes it goes pear-shaped." On Balancing Lightness, Laughs and Hope with Melancholy and Tragedy to Make Audiences Both Laugh and Cry "It's the thing that keeps me awake at night, is the balance, and it has been from day one. I often think 'gee, Adam, why don't why you just doing children's TV?' or 'why are you doing something like Bluey?'. Although Bluey has wonderful darkness at times as well, and is very clever. But yes, it is a balancing act and you don't want to depress the audience. I read somewhere, someone, I think it was on Letterboxd or somewhere, said 'Adam's films are all trauma porn'. And I thought 'oh gee, maybe they are'. I'd hate for my films to be called bleak. There's a lot of bleak Australian cinema. I do try to instil moments that are uplifting — and particularly my endings, I really want the audience to come out of the cinema feeling satisfied and relieved. They might be melancholic. I love that Victor Hugo quote that melancholy is the happiness of being sad. And I wouldn't say my films are sad films, they're melancholic at times, but ultimately I'm trying for them to be life-affirming and uplifting and soulful. A word I use a lot is 'nourishing'. I really want to nourish the audience. What's that horrible quote? Chicken soup for the soul. I think that's what I'm ultimately trying to do, it's empathy, that I'm trying to get the audience to put themselves in my characters' shoes and understand what it's like to be someone with a cleft palate. Or someone who, with Mary and Max, somebody who has Asperger's syndrome, who's being bullied and teased. Bullying and teasing is something that is a thread that goes through all my films, and that's because I was bullied and teased. And in some ways, my films are not revenge but they say to the bullies 'what you do is incredibly hurtful and destructive, and there's a whole lot of us out there who've had to carry this with us our whole lives and deal with it, suffer the consequences'. And I think there's so much animation out there doing other things, pure entertainment. I don't like getting lumped in with adult animation such as South Park and Family Guy. They are adult, but they're different, they're not trying to do the same things I'm trying to do. I do feel often very alone with what I'm doing. I'm surprised there aren't more people doing what I'm doing. I think there's certainly a demographic out there. There's certainly people who really connect with the works. I often get emails — I got an email the other day from a woman who has a cleft palate saying it's the first film she's ever seen that dealt with someone having a cleft palate with sensitivity and truthfulness. So you realise as a director and a writer that you have a degree of responsibility, and that films and cinema, they have a longevity, but they also can have an impact. I wouldn't say we save people's lives. I wouldn't go that far. But it's taken me a long while to fully understand that you can have an impact, and so you better be very mindful of that and be careful what you say." Memoir of a Snail opened in Australian cinemas on Thursday, October 17, 2024.
If you prefer your overnight getaways with a healthy dose of wildlife thrown into the mix, Taronga Zoo's Wildlife Retreat is for you. For the uninitiated, the luxurious accommodation is located right in the heart of the zoo, meaning you'll be treated to the sights and sounds of the animal enclosures during your stay. To celebrate our partnership with the Marine Stewardship Council (MSC) and Aquaculture Stewardship Council (ASC), we're giving away an overnight stay at the retreat's Animal Room. The MSC and ASC work to raise awareness for sustainable seafood practices and have named Taronga Zoo's The View cafe the first Chain of Custody MSC-certified cafe in Australia. Included in this unforgettable staycation is a guided afternoon tour of the Sanctuary habitat, where you can say hello to the koalas, echidnas, pademelons and wallabies; a two-day pass for the zoo; a three-course dinner at Taronga's fine diner Me-Gal; and all the accompanying luxuries to ensure that you have a relaxing trip, including complimentary parking and a buffet breakfast. To enter, simply tell us in 25 words or less why you deserve this dreamy stay at Sydney's picturesque harbourside zoo. Want to nab the ultimate animal-lovers staycation? To enter, fill out your details below. [competition]850066[/competition]
When it comes to the rollercoaster that is the Sydney property and housing experience, there are a few categories people belong to. They are either people who can afford to buy, who can afford to buy but would rather invest outside the property market, renters who love to rent, and renters who are unsettled by the sense that they're constantly living in a state of flux. If you're in that latter category — where renting is your best financial option but yearn for more stability in your living situation — there's an alternative model that's just being introduced to Sydneysiders. LIV Indigo in Sydney Olympic Park is Australia's first renters-only apartment building, providing residents with more freedom to live how they want compared to a standard rental. A key feature at this apartment complex is its focus on creating community. And while a lot of apartment blocks have shared outdoor spaces and a communal feel, LIV Indigo takes it a step further by organising events and workshops to foster relationships among residents. One perk that caught the attention of LIV Indigo residents Vanessa and Rebecca, is that it's a new apartment complex that is pet-friendly. With two French bulldogs and a fluffy cat to take care of, the pet-friendliness was a big drawcard for the couple. "Most rental places will tear our application [due to our pets] up even though we are both high income earners, extremely clean and value our home," they said. They were also impressed by the extra amenities — particularly the deck —and said these features "were all part of the excitement, as well as [us] wanting to be part of this community." The apartment block has an on-site gym, workshop space, cinema room, and communal kitchen, dining and lounge space which all help to streamline day-to-day life. There's even a dedicated space in the common area for remote working to make it easier for residents who work form home to set a boundary between office and home life (and to free up the kitchen table from work clutter). For seasoned renters, a big drawcard will be the fact you can make adjustments to your apartment to make it feel more like yours. Want to hang up your artwork? Sure. Feel like painting a feature wall? No problem. In fact, the on-site maintenance team will even organise it all for you before you move in. In terms of the design, the floor-to-ceiling windows flood the apartments with natural light which gives each home a warm and luxe feel. Each unit also has an internal laundry complete with appliances so you won't have to rush out and find something that fits the space. There's ample storage space, modern finishes and each apartment has its own outdoor area (either a courtyard or a balcony), too. You won't have to spend weeks chasing a real estate agent or a landlord to get stuff done, either. General maintenance is a streamlined and pain-free experience. "It's an extremely easy process," Vanessa and Rebecca told us. "You log a ticket through the app and it gets sorted within a matter of weeks, sometimes days." There's also an on-site team offering help, seven days a week. Got a leaky tap? Need help with your oven? Left your windows open? That's no longer a problem, according to Vanessa and Rebecca. "The staff are amazing and they are extremely helpful — to the point [that] we can call them to close our windows that we left open when it's raining. You can't get this service anywhere else," they said. For more information about LIV Indigo, visit the website.
The Ezra team backed up with a buddy venue just one door down on Pott's Point's buzzing Kellett Street with Raja. This contemporary Indian eatery delivers a menu of flavour-packed eats that go above and beyond your expectations of the cuisine, and is fast becoming a contender for one of Sydney's best Indian restaurants. Former Firedoor chef Ahana Dutt leads the kitchen, bringing over the celebrated restaurant's passion for produce-driven cooking. Raja works closely with a serious list of dynamite local producers (including The Gourmet Goat Lady, Newcastle Greens and CopperTree Farms) in creating a menu that pulls the best seasonal ingredients into the foreground. Dutt has teamed up with Ezra and Raja co-owners Nick and Kirk Mathews-Bowden to conceptualise this celebration of some of the tastiest dishes you've probably never tried — yet. There's galho, a northeast Indian rice soup that shares more similarities to Chinese cooking than your typical Indian affair; albacore 'toast' featuring pathrado, a bread generally found on the Konkani coast that Dutt perfected while working in Mumbai for three years; and goat riblets which are perfectly paired with the Raja Cutter cocktail. The cocktails have been curated with help from PS40's Michael Chiem, resulting in a list that continues the through-line of Indian spices from the food — with creations like the aforementioned Cutter and a jackfruit Old Fashioned. "I'm Indian and I feel a lot of pride in being about to showcase that food," Dutt told Concrete Playground. "I think there is a lot of food that goes underrepresented — not just here but even in India because it is such a big country it's just not actually possible to know everything." Raja is offering up your very best opportunity to expand your horizons. Images: Nikki To
