If you're on the hunt for a spot to watch the big game among other fans with the commentary coming through loud and clear, Sydney's got some top spots (see: our list of the best pubs and bars to watch sport). But the new pint-sized Inner West bar The Magpie has just thrown its hat in the ring, pairing viewings of The Matildas, The Eels, The Swans and the UFC with a retro fit-out and a crowd-pleasing roster of beers. Sporting a name that acts as both a piece of the Australiana tinge that permeates through the bar and a nod to the Western Suburbs Magpies rugby league team, The Magpie comes to Enmore from the team behind Earl's Juke Joint and Jacoby Tiki Bar. It's opened right next to The Trocadero Room, the intimate new 150-person live music venue that arrived late last year from the same team. Together, the two venues have taken over the space formerly occupied by HiWay Enmore, bolstering the bustling road's sizeable roster of small bars. The Magpie is designed to be a "local's local" — a place where you to drop in for a quick catch-up over a beer or a reliable spot that you know will be playing your favourite footy team's clash with their cross-town rivals. When there's no sport to be shown, you'll find a roster of classic films playing on the mounted televisions. The team has curated a slate of flicks that will transport you back to the days of walking through the aisles at your local Video Ezy (RIP). On tap, you'll find a few of your favourite Inner West breweries pouring, including a special Magpie Old brew that Grifter has whipped up, plus Guinness for good measure. Part sports bar, part small bar with a pub-like feel, The Magpie has opened its doors just in time for both the NRL and AFL seasons, as well as the upcoming Paris Olympics, set to kick off in July. Next door, The Trocadero Room offers a new stage where bands can cut their teeth and artistic communities can come together — plus a fun throwback drinks list featuring cosmos, Midori illusions and spicy margs. Since opening in November, it's already hosted Sydney favourites like Straight Arrows, exciting new up-and-comers like DoloRRes, and every kind of gig imaginable, from comedy nights and evenings dedicated to reggae, to scuzzy punk lineups and all sorts of dance parties. Both The Trocadero Room and The Magpie are located at 156 Enmore Road, Enmore. Head over to Instagram to find this week's gigs and which matches you can catch.
Godzilla is still big, but the picture around cinema's most-famous kaiju gets smaller in Monarch: Legacy of Monsters, the Japanese-created creature's new TV series. This ten-episode show sits within the American Monsterverse, which has previously filled movie theatres with 2014's Godzilla, 2017's Kong: Skull Island, 2019's Godzilla: King of the Monsters and 2021's Godzilla vs Kong — and it hits streaming, arriving on Apple TV+ from Friday, November 17, with a scaled-down focus on family drama. People matter in Monarch: Legacy of Monsters, far more than they have in any of the US franchise's instalments so far. The folks hopping around the globe chasing the giant critter and its fellow titans are also worth caring about. As a result, there's nothing little about how engaging Monarch: Legacy of Monsters proves. Getting Kurt and Wyatt Russell involved helps. The real-life father-son pair portray the same character — not for the first time; see: 1998's Soldier when Wyatt (Under the Banner of Heaven) was still a child — with not just ease but charisma. That isn't surprising; as the younger Russell's resume keeps demonstrating through Cold in July, Ingrid Goes West, Lodge 49, The Falcon and the Winter Soldier and more, the apple hasn't fallen far from the tree when it comes to acting talent. Wyatt slips into Lee Shaw's military uniform in the 1950s, Kurt (Fast and Furious 9) plays the retired elder version in the mid-2010s, and jokes reference how well the pivotal figure has aged to make the maths work out (in the later timeline, Shaw has to be in his 90s). Needing to make that gag is worth it for such stellar and captivating casting. Monarch: Legacy of Monsters isn't about Shaw's family, however — at least not as bonded by blood. In 2015, a year after the G-Day events of the 2014 film, San Franciscan teacher Cate Randa (Anna Sawai, Pachinko) is suffering from kaiju-inflicted PTSD and mourning her missing father Hiroshi (Takehiro Hira, Gran Turismo: Based on a True Story), making a trip to Japan to pack up his Tokyo apartment challenging several times over. There, she finds artist Kentaro (Ren Watabe, 461 Days of Bento), a shared history and links to secret government monster-hunting organisation Monarch. Those ties comes courtesy of a satchel filled with documents that Bill Randa (John Goodman, returning from Kong: Skull Island) is seen tossing into the sea in a 70s-set prologue; having possession of it sparks chaos for not only Cate and Kentaro, but also the latter's hacker ex-girlfriend May (Kiersey Clemons, The Flash). When a shadowy international outfit is on your trail, who can assist? Given that Shaw was a 50s-era colleague of Hiroshi's parents Keiko (Mari Yamamoto, also Pachinko) and Bill (played by Inventing Anna's Anders Holm in the earlier timeline), his help is swiftly needed. Amid Cate, Kentaro, May and Shaw's attempts to evade the "like the CIA, but for Godzilla" operation pursuing their every move, Monarch: Legacy of Monsters also dives into Shaw, Keiko and Bill's backstory. Shaw is enlisted into the monster realm exactly because he's enlisted, then deployed to ensure Keiko's safety as she follows her research into strange radiation trails in The Philippines — a phenomena that fellow scientist Bill is also interested in. While the Russells provide Monarch: Legacy of Monsters with its biggest names, and add depth to Shaw's emotional journey by perfecting the same mannerisms and line deliveries — not to mention letting that family charm kick in — series co-developers Chris Black (Severance) and Matt Fraction (Da Vinci's Demons) have cast their show well across the board. When beastly behemoths are simply being talked about rather than sighted, the human story never feels like filler padding out the frame until the next monster melee, which stems as much from the performances as the commitment to ensuring that pixels aren't the sole attraction. Each with their own Russell, both groups provide space for everyone's part of the narrative, plus the portrayals that go with it, to make an impact. Screenwriting convenience and cliche comes into play in fleshing out some backstories, but Clemons and Yamamoto especially have no trouble selling it. In addition to excellent casting, the series welcomely makes an even better move: taking the Monsterverse back where all things Godzilla started off-screen, aka Japan. When the creature that has multiple Tokyo statues devoted to it, plus a dedicated store as well, first erupted into cinemas in 1954 to spark a 33-film homegrown saga, it was in the shadow of World War II as an indictment of nuclear conflict's destruction and consequences — and those origins get the most meaningful nod yet in the US franchise through Keiko, Cate and Kentaro. All things Godzilla thankfully haven't moved to America IRL. Godzilla Minus One returns the kaiju to live-action Japanese movies in 2023 for the first time since 2016's exceptional Shin Godzilla, while three animated flicks (2017's Godzilla: Planet of the Monsters, and 2018's Godzilla: City on the Edge of Battle and Godzilla: The Planet Eater) have filled the gap in-between. But there's been an emptiness to the Monsterverse when it has barely cared about that history, even if making titans a worldwide threat and noting that Zilly doesn't respect national boundaries has merit. Call them kaiju, call them titans, call them massive unidentified terrestrial organisms (or MUTO): they're as meaningful as they've always been in Monarch: Legacy of Monsters. While the show's main attention might reside with two eras of people on two different searches, Godzilla and its fellow critters aren't ignored. They wander, smash and swim. They cause awe and fear alike. They tower, sleep, destroy and — with Zilly in particular — protect. As Monarch: Legacy of Monsters hones in on people, in fact, it explores the array of reactions that Godzilla can inspire, the range of thinking as well and, as intended for almost seven decades, the self-reflection about atomic bombs and warmongering that the very idea of Godzilla was designed to conjure up. Balancing heart and weight while feeling grounding amid gargantuans isn't a tiny task. Making sure that people and titans are equally as important to the narrative isn't a minor feat, either. Nor is using special effects to wow with onslaughts and dwarf with scale, getting a theme tune echoing into earworm territory almost as much as the stone-cold classic original Godzilla music and making a TV entry to a franchise that plays like the main attraction. Whichever Godzilla tales that Japan spins will always be the kings of the saga, and long may they continue charging onto screens — but Monarch: Legacy of Monsters puts down a giant footprint for Hollywood's dalliance with the atomic lizard, and a much-needed one given that more will only keep coming, including the silver screen's Godzilla x Kong: The New Empire in 2024. Check out the trailer for Monarch: Legacy of Monsters below: Monarch: Legacy of Monsters streams via Apple TV+ from Friday, November 17, 2023.
It may no longer be a functioning substation but the vibe here is electric. Gone are Alexandria's dining days of takeaway joints and vending machines, the industrial 'burb is now enjoying sprightly new spots for food and flat whites. But with workers and residents aplenty and an espresso-lacking strip in McEvoy Street, Sub-Station Cafe is a welcome and indeed wanted addition. Housed in an old electric substation, the cleverly designed space is abuzz with happy people, and for good reason: here is a lovely, light-filled spot for recharging one's batteries. A big pumpkin at the front door signifies Sub-Station out of the grey lines of warehouses and smash repairs, and is a cute indication of the sense of humour inside. Lightbulbs hang from bedsprings in makeshift chandeliers and vintage advertisements of Coles and David Jones are framed resplendently. The narrow coffee bar – clad with old-world tiles and laden with freshly baked bread – opens up to an outside courtyard. It's green, private, quiet: a rarity in this truck-heavy part of town. Single-origin coffee (from $3) is rich and respectably creamy, and would go down a treat with one of Sub-Station's freshly baked goodies: think homemade brownies and lemon tarts. The breakfast offerings hit the mark with a balance of savoury, sweet and simple. The highlight has to be the Morning Dream breakfast roll ($16): a house-baked bread roll with egg, bacon, avocado, spinach, tomato and a chutney-like homemade sauce. The bacon is crackly crisp, American-style, which bacon-enthusiasts will attest can be hard to source. The just-baked station granola ($12) is a delight and baked at the spot itself. Grassroots fare is clearly a Sub-Station priority; with free-range eggs and organic honey in the kitchen and potted spinach growing outside. There are homespun touches throughout, like the wooden spoon–fashioned table numbers and wall-hung chopping boards. A hidey-hole haven in Alexandria, this substation is deliciously delivering energy and good vibes to Sydneysiders.
The Boathouse Palm Beach may have shuttered its windows, but a new Italian-inspired venue has popped up for the summer in its homewares store: CASA by The Boathouse. With classic brunch fare, best enjoyed in a rustic setting within spitting distance of the water, CASA joins Boathouse Group's other beachfront venues, including Balmoral, Shelly Beach and Manly Pavilion. Unlike its predecessor, CASA is also offering up an all-day Italian-inspired menu and drinks — with cocktails like Aperol Spritz, Montenegroni (classic negroni with Amaro Montenegro) and Boathouse Margarita (with pineapple and jalapeño-infused olmeca altos tequila) as well as a beer and wine list. Choose between classic Italian antipasto, including arancini al formaggio and calamari fritti with chilli and aioli, pizzas and side dishes. If you can't snag a seat, the menu is also available to takeaway so you can enjoy some Italian eats at home. If you're in Palm Beach to catch some morning waves, you can enjoy breakfast and Single O coffee out the back daily from 7am until 3pm. Breakfast options include fruit salad, classic avo on toast and bircher muesli, and Italian panini.
With a swag of popular ACT cafes under its belt, and a long, award-filled history to boot, Canberra's largest specialty coffee roaster Ona has finally taken on Sydney, opening a cafe in Marrickville. The acclaimed coffee brand's baristas and brews are often recognised as some of the best at the annual Melbourne International Coffee Expo. It also has a passion for top-quality, sustainably sourced coffee and it's eager to share the love. Step inside the Sydney cafe and you'll notice a huge central coffee bar, where you can engage with the baristas and letting you watch your cuppa being made. The bright, minimalist cafe space is a coffee-lover's heaven, offering espresso, filter and milk-based options, with a rotation of blends and single origins to choose from. [caption id="attachment_779137" align="alignnone" width="1920"] Cassandra Hannagan[/caption] True coffee nerds will be all about the Marrickville store's special reserve coffee menu, offering dosed coffee beans that have been frozen and vacuum-sealed at their optimum freshness, effectively hitting pause on the ageing process. Those in the mood for food will find a simple, approachable lineup of cafe-style fare, including creations like the tomato stracciatella with grapes, olive, basil oil and rye, and a kingfish smørrebrød topped with lemon aioli, capers and pickles. Images: Cassandra Hannagan
Lennox Hastie is the mind behind one of Sydney's most talked about restaurants. Since bursting onto the scene in 2015, Firedoor has built a cult following. Tables at the venue book out three months in advance, and it was recently named the world's third-best steak restaurant. Now, Hastie is back with a new venture. Gildas is a more laidback display of Hastie's love of food and wine. The Surry Hills bar draws inspiration from the time the acclaimed restauranter spent in Europe's Basque Country, as well as San Sebastian pintxo, and the 1946 Rita Hayworth-starring film Gilda. From the combination of these influences comes a romantic wine bar centered around glasses of sherry, cracking martinis and fresh produce. "The Basque tradition of the pinxtos taverna is a space where locals come together as a community to snack on small plates of pinxtos, tell stories, and enjoy a drink, specifically one of Jerez's best; the Sherry," the Gildas menu states. There are 12 varieties of sherry or sherry-style wine on the menu, ranging from more affordable tipples like the Bodega Barrero Manzanilla, through to pours of 1999 Pedro Ximenez. Outside of the drink of choice, there's an extensive wine list, traversing South Australian skin contacts, Charles Heidsieck champagne, and plenty of Spanish varieties. Accompanying the array of wine is a short and to-the-point selection of cocktails and aperitif including Spanish vermouth, a manzanilla sour, white-wine sangria, and expected standards like a martini and old fashioned. As for the food, experienced chef Zach Elliott-Crenn heads up the kitchen after previously working as the Executive Chef at Maggie Joan's in Singapore and the Head Chef of Portland in London. Elliott-Crenn's menu brings together quality Australian and Spanish produce into memorable share plates. Leading the menu is a trio of cured meats — Basque ham, paleta iberico and jamon iberico. From there the dishes become more unpredictable. There are spanner crab churros, beef tartare with rock oyster cream, oyster mushrooms with smoked egg yolk and charred leeks with romesco and lardo salumi. Finish your trip to Gildas with a playful dessert — the smoked buffalo milk soft serve topped with dulce de leche. Gildas is located at 46–48 Albion Street, Surry Hills, and is open 5pm–midnight, Tuesday–Saturday. Images: Nikki To
A lot has happened since Japanese-American songwriter Mitski was last on our shores. She's taken a two-year hiatus, released a pair of albums and risen from the upper echelons of the indie scene to achieve massive mainstream success. Now with an eighth album, Nothing's About to Happen to Me, dropping on Friday, February 27, the superstar artist is making a long-awaited return to Australia to embark on four landmark performances. Taking place exclusively for Vivid LIVE at the Sydney Opera House nightly from Friday, May 29–Monday, June 1, this iconic venue will be the perfect stage for Mitski's raw, poetic lyrics, paired with soaring orchestral arrangements. Delving into her new album alongside a harmonious selection of tunes from her sprawling back catalogue, those lucky enough to score tickets can expect intimate sound, gut-wrenching lyricism and visceral theatricality. Described by Rolling Stone as "the most alluring and enigmatic musician in indie rock," Mitski has earned this high praise with her undeniable ability to reinvent her sound with every new release. With the tear-jerking hit tune 'My Love Mine All Mine' going four times platinum, the ever-evolving artist has also spent the last few years collaborating with other musical icons, including Florence and the Machine and David Byrne. "There are artists who have successful careers, and there are artists who profoundly change people's lives — the utterly brilliant Mitski does both. Years in the making, it's a dream come true to welcome this internationally revered, generation-defining artist to Vivid LIVE at Sydney Opera House for four Australian exclusive performances," says Sydney Opera House Head of Contemporary Music and Vivid LIVE Curator, Ben Marshall. Artist pre-sale tickets are available from 10am on Wednesday, February 11, while tickets go on public sale from 10am on Friday, February 13. Head to the website for more information.
Masala Theory's second location arrived at sleek Bondi digs in 2023 bringing Yashpal Erda's inventive take on Indian cuisine to The Hub, the suburb's bustling Hall Street precinct also home to Da Orazio, bills, Gelato Messina and China Diner. With the eatery's proximity to the beach, you can enjoy a sunshine-filled stroll before dining in the evening or — if you have the presence of mind to book in for lunch after a day time dip — you can alleviate that inevitable post-beach hunger in a pretty spectacular manner. The menu features Masala Theory's crowd favourites like the famed curry bombs, the towering Three Sisters chaat and the pizza-inspired 'naanza'. You'll also find original dishes created specially for the beach-adjacent location: seafood-starring selections feature heavily, with the Bombay-inspired fish and chips, a roasted coconut barramundi curry and a luxe prawntini taking centre stage. Start with the dosa onion rings, the vegetarian-friendly wada pav sliders or the crispy bang-bang gobhi. For mains, the selection spans from big-hitting dishes like the coal-smoked mango lamb chops to vego and vegan options like the flavour-filled south Indian malai curry and the vego koftas with green curry sauce. And we encourage you to pair your meal with one of Masala Theory's crafted cocktails. Take your pick from highlights like its popular Mumbai marg, the chai t-roni or a neo-Indian spin on a classic with the 545 wala old fashioned.
After an ambitious three-year-long restoration, Sydney's historic Hotel Morris is just about ready to reopen. Come late January 2023, guests will get to see how this space has been returned to its former glory — all the while sneaking in a few Australiana features for good measure. When Hotel Morris opened back in 1929 in an eye-catching Italian renaissance building, it was the tallest hotel in Australia and known for wonderfully exemplifying Palazzo architecture. Buildings in this style were inspired by the ornate palaces built by wealthy Italians back in the Renaissance. In other words, they are loud, inside and out. The Accor team, who now operate the property, have made sure this grand Sydney landmark keeps this old-school feel with a more modern twist. Inside, it feels tastefully gaudy — an oxymoron, we know. It's very 'eleganza extravaganza' as the design team has carefully clashed several marble finishes with all kinds of other textiles. Within spaces like Bar Morris, many different coloured tiles sit alongside stucco wooden floorboards, brass and stone finishes and more marble. Works by Aussie artists have also been hung throughout. But they strongly focus on earthy tones, making it all work together. Our Italian grandmothers would love this over-the-top design. And we live for it too. While little has been said of the drinking and dining options at Bar Morris, we do know that the day-to-night menu will focus on simple, seasonal produce infused with Italian influences. Start with coffee and pastries, move on to deli-style small plates of food and eventually get into the Italian and Australian wines curated to work alongside heartier dinner options. It seems as if simple food will be served within these glam surrounds. Now, moving up the tall building, there are 82 rooms. Fortunately, for a greater sense of calm, they have gone down a different design route up here. Art Deco reigns supreme up in these rooms, ensuring Hotel Morris keeps that European feel — but in an altogether more understated way. Expect warm golden mustard tones with custom furniture, brass detailing and some earthy stone finishes. It reflects the rich features that have been preserved on the outside of the heritage building. The prominent ghost signage on the side of the building has also been revived, bringing some history and character back to central Sydney's streetscape. Hotel Morris, located at 412 Pitt Street, is set to welcome guests from late January 2023. Head to the website to see more updates before its opening.
Nestled in the sleepy suburb of south Sydney's Grays Point, Jack Gray is a cafe by day and a wine bar by night. Open for coffee seven days a week and drinks on Fridays and Sundays, the venue is an exciting opening for The Shire, with top-notch eats, an exciting wine list and live music all in one place. The venue is the passion project of owner Ben Coombes who wanted to turn his neighbourhood cafe into a community hub for Grays Point. "Our focus is to bring people together, and whether it be with coffee or wine," says Coombes. Located on the edge of the Royal National Park, the cafe is an ideal stop for breakfast for anyone heading towards local parks, hikes or the nearby Pork Hacking River, as well as a reliable pitstop for locals on the hunt for their morning coffee. The all-day menu features breakfast classics done well. There are scrambled eggs with caramelised leek, vintage cheddar and sourdough; bacon and egg rolls made with Ironbark bacon and house-made apple and tomato relish; or banana crepes with vanilla bean ricotta, maple toasted almonds and dulce de leche. There's also a selection of loaded deli rolls that won't set you back CBD prices. Pick up a takeaway ricotta, caramelised onion, manchego cheese and mushroom breaky roll or a smoked salmon bagel. Come wine bar afternoons every Friday and Sunday, the baristas transform into bartenders and the focus shifts to cocktails. The wine list balances crowd-pleasers and interesting varieties including regional NSW pét-nats and "funky" South Australian reds. Accompanying the drinks are share plates of bar snacks like hummus or a peach and burrata salad, and soft-shell tacos. Served on locally made corn torillas, the tacos feature toppings like barbecue chorizo with tomatillo chimi churi, and an irresistible vegetarian option that combines roast pumpkin, spiced cauliflower, avocado, salsa and pickles. Jack Gray is located at 110 Grays Point Road, Grays Point. It's open for 6am–2pm Monday–Friday, 7am–2pm Saturdays and 7am–1pm Sundays. Wine bar afternoons are held from 6pm Fridays and 4pm Sundays.
Whether you're battling a hangover or looking to refuel for the rest of a big weekend, Chin Chin's yum cha series is worth a spot on your activities radar. After all, what better pick-me-up than a flavour-packed dumpling feast, enjoyed with your mates by your side? Kicking off on Friday, June 5, then happening every Friday, Saturday and Sunday for the foreseeable future, the series has all the makings of a weekend winner. For just $55 per person, you'll get to enjoy a 90-minute parade of Southeast Asian-inspired plates, including Chin Chin favourites like steamed mud crab dumplings with roasted chilli sauce, scallop and prawn shumai, gai lan with oyster sauce, mushroom fried rice and crisp prawn spring rolls. Of course, this being Chin Chin, you can expect plenty more good vibes in the form of cocktails, which include a four-person Don't You Want Me ($72) with umeshu, Aperol, watermelon juice and pandan syrup. Bookings are essential and can be made through the Chin Chin Sydney website. [caption id="attachment_744047" align="alignnone" width="1920"] Steven Woodburn[/caption] Weekend Yum Cha runs from 11am–4pm Friday–Sunday. Food images: Steven Woodburn.
If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to join Netflix in Australia and New Zealand in 2023 so far. This sometimes Technotronic-soundtracked five-part series' beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. Then, in Brooker's Death to 2020 and Death to 2021, two annual looks back at life during the pandemic, Morgan played Cunk-like everywoman Gemma Nerrick — aka the spoof specials' average person among its comic experts. That's Cunk's remit as well. She poses enquiries and makes observations that academics on various branches of history, plus archaeologists, biologists, engineers and others, wouldn't expect to be asked by their peers or serious interviewers. In fact, they wouldn't anticipate being asked Cunk's questions by anyone, really, except perhaps very young children. "If you want to talk about Russian Soviet vegetables, we can," is one response that Cunk's incorrect queries garner, this one after accusations of mansplaining when she's told she likely means the Soviet Union. When she isn't uttering outlandish questions, she's often simply demanding OTT statements that'll help the show go viral, such as an exchange with another boffin where she requests a pithy soundbite stating that Jesus Christ was "the first celebrity victim of cancel culture". Or, in classic history doco style, Cunk is walking and talking, her eyes trained on the camera and scenic and/or important locales stretching out behind her — and, elsewhere, narrating while remaining unseen over the same type of images. Much of Cunk on Earth's hilarity comes from its take on the past, and on humanity, as well as the series' love of the ludicrous — as delivered with Cunk's dry, droll and unflappable demeanour (unless she's learning that Laika, the first dog in space, didn't make it home). She posits with the straightest of faces that the human brain is made of pipes, and that Beethoven's 'Symphony No 5' has lyrics that just repeat the word "dumb" over and over. She has thoughts on the worst Romans, in ancient times and now; connects hieroglyphics to emojis and likens mummification to Gwyneth Paltrow's spa treatments; and asks "was early man made out of the same sort of meat as us?" while then wondering if human flesh ever had a pork- or beef-like moniker. Morgan's performance is a marvel, and a perceptive portrait of couldn't-care-less arrogance, ignorance and certainty that plays as an easy-but-still-smart caricature of a growing attitude prevalent online today. With one character, she's as much of a canny and cutting comedic force as Sacha Baron Cohen has proven with Ali G, Borat, Bruno and the various figures in 2018 mockumentary series Who Is America?. Cunk, in all of her on-screen appearances, adopts the same basic format as Baron Cohen's alter egos — proposing the absurd to both parody and interrogate. Her throwaway comment about the pyramids being designed the way they are to "stop homeless people from sleeping on them" says plenty about society's treatment of folks doing it tough, and she skewers the overuse and misattribution of quotes by stating that Aristotle said "dance like no one is watching". As brilliant as Morgan's deadpan turn is, and as committed as the Inside No 9, Motherland and Mandy actor is, Cunk on Earth is equally reliant upon its interviewees. They each take their task seriously — the real-life experts aren't here to court laughs — but they're also willing to use Cunk's silly queries and comments as a jumping-off point. The question about the brain's pipes inspires a considered and accessible explanation of two different schools of philosophical thought, for instance. Often, Cunk's naive musings spark tidbits and corrections that do exactly what an Attenborough-style show like this sincerely and earnestly would: inform. Of course, for every enlightening answer offered — whether recounting something that's common knowledge anyway or diving deeper — Cunk on Earth has Cunk being Cunk. She asks about ancient Greeks before declaring she couldn't give a shit, segues off on tangents about her ex-boyfriend Paul to counter her panel of experts, and pronounces words incorrectly to humorous effect (even if nothing beats her butchering of Camelot in Cunk on Britain, which begets questions about King Arthur's semen production). A series like this is a masterclass in juggling, with everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. Here, this very series is flat-out masterful — and tremendously funny. Check out the trailer for Cunk on Earth below: Cunk on Earth streams via Netflix. Images: Jonathan Browning.
First, her milkshake brought all the boys to the yard. Now, a couple of Brisbane events — BIGSOUND and Sweet Relief! — are bringing Kelis to Brisbane in 2024. The thinking: why get the R&B talent to hit up one festival in the Sunshine State capital when she can take to the stage at two? Damn right, this plan is better than yours. At BIGSOUND, Kelis joins the conference lineup at the huge music event, which combines plenty of discussions with live gigs in Fortitude Valley, and returns to Brisbane from Tuesday, September 3–Friday, September 6 for its 23rd year. Then, on Saturday, September 7, Kelis will be part of Sweet Relief!'s 2024 bill. Accordingly, BIGSOUND attendees can expect to hear about her experiences in music — and maybe as a fashion icon, muse for designers, and a Le Cordon Bleu-trained chef with her own Netflix several cooking specials and cookbook My Life on a Plate to her name. At Sweet Relief!, in an exclusive show, Kelis will bust out not just 'Milkshake' and 'Bossy' but more tunes from her catalogue at the fest's second year. For company at the event, which moves to Ballymore Stadium for 2024 after debuting at Northshore Brisbane in 2023, she'll be joined by The Presets, 2024 Eurovision contestants Electric Fields, Haiku Hands, Dameeeela and Juno so far, with more to be announced. 2024 marks a quarter century since Kelis' first record Kaleidoscope and also 21 years since Tasty — featuring 'Milkshake', 'Trick Me' and 'Millionaire' — became such a hit. The singer's spot on both the BIGSOUND and Sweet Relief! is the result of a partnership between BIGSOUND and QLD Music Trails, the latter of which Sweet Relief! forms part of. [caption id="attachment_959285" align="alignnone" width="1920"] The James Adams[/caption] [caption id="attachment_861894" align="alignnone" width="1920"] Lachlan Douglas[/caption] [caption id="attachment_959282" align="alignnone" width="1920"] The James Adams[/caption] [caption id="attachment_851424" align="alignnone" width="1920"] Lachlan Douglas[/caption] BIGSOUND 2024 will take place between Tuesday, September 3–Friday, September 6 in Fortitude Valley, Brisbane. For more information, visit the event's website. Sweet Relief! 2024 will take place at Ballymore Stadium, 91 Clyde Road, Herston, on Saturday, September 7, with presales from 11am local time on Tuesday, June 4 and general sales from 11am local time on Friday, June 7 — head to the event's website for more details.
Approaching its 100th year in Darlinghurst, The Strand is set to have a huge makeover, with the longstanding corner pub being transformed into a multi-venue hotel, bistro and rooftop bar. Part one of this transformation is already complete, with the French bistro occupying the pub's ground floor now open to the public. At The Strand Bistro, you'll find all the trimmings of a classic French diner. Inspired by 1920s Paris, the venue boasts a sleek wood and gold fit-out with a menu that rolls out expected favourites from the region's cuisine. There's caviar service ($30-260), steak frites with bearnaise sauce ($38-46), creamy garlic mussels ($26) and a French leek tart ($24). It's a far cry from standard pub fare. The mussels are a real highlight, presented swimming in sauce, as is the steak tartare ($22), anchovy and caramelised onion pissaladiere ($8 each) and the roasted magret duck breast paired with grilled radicchio and plum ($42). There are also two midweek specials available for anyone looking to add some Parisian charm to their work week. The first is The Strand's le burger gruyere, served with fries and a beer for $30 for lunches Monday through Friday. Alternatively, come in on a Tuesday and you can order the duck pie with a glass of pinot for $40. As with the food, the drinks menu has undergone a similarly dramatic change. There is still a selection of standard beers on tap, but diners looking for something more adventurous can take their pick from the bistro's expansive Australian and French wine list, or opt for a selection from the aperitifs and cocktails. A 49-strong whiskey list is also on hand, featuring highlights from Japan, Scotland and Ireland. The bistro is set to be joined by a second new space inside The Strand. Head up to the William Street building's rooftop and you'll discover a casual al fresco bar. Expected to open during winter, the rooftop will facilitate snacks and cocktails with sunset views and DJ sets.
Long before Photoshop became widely available photo hoaxes were much more noteworthy and had larger repercussions for contriving fake events. Today we are accustomed to seeing completely unrealistic and out-of-this-world scenes on photographic prints, but in bygone days society was a little more innocent. Whether used as propaganda in war times, t0 invent or perpetuate superstitions, to improve appearances, or to make ordinary events appear extraordinary, photo hoaxes have historically changed our perceptions, beliefs and even our actions. Here are ten of the most famous photo hoaxes (appropriately from The Museum of Hoaxes) throughout history. Portrait of a Photographer as a Drowned Man Hippolyte Bayard was angered by the lack of attention and recognition given to his independently developed process of direct positive printing, which was instead focused on his rival Louis Daguerre. In the 1830s during the race to perfect the printing process, Bayard was not remembered as the first to invent photography, yet he is known as the first to fake a photograph. To demonstrate his frustration, Bayard took a faux photo of himself as a suicide victim alongside a note reprimanding those who supported Daguerre as the discoverer of photography rather than himself. President Lincoln Due to Abraham Lincoln's lack of 'heroic-style' portraits, an amateur entrepreneur created the photo of Lincoln on the left by combining two other photographs. By cutting out Lincoln's head from a picture by Matthew Brady and pasting it onto an image of southern leader John Calhoun, this widespread image of a bold President Lincoln was created. The Cottingley Fairies Cousins Frances Griffith and Elsie Wright were playing in the garden of Elsie's Cottingley village home when a group of frolicking fairies seemingly decided to join in on their fun. The series of photos taken by the young girls captured the world's attention, providing 'proof' to many spiritualists that supernatural creatures really did exist. Little did the world know (until 1980) that the fairies were in fact only cardboard cutouts drawn by Elsie inspired by the book Princess Mary's Gift Book. Trotsky Vanishes Leon Trotsky, the second in command to Lenin in Soviet Russia during the Bolshevik Revolution of 1917, was deported and eventually assassinated in later years after demonstrating open dissent towards Stalin's policies. This photo was taken in 1920, with the original depicting Vladimir Lenin atop a platform speaking to troops at Sverdlov Square and both Trotsky and Kamenev standing beside him on his left side. This picture is one of the most famous images in the many falsified photos using paint, razor and airbrushes as part of Stalin's attempt to eliminate all traces of the 'traitor' Trotsky. Baby Hitler In the 1930s, a photo supposedly showing a baby Adolf Hitler circulated throughout England and America. The menacing scowl upon the baby's face and greasy mop of hair covering its head was distributed by Acme Newspictures Inc. and appeared in a large number of newspapers and magazines. The photo actually portrayed a young american boy, John May Warren, whose cute and and bubbly features had been manipulated to make him look more sinister. The origin of the hoax picture has been traced back to Austria, Hitler's home country, yet the identity of the forger remains unknown. Lung-powered Flying Machine One of the most successful and widespread April Fools jokes in history, this photo was run in the Berliner Illustrierte Zeitung on April 1, 1934 presenting a flying machine run by the breath from a man's lung. Many immediately thought the image to be true and International News Photo distributed the image of this 'new invention' to its American subscribers. This caused the image to go viral, with it even making it into the New York Times. The Surgeon's Photo A few months after the initial media hype following a sighting of an 'enormous monster' by a couple in the Loch Ness, a highly respected British surgeon, Colonel Robert Wilson, came forward with a picture showing a serpent rising out of the water. By far the most famous image of the 'Loch Ness Monster', this photo, named 'The Surgeon's Photo' (due to Wilson's wish to remain anonymous) was debunked in 1994, 60 years after the photo's initial release. 90 year-old Christian Spurling, on the eve of his death, revealed his role in the hoax. At his stepfather's wishes he had created a toy submarine with a sea-serpent head to appear in a photograph, which Colonel Wilson would be the frontman for. The Brown Lady of Raynham By far one of the most famous ghost pictures, the Brown Lady supposedly haunted the walls of Raynham Hall in Norfolk, England. The image was taken by two photographers for Country Life magazine, who had been setting up their cameras and apparently saw an unearthly figure floating down the stairs and subsequently snapped a photo. The appearance of the ghost has later been attributed to camera vibration, light entering the lens from the window or double exposure, yet it is unknown whether the result was produced on purpose or was accidental. The Bluff Creek Bigfoot This image represents frame 352 of Patterson and Gimlin's infamous short film about Bigfoot set in Northern California. The pair set out out to make a documentary on horseback about the beast and conveniently managed to capture footage of a female 'Bigfoot' strolling along the river bank. Skeptics argue that this image is obviously just a figure in an ape suit, yet believers counter that costumes and effects were not sophisticated enough in 1967 to create such a believable image. The quality of the film is not good enough to conclusively prove or deny the existence of the beast, so feel free to make up your own mind on the authenticity of the image. The Foetal Footprint One of the more recent photo hoaxes, this image showing the outline of the foot of a baby in utero pressing against a pregnant mother's belly has gained widespread prominence on the internet and elsewhere. Many have been fooled by this miracle photo, but in actual fact, the abdominal wall is too thick and muscular for a foetal foot to be seen so clearly, and the foot itself is also unusually large.
Manly Wharf has been taken over by Felons. And no, we're not talking about pirates, but the celebrated Queensland brewery that's opened Felons Seafood, a sprawling 300-seat seafood restaurant perched right at the water's edge, right next to its more casual offering that opened in October 2024. It's an impressive set-up — a breezy coastal aesthetic is anchored by white tones and raw, earthy textures, as well as plenty of sunlit space across the spacious indoor and outdoor dining areas. Inside, a 360-degree bar is framed by four stainless steel tanks pouring brewery-fresh beer, all backed by sweeping views across Manly Cove. [caption id="attachment_1011783" align="alignnone" width="1920"] Steven Woodburn[/caption] Helming the kitchen is Luke Bourke, a culinary wunderkind with a CV that belies his age. Most recently at Rockpool Bar & Grill — where he won Good Food Guide's 2025 Young Chef of the Year award — Bourke has also logged time at est., Noma Australia and The Ledbury in London. He's also a proud Palawa man and an alumnus of the National Indigenous Culinary Institute, and his elegant, produce-driven menu — which he's designed with fellow Rockpool alum and owner of Marrickville's 20 Chapel Corey Costello — reflects both his heritage and experience. The menu is very much an Australian expression of a classic seafood restaurant. Dishes range from the traditional — like prawn cocktail and a chilled seafood platter loaded with king prawns, Sydney rock oysters, tuna tartare, honey bug cocktail and lemongrass pipis — to the more creative — Bourke's signature tartar sauce features pickled warrigal greens and Felons IPA malt vinegar, while the abalone schnitzel sandwich with salted chilli mayonnaise already feels like a classic in the making. [caption id="attachment_1011781" align="alignnone" width="1920"] Ethan Smart[/caption] The drinks program is equally considered. Felons Super Cold Crisp Lager — Australia's coldest lager, poured at -2 degrees and served in thick-walled glassware designed to maintain the ice-cold temperature — headlines the tap list, while the food-friendly wine list showcases Australian and European makers. There's also a bright, coastal-inspired cocktail list, with highlights like a salt and vinegar martini made with oyster shell gin and caperberry brine, a coffee- and macadamia-infused old fashioned, plus frozen classics and a dedicated spritz selection. It all adds up to a venue that's set to reinvigorate one of Sydney's most iconic waterfront destinations. These Felons might be from Brisbane, but they've nailed the laidback Northern Beaches vibe to a tee.
Now that our favourite venues are finally open again, there is nothing ruder than saying no to a rooftop cocktail or harbourside lunch. To help customers manage their social budget, hospitality group Australian Venue Co (AVC) has partnered with Afterpay for an initiative that enables more people to get out and about, with the ability to pay over time. On Monday, November 1, the group launched Dine Now, Pay Later, giving all of us social animals the opportunity to enjoy great food and drinks at over 160 venues Australia-wide and pay the tab in fortnightly, interest-free payments. Here are seven of the venues where you can indulge responsibly with Afterpay — available via mobile ordering, paying at the bar and the AVC app.
There's no official Wes Anderson Cinematic Universe. That label isn't bandied across his trailers and posters to describe connections between his movies, storylines don't continue from one film to the next and characters from past flicks aren't popping up in the writer/director's new works. Fan theories can speculate otherwise however they like; however, rather than any overarching narrative tidbits, it's the inimitable auteur's distinctive style, recurrent themes and familiar troupe of actors that connect Anderson's movies — delightfully so 13 full-length titles into his resume (if you count 2023 shorts The Wonderful Story of Henry Sugar, The Swan, The Rat Catcher and Poison as one charming anthology). Still, being a part of one of the Bottle Rocket, Rushmore, The Grand Budapest Hotel and Isle of Dogs' helmer's features is akin to entering a specific realm for his cast. Starring in an Anderson picture means working with a filmmaker with a precise aesthetic and meticulous direction, the results of which then get splashed across the screen for audiences to cherish in elaborate detail. In The Phoenician Scheme, Benicio del Toro (Reptile) and Michael Cera (Sacramento) are two such players. They're each either relative or literal newcomers to Anderson's world — del Toro first collaborated with him on The French Dispatch, while Cera was slated to be in Asteroid City but the birth of his son understandably took precedence — and they're loving it. Nothing is accidental in the making of a Wes Anderson film. Nothing is anything but intricately planned and orchestrated, in fact. Accordingly, it should come as zero surprise that del Toro and Cera weren't merely cast in the 50s-set The Phoenician Scheme — they're the only actors that Anderson had in mind for the roles of European business magnate Anatole 'Zsa-zsa' Korda and Norwegian tutor/entomologist Bjorn, respectively. Chatting with Concrete Playground, they both use the same word to describe that situation. "It's a hell of a gift," del Toro advises with a smile. "It was really a treat and a gift," says Cera. Zsa-zsa is The Phoenician Scheme's protagonist. The plan that gives the flick its name — as stored in shoeboxes, and involving a range of business partners spread far and wide (as portrayed by Here's Tom Hanks, The Studio's Bryan Cranston, Relay's Riz Ahmed, A Private Life's Mathieu Almaric, The Last of Us' Jeffrey Wright and Fly Me to the Moon's Scarlett Johansson) — is all his. Brought to life by one of Oscar-winner del Toro's greatest performances, he's also wealthy, charismatic, cut-throat in his professional endeavours and, after surviving his sixth plane crash, keen to get reacquainted with Liesl (Mia Threapleton, The Buccaneers), the nun in training that's also his estranged daughter and preferred heir. As for Bjorn, he's enlisted to teach Zsa-zsa about insects, but finds himself acting more as a personal assistant while getting close to Liesl — who is expectedly wary about her father and his endeavours — as they jet around attempting to lock in The Korda Land and Sea Phoenician Infrastructure Scheme. Cera is stellar, too, as well as a seamless fit into Anderson's repertory cast; his work here ranks up there with Arrested Development's George Michael Bluth, Scott Pilgrim vs. The World's eponymous figure, Twin Peaks' Wally Brando and Barbie's Allan among his most-memorable characters. [caption id="attachment_1006881" align="alignnone" width="1920"] Giulia Parmigiani[/caption] For co-stars, del Toro, Cera, Threapleton and the fellow talents listed above also have everyone from Richard Ayoade (Dream Productions), Benedict Cumberbatch (Eric), Rupert Friend (Companion) and Hope Davis (Succession) to Willem Dafoe (Nosferatu), Stephen Park (Death of a Unicorn), Charlotte Gainsbourg (Étoile) and Bill Murray (Ghostbusters: Frozen Empire) for company. And for plot specifics, the ensemble has "disrupting, obstructing, impeding" bureaucrats, the price of bashable rivets, lie detectors, suspicious uncles, locomotives, basketball shots, terrorists, freighters, marriages, grand hotels and heaven to navigate. They're stepping into a redemption story, and also a complex family dynamic with deep emotional resonance. This group is in another Anderson gem, then. Ask del Toro how he approaches plying his skills for Anderson, a filmmaker who is giving him rare comic parts — so much so that the actor was astonished the very first time that the director called — and he speaks about his commitment to telling the truth no matter the role. Ask Cera about conveying complicated bonds for the helmer, and also about the path that's brought him to Bjorn after more than a quarter of a century of acting, and he's all about the people around him. For both, trust and faith in Anderson are pivotal to them giving their all, and the results are on the screen. "You trust him and you try to be as honest as you can, even when you're lying," del Toro notes. On Digging Into a Wes Anderson-Penned Redemption Story That's Characteristically Both Comic and Has Emotional Depth Benicio: "I think I do what I do in every movie — I try to tell the truth. Wes and Roman Coppola, together they wrote this incredible script. You just draw from it. You know, I'm not known to do comedy — and one thing that we tried to keep in mind was 'don't try to be funny'. If the laughs come, good. If not, it's good. Don't try to make the laugh happen. Let the laughs follow. So try to tell the truth. And for me, it's just like what I do in other movies. I mean, this time I have to do it verbally, and there's a lot of dialogue. So for that, you just have to get ready and practice that dialogue. But the bottom line for me is basically what you said — it's the depth of this arc of this character. But also those dream sequences or heaven sequences, that is his subconscious also talking. It just added for the actor to know what was the arc about. It helped. It was like having your psychiatrist explaining the character as well. It's like having the psychiatrist explaining who the character is. Those dreams fed a lot of information to me of where we were on this story — also where was his emotional arc of that particular moment in the story." Michael: "I think the material and the writing takes care of a great deal of that for you. If it's able to get you invested in the story — which, it's just such strong writing — you feel it when you read the script. You feel and you know completely — you know where the feeling is going to come from and how you know it needs to be rendered. But even so, I found the movie much more moving in the end than I even expected, even after having shot it. I find it to be very moving." On How del Toro, Cera and Mia Threapleton Worked Together to Convey Their Characters' Deepening Bond Across the Film Michael: "We did have a little bit of a rehearsal period, fortunately, with the three of us and with Wes. And we just really worked, the four of us privately, for a couple of weeks — like two weeks or so. And it's a great thing to be able to do. It makes you get ahead of things a little bit. It allows you to come up with some observations and ideas that that later can feed into the work. And it also, but most importantly I think, just creates a strong sense of a team and comfort and trust with each other. And that carries into the work, I think. But we discovered, also I think, in reading it, discovered the dynamics and the emotions that these characters feel toward each other. And what it feels like for to be betrayed, when there are betrayals that happen. It was nice to get ahead of all of that and find the specific way in, and what was specific about it — because I love the way it's played. Things are salvaged even though there's a major betrayal. And there's an emotional bond that helps them all pull through that even, which is really nice. A really nice turn, I think." On the Significance of Anderson Writing Specific Parts for Del Toro and Cera Benicio: "Well, it's a hell of a gift. I think that we never talked about anything. 'Hey, did you write this for me? Am I your second choice?'. I never really questioned that. He called me up. He sent me the first 20 pages. I have to go back and explain to you that when I got The French Dispatch and he first called me, I was super elated. It was hard to believe that Wes Anderson was calling me to be in one of his films, because most of the movies I do, even though they're fiction, they tilt towards documentaries. Wes movies, they're fiction but they tilt more to theatrics — to the theatre, let's put it that way. When he called me up the first time, I was a little bit like 'wow, is he, is he really?'. I immediately thought 'wow, he's thinking outside the box, he's going against stereotypes'. Because there's many actors that do comedy better than me, and he could have gone to those actors. But for some reason, he pulled me into that world, his world. And I was really elated by it. When I read the part of The French Dispatch, it was like it was so good, and then I realised that it came to an end and another story happened and that was it — and it was like 'wump, wump, wump'. I was little bit like 'oh, wow, I could really get into this character, the painter Moses'. And so then that happened. I did the film. I had a blast working with him. When you work with Wes, you have to let the kid in you, you've got to let them out, the imagination. You have to play. It's a lot of fun. It reminded me — I was trained in the theatre, so it was kind of like back to the future, in a way. It was like I had travelled back in time to my beginnings, studying with Stella Adler and being on the theatre. And then come to this, when he sent the first 20 pages, I was like 'oh wow, this is amazing'. But I thought that might be it. And then he sent the next 20 pages and I'm still in the movie. And then the next 20 pages — and then I'm going 'oh my god, now this is going to be hard work'. So it was kind of like one of those, and I was really excited — and it's a gift from Wes. But at the same time, you had to really put on, strap on your boots and get to work, because there was a lot of work to do." Michael: "I didn't know that really, to be honest. So I'm not sure — like I don't know exactly what his process was with that or when I came into his mind for it. But obviously just so happy to be considered and invited. Wes had offered me one role once before, in Asteroid City, and I ended up not being able to do it because of the birth of my son interfering with the dates. So I was so disappointed. I mean, obviously it was the most-important kind of life event for me. So it was all good, but it was just horrible timing. I was like 'oh no, I finally got offered by Wes to come along and be a part of his one of his productions and I can't go'. It was heartbreaking. But this more than redeemed it. So I was just happy that he was still thinking of me, and then so delighted to read it and to discover this character — and so caught, really, by surprise by how involved of a role it was too in the whole story, and in the whole play of everything. I didn't expect to be given such an opportunity by him. So it was really a treat and a gift." On Cera's Knack for Taking on Distinctive, Specific Characters That Aren't Going to Be Mistaken for Any Others, Including in Arrested Development and Twin Peaks Michael: "It's the greatest thing when you get a piece that's exciting to read and an amazing opportunity as an actor. I remember reading the script for Arrested Development when I was like 14 or 13, and really, it was very clear how special it was. I don't know — I think there are things that you just gravitate toward and you just want in. There are a lot of things that I have felt that about that I didn't have a chance to work on, too, but you're just like 'oh, I need this. I want this. I get this. I love this world. I love the people making it'. So when you are lucky enough to get onto the ones that you feel that way about, it's the greatest." [caption id="attachment_1006861" align="alignnone" width="1920"] Roger Do Minh/TPS Productions/Focus Features © 2025 All Rights Reserved.[/caption] On How Working with a Filmmaker with Such a Precise Visual Style Influences the Way an Actor Approaches a Role Benicio: "Well, you know his movies are handmade. There's nothing there that is — let's say CGI, very little. You might have to use something but very little is CGI. Everything is built. Everything is put together. Everything is really — you can touch it. So my approach to it was the same way I approach any movie: is just try to tell the truth unless, and trust Wes that if I do what I do, he will take it to the finish line. He will do his thing and take it to the finish line. And, like any actor, you try to tell the truth — even when you lie. So that's what you do in a Wes Anderson movie as that's an actor. You trust him and you try to be as honest as you can, even when you're lying. That's what I did. Hey, there might be other ways, but everybody's different." Michael: "Well, you have a lot of faith in him. You have a lot of trust in Wes, because you know that he's across every inch of the movie and he's not going to let something get through that breaks the spell or destroys the nuance of what he's creating. So you just feel you're in incredibly good hands and he's going to make you shine — and make you look better than what you did, even. So working with someone on that level, it makes you feel very confident. And then you can you can try things and you can work with confidence. That feeling is not always there, and sometimes you have the opposite feeling, and it's really hard to really put yourself out there as an actor when you have that, when you have doubts." On What Cera Makes of His Journey as an Actor Over More Than a Quarter of a Century, Leading Him to The Phoenician Scheme Michael: "I feel really lucky to be doing this for a living and doing what I was attracted to from that age. When I was a kid, it wasn't like a career. It was just something I loved. And then it turned into something that was kind of a job, but I loved that, too. It's an interesting life. I've had a very positive experience of coming up as a child actor and turning into an adult person who's acting. There are obviously the famously unfortunate versions of that. But for me, I was always just around great people. [caption id="attachment_1006880" align="alignnone" width="1920"] Giulia Parmigiani[/caption] It was exciting to be nine years old and having colleagues that were grown people that you admire and that took care of me and showed me how to do it. Even first assistant directors and things, when I didn't even know what I was doing. I didn't know where I was supposed to go, what I was supposed to, what I was supposed to say — and people helped me. So I feel very lucky. I've had a very good road to be where I am now. And it's really nothing but good luck that made it that way. I just have had really good people around me." The Phoenician Scheme opened in cinemas Down Under on Thursday, May 29, 2025. Film stills: courtesy of Focus Features © 2025 All Rights Reserved.
When 2019 rolls to a close, more than 550 films will have screened in Australasian cinemas across the entire year. That's a huge amount of movies — enough to send you to your favourite picture palace almost twice a day. But unless watching films is your actual job, you probably don't have the time (or stamina, willpower or eagerness to basically live in a darkened room) to see anywhere near that many flicks. So, you prioritise. And, based on 2019's box office tallies, that means that most folks see all the big titles. This year, it seems that absolutely everyone caught a session of Avengers: Endgame, The Lion King, Captain Marvel, Joker and Aladdin. Plenty of cinemagoers spent some time with Once Upon a Time in Hollywood, John Wick: Chapter 3 — Parabellum, Yesterday and Alita: Battle Angel, too. Excellent movies such as Us and Hustlers also found a crowd. Terrible flicks like Men in Black: International and The Angry Birds Movie 2 did as well. And, although it actually first hit cinemas at the beginning of November 2018 (and ranked fourth in last year's box office), Bohemian Rhapsody still currently sits 15th in terms of ticket sales in 2019. While you were watching all of the above flicks (or watching Bohemian Rhapsody again, apparently), you might've missed some of 2019's smaller gems. They're the movies that weren't plastered all over billboards, didn't spend weeks and months on every screen around town, and you could've blinked and missed them. Thankfully, they all still exist — and we've compiled a rundown of the films that rank among the year's best, but you might not have seen. https://www.youtube.com/watch?v=QMs28A1s1OA BORDER Rarely has a movie felt as unique, engrossing and electrifying as Swedish film Border, the sophomore feature from Iranian-Danish writer/director Ali Abbasi. Based on a short story by Let the Right One In author John Ajvide Lindqvist, this constantly surprising horror- and fantasy-tinged drama sifts through the life of customs agent Tina (a phenomenal Eva Melander), who is especially suited to her job thanks to her special ability: due to a chromosome flaw, she can smell what people are feeling. When the mysterious Vore (Eero Milonoff) passes through her checkpoint, his scent sets her nostrils ablaze with curiousity. This isn't an unconventional meet-cute in a quirky rom-com, though. In a film that saunters into dark genre territory with a purpose, Border savvily draws on myth, sci-fi and body horror to explore societal limits, the concept of otherness and the search for identity that plagues us all. https://www.youtube.com/watch?v=nwJ5LDOl2Tc ACUTE MISFORTUNE If Adam Cullen had been any other artist and Erik Jensen any other journalist, Acute Misfortune may not exist. In 2008, the former invited the latter to stay with him, see him at his best and worst, and channel his life story into a biography — and, as dramatised by actor-turned-filmmaker Thomas M. Wright, the results are blistering. Just as Jensen didn't shy away from Cullen's erratic, frequently controversial nature, nor does this stunning drama, which could never be accused of being a straightforward biopic of the Archibald-winning painter. Aided by stellar performances by Daniel Henshall as Cullen and Toby Wallace as Jensen, as well as a script by co-written by the real-life Jensen, this is a warts-and-all portrait that lays bare not only its subject, but Australia's fascination with festering masculinity, and it's a lively and compelling watch from start to finish. https://www.youtube.com/watch?v=1VTFLvLtdYw SKATE KITCHEN Crystal Moselle's first and second films shouldn't share as much in common as they do. With documentary The Wolfpack, the American filmmaker stepped inside a Manhattan apartment inhabited by a homeschooled family, who learned about the wider world by watching and re-enacting movies. With the fictional Skate Kitchen, she glides across New York's streets with the titular all-female skate crew — and it still feels like she's entering a rarely seen realm. That's partly this equally expressive and naturalistic drama's point, as it conveys through the story of 18-year-old Camille (Rachelle Vinberg), a Long Island teen who finds the part of herself she's been missing when she joins Skate Kitchen. A flame-haired Jaden Smith also pops up as one of the boys in the crew's orbit, but this film belongs to its fantastic real-life skater cast, and to the fiercely female perspective it champions. Read our full review. https://www.youtube.com/watch?v=amB2Ol6wihg HAIL SATAN? Hail Satan? isn't trying to recruit new members to the Satanic Temple, but that might happen anyway. Exploring satanism beyond the usual horror movie trappings, filmmaker Penny Lane crafts engaging and amusing documentary about a controversial group endeavouring to subvert the societal status quo in a broader sense. Yes, goat horns, fetish outfits and heavy metal all feature, but this is primarily a chronicle of concerned citizens speaking out against the the current political climate. They're fighting for true freedom of belief, which doesn't just mean enshrining discriminatory and oppressive conservative Christian values — a topic of particular relevance in Australia at present. They're also battling religious-motivated hate, championing equality and rallying against injustice in general, like any other social activist group. As seen in this sympathetic but illuminating film, that's the kind of satanic panic that many could get onboard with. Read our full review. https://www.youtube.com/watch?v=XTh4uTFWPeg THE THIRD WIFE For her impressive directorial debut, Vietnamese-born filmmaker Ash Mayfair delves into her ancestry. The story: the arranged marriage of a 14-year-old girl to an already twice-wed wealthy landowner, with the late-19th century-set tale drawing its details from Mayfair's own family history. In rural Vietnam, and in the life and experiences of May (Nguyen Phuong Tra My), The Third Wife unpacks the minutiae of a patriarchal system that treats women like property — all as its protagonist is told she must bear her husband a son, and strives to find what little contentment she can in her new life. Favouring lush imagery over dialogue, this is a moving and ravishing film not only aesthetically, but in the simmering emotions clearly felt by May and the other languishing ladies around her. https://www.youtube.com/watch?v=TslErMXUBp4 HAPPY AS LAZZARO At first, Happy As Lazzaro seems straightforward — venturing to a traditional Italian estate, following the interplay between its tobacco farm workers and the arrogant aristocracy who decide their fates, and doing so in both a poetic and naturalistic manner. The film's eponymous figure, the kindly and caring Lazzaro (Adriano Tardiolo), stands out from his agitated rural brethren by virtue of his good-natured demeanour; however writer/director Alice Rohrwacher appears content to watch him navigate the sometimes ordinary, sometimes exaggerated struggles of feudal life. Then, in a twist that needs to be seen to be believed, this Cannes Best Screenplay winner changes. Making a connection with modern-day life, the wry film cements its status as a parable. Equally surreal and astute, the end product is one of the most distinctive films of this and many other years. https://www.youtube.com/watch?v=Zch4VPKGBwU ISLAND OF THE HUNGRY GHOSTS Despite its festive name, Christmas Island has been splashed across Australia's news headlines for all the wrong reasons. For much of the 21st century, it has been one of the places where those fleeing hostilities and seeking asylum have been housed — amid protests, controversies, closures and, this year, the re-opening of its Immigration Reception and Processing Centre. In a potent, haunting blend of fact and recreation that proves far more effective than a straightforward documentary, Australian filmmaker Gabrielle Brady ponders the impact of the site and its purpose on those who call it home. Trauma counsellor Poh Lin Lee draws the film's focus, with her discussions with detained refugees, her daily life, her family, the island's migrating crabs and its history all playing a part in this compassionate, deservedly acclaimed movie. https://www.youtube.com/watch?v=mwgUesU1pz4 UNDER THE SILVER LAKE After working horror fans into a frenzy with It Follows, David Robert Mitchell opted for a neo-noir black comedy for his next film. A thematic companion piece to similarly sprawling, spiralling, slacker-focused California-set fare such as Inherent Vice and The Big Lebowski, Under the Silver Lake hones in on aimless 33-year-old Sam (Andrew Garfield), who stumbles upon several mysteries. Murdered pets, his alluring new neighbour (Riley Keough), a missing billionaire and an underground zine series about local neighbourhood legends all rate a mention in this deliriously labyrinthine movie, as do Hollywood history and ominous conspiracies. Mitchell's technical game is pitch-perfect, as evidenced in both the film's vibrant images and intoxicating score, with every element inviting audiences along for a wild and rewarding ride. https://www.youtube.com/watch?v=xLIQABWm2mg FINKE: THERE AND BACK The past few years have been memorable for Dylan River. The Alice Springs filmmaker directed Robbie Hood, the delightful SBS web series; was the cinematographer on rousing Adam Goodes documentary The Australian Dream; and worked as the second unit director on Sweet Country, which was helmed by his father Warwick Thornton. He also wrote, directed and shot Finke: There and Back. While the iconic Finke Desert Race is the kind of event that you're either into or you're not — it's a rough, tough, two-day off-terrain trek through central Australia's dust and dirt via motorbike and car, and it's been known to cause casualties — this insightful documentary is for everyone. Through intimate interviews and striking on-the-ground footage, River follows the competitors before and during the race, telling their tales while exploring a difficult feat from the inside. https://www.youtube.com/watch?v=322NzXR3n4o LORDS OF CHAOS According to Euronymous (Rory Culkin), Norway is known for "seal clubbing and a very high suicide rate". If that sounds far from cheery, then this simultaneously dramatic and comic true crime tale won't be for you. Fictionalising a spate of murders and church burnings in the early 90s, Lords of Chaos spends time with the bleak-minded guitarist and his bandmates as they scream and thrash their way through the Norwegian black metal scene, shaping its early days as they go along. History dictates that this is an incredibly dark story, and director Jonas Åkerlund — an ex-Swedish black metal rocker himself — doesn't shy away from its violence. That said, he firmly recognises that he's following wannabe rebels looking for any cause they can find. Åkerlund also made the abysmal straight-to-Netflix John Wick clone Polar, but with Lords of Chaos, he tackles a grim story with both brutal style and weight.
If you enjoy getaways of the pampering, wellness-oriented and soaking kind — you're in luck. Victoria is set to score the country's largest-ever hot springs experience at the majestic 12 Apostles, opening in 2026. The $200 million 12 Apostles Hot Springs & Resort project will be the biggest hot springs offering in Australia, sprawling over a 79-hectare site encompassing multiple onsite hospitality venues, 70 baths and a 150-room wellness resort. "Traditionally hot springs have been associated with places like Japan and Europe, but Australia has seen an enormous renaissance on natural bathing," Founder and Principle Design Consultant of Spa Sessions Naomi Gregory says. "I see this as being the premium bathing location in the country." [caption id="attachment_907721" align="alignnone" width="1920"] Image: 12 Apostles Hot Springs & Resort, renders[/caption] Details on the new hot springs resort and spa are scarce at the moment, but will feature natural bathing sourced from geothermal mineral springs set approximately 1km below the site. Victoria is quickly becoming a hot spring haven, with future plans including a 900-kilometre trail filled with bathing spots dubbed The Great Bathing Trail to span along the Victorian coast. The latest announcement follows the recent opening of Mornington Peninsula's Alba Thermal Springs and Spa, Gippsland's Metung Hot Springs and Peninsula Hot Springs' huge, ongoing expansion plans. [caption id="attachment_907722" align="alignnone" width="1920"] Image: 12 Apostles Hot Springs & Resort, renders[/caption] 12 Apostles Hot Springs & Resort is set to open in 2026. More to come. Images: Renders, supplied.
When Cocaine Bear made its leap from a true tale to a movie that was always bound to fall short of reality, it arrived with a promotional online game where a bear chomps on cocaine, plus people who get in its way, in a playful riff on Pac-Man. Called The Rise of Pablo Escobear, the game is more entertaining than the film, but it isn't the best low-fi button-clicking tie-in of 2023. That honour now goes to Feed Eggs, which anyone that's seen I Think You Should Leave with Tim Robinson season three will immediately want to play. How does a sketch comedy where assholes take centre stage work in a game about feeding eggs to a bigger egg? The answer to that is sublime, impossible to foresee, and completely in tune with the show's obsession with office culture at its most grating — and people being oh-so unbearably irritating. Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been stacking streaming queues with appalling folks since 2019, as usually played by the eponymous Detroiters star — and long may it continue. In season three, which dropped in full on Netflix on Tuesday, May 30, the show takes its gallery of assholes literally in the most ridiculous and unexpected way, so much so that no one could ever dream of guessing what happens in advance. That's still this sketch comedy's not-so-secret power. Each time that it unleashes a new batch of six episodes, all screaming to be binged in one 90-minute sitting, there's no telling where Robinson, co-creator and co-writer Zach Kanin (Saturday Night Live), and their committed colleagues will venture. Three key constants: Robinson giving his rubbery facial expressions a helluva workout, memes upon memes flowing afterwards and a fresh round of quotable lines that'll never get old — even if you used to be a piece of shit slopping up steaks, and babies know it. Each of I Think You Should Leave with Tim Robinson's skits tend to hone in on someone being the worst in some way, doubling down on being the worst and refusing to admit that they're the worst (or even that they're wrong). And, while everyone around them might wish that they'd leave — that feeling is right there in the name — the central antagonist in every sketch is never going to. Nothing ever ends smoothly, either. In a comedy that's previously worked in hot dog costumes and television shows about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its parade of insufferable characters. In fact, the more absurd and chaotic that I Think You Should Leave with Tim Robinson gets, and the more unpredictable, the better that the show gets as well. It should come as zero surprise, then, that no description can do I Think You Should Leave with Tim Robinson's sketches justice. Almost every one is a comedic marvel that has to be seen to be believed, as again delivered in 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors, designated drivers and novelty venues to HR training, street parking and wearing the same shirt as a stranger are in Robinson's sights this time, plus people who won't stop talking about their kids, wedding photos and proposals, group-think party behaviour, paying it forward and boss-employee beefs as well. Game shows get parodied again and again — an I Think You Should Leave with Tim Robinson staple — and gloriously. Season three also finds time to skewer viral videos and folks desperate to make them, obnoxious audiences not once but twice, one-note pundits enamoured with the sound of their own voices and the kind of competitive romantic shows that reality TV is filled with. Indeed, although the nine-to-five grind has always been a treasure trove for I Think You Should Leave with Tim Robinson's jerks, so have the screens that are as deeply entrenched in our lives. That innocent idea that every kid has about the people beamed into their homes, how wonderful they must be and wanting to be just like them? Robinson douses it with vodka shots. The series also makes plain that a camera is just a magnifying glass, especially when it comes to vexing traits. I Think You Should Leave with Tim Robinson may thrive on being erratic, but it's easy to see its evolution from the cancelled-too-soon Detroiters. In the 2017–18 sitcom, Robinson and I Think You Should Leave with Tim Robinson regular Sam Richardson (The Afterparty) play best friends, next-door neighbours and colleagues, the latter at a Detroit advertising agency specialising in low-budget ads that are frequently OTT and ludicrous. Kanin co-created the series with Robinson and Richardson, plus Joe Kelly, who went on to co-develop Ted Lasso. Sans moustache, Jason Sudeikis also executive produced and gave Detroiters its first big guest star — someone dealing with over-eager characters who weren't assholes, but also wouldn't take no for an answer. In its instant-gem debut season, its equally wild and wonderful second season in 2021, and now the just-released season three, I Think You Should Leave with Tim Robinson has kept evolving. More often than before, Robinson lets his co-stars play the asshole, too. Some have been here and done that magnificently before — Richardson, of course, plus the also-returning Will Forte (Weird: The Al Yankovic Story), Patti Harrison (She-Hulk: Attorney at Law), Conner O'Malley (Bodies Bodies Bodies), Tim Heidecker (Killing It) and Biff Wiff (Jury Duty) — while some pop up as they do in seemingly every comedy ever made, which is where Fred Armisen (Barry) and Tim Meadows (Poker Face) come in. Among the newcomers, when Jason Schwartzman (Spider-Man: Across the Spider-Verse) and Ayo Edebiri (The Bear) join in, they're also on the pitch-perfect wavelength. Social awkwardness and awfulness is infectious within I Think You Should Leave with Tim Robinson's frames. It's also the driving force behind Netflix's best-ever comedy, and the best way that anyone can spend an hour and a half — or four-and-a-half hours now, to be honest, because watching one season of this sidesplitting series always sparks the need to re-binge the others ASAP. Check out the trailer for I Think You Should Leave with Tim Robinson season three below: I Think You Should Leave with Tim Robinson streams via Netflix. Images: Netflix.
If your daily life consists of more screen time than time spent outdoors, you're probably itching for a next-level escape — somewhere you can truly disconnect. With such a diverse and lush landscape right at our fingertips in NSW, why not switch up your daily routine, switch off your devices and get off the grid in the great outdoors? We've highlighted some top-notch experiences across the state where you can achieve a true sense of freedom. We're talking floating high above the Byron Bay hinterland as day breaks and hanging out with sea life on the far south coast. Your digital detox starts here.
After a six million dollar makeover, The Imperial Hotel in Erskineville has managed to shake off its shady past and reinvent itself as a palace fit for queens. The recently launched first floor of the venue has been named Priscillas after the cult Aussie flick The Adventures of Priscilla, Queen of the Desert, which was filmed on-site. Priscillas has something for everyone — from food and drinks to dancing, drag, music, cabaret, burlesque and sexy magic (it's a thing). Whatever you're in to, it's probably here. Designed by Alexander and Co, the extravagant new fit out includes a cherub-frescoed ceiling, velvet armchairs, gold and marble fixtures and multiple chandeliers. There's a main bar, complete with a stripper pole and a drag stage, as well as various intimate spaces, including an indoor glasshouse with fringed umbrellas and a private pink dining room with streamers hanging from the ceiling. Priscillas will offer a unique "dine and drag" concept, which will see the time-honoured tradition of drag return to the stage every night from 7:30pm. Patrons can watch the show and order a meal from the pub menu, which is 85-percent vegetarian. And because this is an inclusive space, they also catered to vegans, the gluten- and lactose-intolerant and those with nut allergies. too. The menu includes a whole page dedicated to ceviche, however on our visit, the yellowfin tuna with habanero agua, jicama and mint crema on lettuce boats ($20) tasted a bit lifeless, despite the mouthful of ingredients. The best dishes were the simple ones, from the crispy cauliflower and broccoli "wings" with ranch dressing ($14) to the grilled corn with chipotle mayo ($9) and the moreish pumpkin and coriander frito balls with pequin chilli pepper and mint crema ($14). The drinks list includes an impressive selection of international wines and local beers — from VB and Tooheys to Carlton, Young Henrys, Little Creatures and Byron Bay Brewery. If you're in the mood for something fruity, try one of the cocktails, which take their names from legendary drag performers past and present. Priscilla character Mitzi (played by Hugo Weaving) is immortalised in a tropical punch of rum, passionfruit and lime, while Sydney drag queen Felicity Frockaccino makes an excellent impression with fresh apple, vodka and kombucha. And if you thought all that was pretty cool, The Imperial also boasts a pumping nightclub downstairs called The Basement (open Friday and Saturday nights) as well as a soon-to-launch event space upstairs, which will be dedicated to LGBTQI exhibitions and workshops. And following next year, the adjoining venue, also owned by The Sydney Collective, will become Australia's first same-sex wedding chapel. So many great things happening in Erko, and we know just where to celebrate. Images: Trent van der Jagt
Moore Park's Entertainment Quarter is set to score a brand new pub, with the newly named Watson's taking over the much-loved former site of Irish bar PJ Gallagher's. Following a multimillion-dollar renovation, the new venue will feature a modern look with a fully renovated indoor and outdoor dining space plus a fresh lineup of pub feeds and tap beers. PJ Gallagher's was a go-to spot for pre or post-match drinks and feeds for games at the Sydney Cricket Ground and the Sydney Football Stadium, which is currently under construction. Punters heading into and coming from the Hordern Pavilion, Max Watts and the Royal Hall of Industries would also be familiar with the longstanding Irish pub. Now, Watson's promises to slot back into this role as the Entertainment Quarter's neighbourhood favourite with an enhanced dining experience. Included in the upgrades is the opening of the upper level of the pub, two al fresco decks and a courtyard bar with a four-metre screen ideal for watching sport. The deck is shrouded by three fairy light-lit Moreton Bay fig trees and will feature acoustic live music alongside all the sports action. A new tallowwood and Rivera stone top bar has been installed inside the pub which will serve a selection of 32 tap beers. On the menu at Watson's, you'll find a classic range Australian pub meals including schnitzels, fish and chips and salads, with a few inventive twists. Think buttermilk chicken tenders served with fries, gravy, corn-on-a-cob and a dinner roll, or the pub's take on a dinner party classic — the French onion cob loaf served with celery and carrots for dipping. There is also a selection of steaks and cuts of meat including a one-kilogram cut of Ranger Valley black onyx grain-fed rib eye which is served on the bone with charred lemon and red wine jus. Accompanying mains is a dessert menu with tiramisu and sticky date pudding, and a vast drinks list featuring spritzes, espresso martini on tap and cocktail carafes made with vodka, T2 rose tea, lemon juice and lemonade. Watson's is located at 1 Bent Street, Moore Park in the Entertainment Quarter. It will open following the rolling back of venue restrictions in Greater Sydney.
Looking for an treat with teeth this Easter? Benriach Distillery — the renowned purveyor of Speyside single malt scotch whisky — has teamed up with KOI Dessert Bar to create the Scotch Cross Bun, a playful, adults-only reimagining of the beloved holiday treat. Crafted by KOI's in-house dessert experts, the Scotch Cross Bun hits all the marks needed to leave a lasting impression, Blending the comforting nostalgia of a hot cross bun with contemporary cake design, this limited-edition dessert sees a rich vanilla mousse infused with autumnal spices like nutmeg and cinnamon, before being spiked with currents soaked in Benriach's The Original Ten single malt for a rousing finish. Want to get your hands on one of these decadent Easter creations that KOI's creative team describes as "familiar, yet completely unexpected"? From now until Thursday, April 17, KOI Dessert Bars in Sydney and Melbourne will serve up the Scotch Cross Bun for both dine-in and takeaway for $22. For some extra Easter cheer, customers who purchase the Scotch Cross Bun are invited to take home a complimentary 50ml bottle of Benriach's The Original Ten. "The Scotch Cross Bun is a perfect example of how versatile Benriach whisky can be — not just for sipping, but as an incredible ingredient that enhances and elevates flavours in unexpected ways," says Benriach brand manager, Stuart Reeves. "Partnering with KOI, known for their innovative approach to desserts, has allowed us to bring a fresh twist to Easter while showcasing the smooth, layered complexity of The Original Ten." With these revamped hot cross buns ready for purchase, there's no need to wait until the long weekend rolls around. Sydneysiders can experience the bold flavours and inventive craftsmanship at KOI Dessert Bars in Chippendale and Ryde, while Melbourne fans can get their hands on these desserts at the Queen Street location in the CBD. The Benriach x KOI Dessert Bar Scotch Cross Bun is available until April 17 in Sydney at Chippendale and Ryde stores, as well as in Melbourne at the Queen Street location. Head to the venue's website for more information.
Adding to the wave of exciting new venues that seem to just keep popping up in Potts Point, this lavish hideaway on Kellett Street comes from accomplished hospitality group Milpa Collective. The team behind crowed-pleasers like Carbon, Calita and Circular Quay's Londres 126 has ventured out into new territory with this latest addition, a Spanish-focused and female-led wine bar and tapas restaurant named Bar Lucia. "It will be the next 'pop in for a glass of wine' hot spot, the perfect date location, dinner with friends, long ladies lunch or 'settle in the for the evening' cosy wine bar," Milpa Collective co-founders Pablo Galindo and Liber Osorio say. With the aim of maintaining a sense of Spanish flair within the venue, the fitout includes Madrid-inspired architecture. There is also an atmosphere of elegance with gorgeous oil paintings adorning the walls, paired with moody lighting and a stunning chandelier centrepiece — perfect for a romantic date night. Complimenting the dining room is an indoor courtyard boasting a glass roof and atrium-style design, making it a crowd-pleasing, weather-proof spot for your next get-together. Head Sommelier Kasia Sobiesiak boasts a wealth of knowledge as a wine educator and a Master's in environmental engineering. As a result, she's curated a considered wine program with a large selection to pick from. Spnoesiak and the Bar Lucia team have made it their mission to focus on women within the industry. The wine offering features over 50 drops, from the reliable classics to newer, innovative winemakers if you're looking to explore something a little different. The equally varied by-the-glass list features vino almost exclusively made by women and has a strong local focus. "Promoting female winemakers and supporting local wine regions is a priority for me," Sobiesiak says. "I like to foster a balance between fine, modern classics and artisan and low-intervention leads." Head Chef Alberto Palacios has created a menu inspired by the tapas bars of Spain executed with top local Australian produce and is designed to pair with whatever wine your heart desires. For a starter, opt for the roasted sea scallops with saffron butter ($9 each) or the jamon serrano croqueta ($8 each). For a sweet addition, you can opt for the figs marinated in sherry with aged goat cheese and basil montadito ($8 each). When it's time to dig into a heftier meal, take your pick from the Catalan-style cannelloni ($25), the sauteed wild mushrooms with aged manchego ($15) or the "El Vermut" — potato chips with sardines, mussels, anchovies and salsa Spinader ($16). You can then finish things off with something a little sweet in the form of a vanilla custard doughnut ($6 each). Images: Kitti Gould
For those travelling to and from Sydney's eastern suburbs, hefty wait times could soon be a thing of the past, thanks to a stack of new Bondi bus services. It was announced in August that route 333 —travelling North Bondi to City via Bondi Junction — will become a high frequency service from September 23, with passengers being able to pretty much turn up and go. Additional services will see buses running every three minutes between Bondi Beach and Circular Quay during peak times, making it one of the country's most frequent transport services. Outside of weekday peak hours, the wait times for 333 buses will still be manageable, with services running every six minutes during the day and every ten minutes at night, seven days a week. A new overnight 333N bus — which will run from 11pm–6am, and replace the current 380 — will run all stops between the CBD and North Bondi. During peak hour, the 333 bus will no longer travel to Dover Heights, terminating at North Bondi instead, with those wanting to get to Dover Heights able to change to routes 323 or 380. [caption id="attachment_682918" align="alignnone" width="1920"] Current 333 bus route, via Transport NSW[/caption] The move is expected to allow for thousands more passengers to use the popular route each week — a win both for weekday commuters and anyone heading beachside on the weekends. Updated: September 27, 2018.
During the summer months, there's often one thing at the top of our to-do lists: hitting up as many beaches as possible. Australia has a lot of them (11,761 of them, to be exact) and choosing which ones to go to can be difficult. Where won't be too busy? Too seaweed-y? Which one has the whitest sand? The bluest water? Is the best for beach cricket? There's a lot to consider. Thankfully, Tourism Australia's Beach Ambassador (how do we apply?) Brad Farmer AM has done the hard yards and pulled together a tidy list of the top 20 Australian beaches for 2020. Farmer chose the beaches based on water quality, cleanliness, capacity, facilities, safety and 'wow' factor, as well as a host of other factors. Topping the list for 2020 is Cabarita Beach on the Tweed Coast, tucked between Byron Bay and the Gold Coast. As well as being a great surfing spot that's reasonably quiet, Cabarita is filled with lauded dining destinations and a brand-new glamping retreat a thong's throw from the award-winning beach. Farmer calls it a "quintessential Aussie beachscape showcasing a truly diverse range of settings to swoon over". [caption id="attachment_754821" align="alignnone" width="1920"] Wagga Wagga Beach by Destination NSW.[/caption] Also on the list, for the first time, is an "inland beach". Wagga Wagga Beach, coming in at number nine, is located on the banks of the Murrumbidge River a five-hour drive inland from Sydney. It's far from the coast — and the seashore — but Farmer said "it's time we extend the meaning of a beach". "There are so many aquatic environments across Australia's interior," Farmer said in a statement. "These water spaces...socially connect rural and remote communities in often dusty and dry, drought conditions." At a time when so many parts of rural Australia are suffering through a two-year drought, it seems a fitting time to recognise our inland water bodies. A second non-coastal beach made the list, too: the pristine Lake McKenzie on Queensland's Fraser Island, which came in tenth. Rounding out the top five are the Gold Coast's Currumbin Beach at number two, NSW's hidden Minnamurra Beach (aka Mystics Beach) at number three, and Maria Island in Tasmania and Queensland's Cape Tribulation at number four and five respectively. Some of Australia's busiest (and, arguably, most popular) beaches — ie Bondi and Jervis Bay— didn't make the short list, but are both on Farmer's long list of 101 top Australian beaches for 2020. As did the Whitsunday's Whitehaven Beach, Australia's top-ranking beach in FlightNetwork's global list. So pack your togs (and your beach cricket set), round up some mates and start ticking these off. We see many road trips in your future. [caption id="attachment_754820" align="alignnone" width="1920"] Lake McKenzie by Ashley Dobson[/caption] THE TOP 20 BEST AUSTRALIAN BEACHES FOR 2020 1. Cabarita (NSW) 2. Currumbin (Qld) 3. Minnamurra (NSW) 4. Maria Island (Tas) 5. Cape Tribulation (Qld) 6. Brighton Beach (Vic) 7. Bettys Beach (WA) 8. South Port Beach (SA) 9. Wagga Wagga Beach (NSW) 10. Lake McKenzie (Qld) 11. The Basin, Rottnest Island (WA) 12. Fingal Bay (NSW) 13. Smiths Beach (WA) 14. Neds Beach, Lord Howe Island (NSW) 15. Quobba Station Red Bluff (WA) 16. Cossies Beach (Indian Ocean) 17. Lake Tyers Beach (Vic) 18. Diamond Head (NSW) 19. Pondalowie Bay (SA) 20. Killiecrankie Beach, Flinders Island (Tas) Top images: Cabarita Beach by Destination NSW
Sushi has become so commonplace, it's usual to see it revolving around kitchen staff on colour-coded dishes on a conveyor belt or packaged in Woolies trays for the lunchtime business rush. There's not a lot of genuinely great sushi chefs in Sydney, but we've found a venue home to a few: Sake in The Rocks. Inventive sushi turns customers' head here for different reasons. And if the food doesn't get heads spinning, the 40 plus sakes on offer will. Three years since it opened in the Argyle complex in The Rocks, Sake still has its hat and its Aussie executive chef Shaun Presland at the helm. He trained and worked in Japan for 15 years before being headhunted for Nobu's Bahamas outing, then transferred to Sydney, at the Establishment's Sushi-e and Sake. Famed for his spicy but clean-on-the-palate platter of kingfish jalapeno, Sake has an extensive menu that's printed on fold-out paper, perhaps a vague nod to the art of origami, but it's more akin to opening up a Tokyo train network map. Appropriate, as there are many potential trips through Japanese cuisine to take, from steamed dumplings to Chinese-inspired prawn shumai with spicy ponzu or even wagyu beef with ginger and chives. The mains are once novel but now familiar eye-catchers such as popcorn shrimp. It's quite easy for diners to be marinated themselves if each dish is matched with a glass of sake, so the dessert extravaganza could be a much-needed sugar-rush hit. Certainly every assortment of ice cream, chocolate mousse and finely cut jelly is present, to cater for the inner child. As for the surroundings, Sake's faux traditional Japanese entrance foyer is simple and unassuming, with wooden stools and tables. The long walk into the main room reveals a cavern-like space divided between tables, booths and shoes-off and bum-on-floor tatami dining. Like the food, it's a blend of old tradition and flashy modernity. Three years down the line, this particular sushi train has not derailed. To extend the analogy, if anything, it's still Sydney's Japanese bullet train.
When something shows you its true colours, believe it. The Kingsman franchise certainly did when it debuted in 2014, as viewers have been witnessing ever since. That initial entry, Kingsman: The Secret Service, gave the espionage genre an irreverent and energetic spin, and landed partway between update and parody. But, while making Taron Egerton a star and proving engaging-enough, it didn't know when to call it quits, serving up one of the most ill-judged closing moments that spy flicks have ever seen. Since then, all things Kingsman haven't known when to end either, which is why subpar sequel Kingsman: The Golden Circle arrived in 2017, and now unnecessary prequel The King's Man. Another year, another dull origin story. Another year, another stretched Bond knockoff, too. Stepping from 007's latest instalments, including No Time to Die, to this pale imitation, Ralph Fiennes takes over leading man duties in this mostly World War I-centric affair. He looks as if he'd rather be bossing Bond around again, though, sporting the discomfort of someone who finds himself in a movie that doesn't shake out the way it was meant to, or should've, and mirroring the expression likely to sit on viewers' faces while watching. Simply by existing, The King's Man shows that this series just keeps pushing on when that's hardly the best option. It overextends its running time and narrative as well. But as it unfurls the beginnings of the intelligence agency hidden within a Saville Row tailor shop, it ditches everything else that made its predecessors work — when they did work, that is. Most fatally, it jettisons its class clashes and genre satire, and is instead content with being an outlandish period movie about the rich and powerful creating their own secret club. Adapted from Dave Gibbons and Mark Millar's 2012 comics, the Kingsman series hasn't cut too deeply in its past two movies, but it did make the most of its central fish-out-of-water idea. It asked: what if a kid from the supposed wrong side of the tracks entered the espionage realm that's so firmly been established as suave and well-heeled by 007? Finding out why there's even a covert spy organisation staffed by the wealthy and impeccably dressed for that young man to join is a far less intriguing idea, but returning filmmaker Matthew Vaughn — who has now helmed all three Kingsman films — and co-screenwriter Karl Gajdusek (The Last Days of American Crime) don't seem to care. Vaughn has mostly ditched the coarse sex gags this time, too, and for the better, but hasn't found much in the way of personality to replace them. It's in a prologue in 1902 that Fiennes makes his first appearance as Orlando Oxford, a duke travelling to South Africa during the Boer War — and soon made a widower, because The King's Man starts with the tiresome dead wife trope. Twelve years later, Oxford is staunchly a pacifist, so much so that he forbids his now-teenage son Conrad (Harris Dickinson, Maleficent: Mistress of Evil) from enlisting when WWI breaks out. But the duke hasn't completely given away serving his country himself, overseeing an off-the-books intelligence network with the help of his servants Shola (Djimon Hounsou, A Quiet Place Part II) and Polly (Gemma Arterton, Summerland). That comes in handy when a nefarious Scottish figure known only as The Shepherd interferes in world affairs, with King George V of England, Kaiser Wilhelm II of Germany and Tsar Nicholas II of Russia (all cousins, and all played by Bohemian Rhapsody's Tom Hollander) his targets. Using real-life history as a backdrop, The King's Man weaves in Rasputin (Rhys Ifans, Spider-Man: No Way Home), too. If only it possessed the sense of humour to include Boney M's 70s dance-floor filler of the same name, or even a vodka-filled shot glass of its vibe. Rasputin, the character, is actually the best thing about the film, and solely because he's the most entertaining. Ifans plays the part like he's in on a joke that no one else in the production has gotten, amping up a goth mystic, busting out dance-inspired fighting moves and proving the liveliest thing in a feature that's frequently ridiculous yet rarely fun. Making a screwy but banal First World War spy-fuelled action flick surely wasn't on the franchise's agenda, but The King's Man can barely be considered a comedy. Vaughn does stuff his overladen plot with lip-service sentiments fired in a few directions, however, tearing into war and colonialism — but that, like everything that The King's Man purports to do, comes across as half-hearted. In showing the horrors of combat, it doesn't help that 1917 is so fresh in cinematic memories (and it's definitely unfortunate that Dickinson could easily play the brother of 1917's star George MacKay). It's also hardly handy that Vaughn and Gajdusek's script manages to both rally against imperial rule and eagerly celebrate monarchies and the British Empire. That's the kind of thematic muddle the film wades through, making it clear that no one has thought too deeply about any of these concepts. The same applies to Oxford's pacifism, given that The King's Man heartily splashes around OTT violence. Here, an idea or position is only convenient when it's needed to further the story, and it's thoroughly disposable seconds later. Manners may maketh man, as the series' eponymous society has intoned in three pictures now, but throwing together whatever disparate parts happen to be at hand doesn't make a good movie. If the same approach was taken to tailoring, the resulting suits wouldn't pass the central secret service's sartorial standards. Poking fun at the past, name-dropping historical figures, giving Hounsou and Arterton so little to do: none of that turns out well, either. Plus, while zippily staged, all of the film's action scenes that don't involve Ifans get repetitive fast. But The King's Man still commits to its franchise duty, pointlessly setting up a sequel that no one wants in its dying moments. A follow-up to The Golden Circle, called Kingsman: The Blue Blood, is also in the works, as well as a TV show about its American Statesman offshoot. Keeping on needlessly keeping on: that's still this spy series' main trait, as it always has been.
Presenting Wilhelmina's Liquid + Larder: Starring the food talents of recent MasterChef finalist Jamie Fleming, it’s the third instalment from James Bradey and Warren Burns, the producers who brought you cosmopolitan kitsch at Grandma's Bar and Irish folk fun at The Wild Rover. At Wilhelmina's, there’s no theme or gimmick to get you in the door; it’s just local, fresh, seasonal and sensational. Located on Balmain’s Darling Street, Wilhelmina’s celebrates the local community through food, drink and design. Recycled materials from the timber yard make up the back bar and walls, local pottery hangs from the ceiling, and then there’s the vibrant mural by local artist Anya Brock. While bar menus are typically crowd-pleasing and cholesterol-inducing, Wilhelmina’s opts for fresh and thoughtful selections that change with the daily market offerings. Today, there’s a plate of kingfish ceviche ($14), where twirls of raw kingfish sit with piles of crumbed pistachio and pickled cucumber, garnished with translucent slivers of radish. There’s little resemblance to the traditional Peruvian version — will these fusion flavours spell disaster for Jamie? The music is tense and we cut to an ad break where George Calombaris spruiks Swisse Vitamins. Fortunately, the flavours are inventive, intelligent and it “packs a punch”. Jamie is safe for this round. Cue uplifting music. So there's that. But for a more substantial evening meal, the Newcastle pippies ($23) are a mariner’s paradise. These butterflied beauties swim in a buttery white wine broth, served with a great hunk of sourdough sourced from Sydney's Bread and Butter project. If it's a beer-friendly bar snack you need, don't go past the Berkshire pork cheek croquettes ($8) or a cup of Wilhelmina’s spiced nuts ($5). If you’re sceptical about beetroot’s place on a dessert menu, you’ll be left red-faced after trying the delicious lemon posset ($9.50). It balances with precision a tangy lemon curd with a sweet beetroot gel and it’s finished off with an almond crumb topping for textual crunch. Wilhelmina’s doesn't drop the ball in the drinks department either. There’s an extensive list of local boutique wines, craft beers and inventive cocktails to ponder over. The Thyme Me Up cocktail ($16) mixes rum, banana, apple and thyme into a marvellously herbaceous creation. As this episode draws to a close, it’s time to hold up our scorecards. Wilhelmina's is a winner, and what's more, Balmain’s masterful new bar is sure to score high ratings with the locals.
The turn of the century was a helluva time. Excitement and a nervous anticipation of a potential apocalypse filled the air. If you, like me, weren't around to see it firsthand, there was concern that computing systems worldwide would flatline at the turn of the century as the dates became impossible to compute. Obviously, that didn't happen. We're still here and, for better or worse, so are the computers. The entire situation left quite a mark on our culture. Now, 23 years later, the notion of Y2K is on the rise once more. As our world once again gets a little bit scary, we need to make every day count and just be ourselves. These are the brands that are bringing Y2K back for... Y23K? We'll workshop the name. PIT VIPER If Y2K is about being unapologetically yourself, Pit Viper gets top marks. There's no piece of eyewear on the market quite as flashy as these beauties. In Pit Viper's own words: "Sunrise to sunset, reef breaks to ridgelines, holeshots to holy sh*t, we build the functional, fun-loving gear that is serious about taking things less seriously". It's hard for an Aussie not to recognise these flashy fluorescent designs, and when you take a spin on the website, you'll be teleported straight back to the 2000s. Once you've adjusted, take a tour through the product range; from the iconic polarised range of 'The Originals' (The 1993 or The Miami Nights) sunnies to the rounded, heavier-duty range of 'The Slammers', there's eyewear of every shape and colour on offer. Pit Viper extends its identity through goggles suitable for dirt and snow, clothes for your head, top and 'power bottom', and even rigs to help keep the glasses on your face. [caption id="attachment_924540" align="aligncenter" width="1920"] Oleg Shatilov via Unsplash[/caption] CHAOTIC THREADS While the cultural concept of Gen Z has really only grown in recent years, the generation was quite literally born in the Y2K era, between 1997 and 2012. We might not be able to remember it all physically, but thanks to the internet, its memory is well preserved. The style of Y2K is growing in popularity among Gen Z, and that harmony is plain to see with brands like Chaotic Threads. Chaotic Threads was founded in Melbourne and prides itself on sustainability and style in equal parts. Each piece is created from a single inspiration, meaning every design is limited-run. The upside is every bit of scrap fabric will be reused to create more accessorie. The product range is always shifting, so check the website or Instagram to see what's currently available. [caption id="attachment_924503" align="aligncenter" width="1920"] Lilli via iStock[/caption] ACTUAL ANGEL A similarly Gen Z-charged brand (which also happens to be based in Melbourne) is Actual Angel. You might take a shine to these pieces if you have ever had a goth phase. Every design is handmade, ranging from heavy gothic designs to mystical pieces that tread closer to the modern fairy core. Actual Angel's range spans gorgeous stellar earring designs, chokers of all textures and colours and even tote bags made from the likes of velour satin and lace designs. It's all whimsical, comfortable and, most importantly, it's handmade independently. Actual Angel can be found on Instagram, but you can find the entire product range on Depop. [caption id="attachment_924511" align="aligncenter" width="1920"] Ivan Martynov via iStock[/caption] THREADHEADS A marker of Y2K fashion is graphic design — as technology and pop culture evolved, the option to print customised designs onto clothing became more accessible. One of the most popular graphic tee brands right now is Threadheads. Quickly achieving viral status thanks to a satirical but stylish approach to designs, this is the ideal brand for anyone with a sense of humour. Design themes cover pop culture, gaming, 80s and 90s, parody, retro, anime and more. Threadheads also loves a collab, with official collections made with Rick and Morty, DC Comics, NASA, Seinfeld, Cobra Kai and others. A new addition to the catalogue is custom tees, a great gift for any lovers of bootleg designs. [caption id="attachment_924502" align="aligncenter" width="1920"] IC Productions via iStock[/caption] DIESEL Diesel predates Y2K, going back to the vintage days of 1978. But as many fashion labels move to the next new and exciting thing, Diesel reflects on all the wonder of the Y2K era with a product range that will take you back to the finest pop videos of the noughties. How so? Diesel's specialty denim line still reigns supreme, but a closer look through the catalogue will reveal the likes of tie-dyed belt bags, futuristic metallic tops, baby tees, frayed high tops and other icons of the era. Ranging across men and women, clothes, accessories, homewares and more, there has to be something for everyone in there. [caption id="attachment_922788" align="aligncenter" width="1920"] Millie Savage[/caption] MILLIE SAVAGE The final cornerstone of Y2K fashion for us to discuss is the statement jewellery pieces. Big and bright — there was nothing minimalist about these pieces. A brand that keeps that trend alive is Millie Savage. Yet another fashion label based in Melbourne (though now also boasting a Bali studio), Millie Savage is run by an all-female team of designers that specialises in precious gems, all ethically sourced. Millie Savage has a particular love of opals, mainly sourced from South Australia. Every product has the Millie Savage touch: namely, a lack of playing by the rules. It's especially visible in the one-off beauties collection, where no two pieces are alike in the slightest. Check out the designs across rings, necklaces, earrings, bracelets and more. For more information on Pit Viper or its products, visit the website.
Muggles, something very magical has landed in Melbourne. While the city has already had a wizarding hotel, a Harry Potter escape room, a magical train trip and a potion-filled rooftop bar, it seems our love for The Boy Who Lived is insatiable — because, the country's biggest Harry Potter shop has today swung open its magical doors and started welcoming in wizards, witches, goblins, centaurs and even mere muggles. Located on the basement level of Myer Melbourne on Bourke Street, the 500-square-metre store is home to a Platform 9 3/4 — so you can finally achieve your dream of heading off to Hogwarts, even if you're much older than 11 — and an Ollivanders with over 20 different wands. As the store is a collaboration between Myer and Warner Bros, it's also home to tonnes of official merchandise, homewares, apparel, stationery, toys and more. We're told there's a heap more 'photo opportunities' from The Wizarding World, and Lego, too — so bring your smartphone and a patient mate. JK Rowling's Harry Potter and the Cursed Child theatre production is still playing at Princess Theatre and you'll be able to snag tickets for that here, too, at a dedicated booth. And to celebrate the Harry Potter at Myer store's opening, the play's cast performed hit track 'Wand Dance' on Bourke Street at midday on Friday, October 18. Of course, the opening of the Harry Potter store coincides with the lead-up to another magical event (which is, mind you, only ten weeks away), so we're sure Myer and Warner Bros are hoping to collect a few galleons from muggles doing their Christmas shopping. But, we're not complaining — the more Harry Potter, the better. The Harry Potter at Myer store will be disappearing — evanesco! — in December 2020, so we suggest if you're located interstate, to book in a trip to Melbourne ASAP. Find Harry Potter at Myer at the basement level, Myer Melbourne, 314–336 Bourke Street. It's open Monday–Thursday 9.30am–7pm, Friday 9.30am–9pm, Saturday 9.30am–7pm and Sunday 10am–7pm. Updated on October 18, 2019.
Dog owners have to roll the dice one too many times when it comes to property. What if your furry companion doesn't take to the space? Is it pet-friendly by design or by legal requirement? It makes a big difference, and our pets deserve to be just as comfortable at home as we are. It's an ethos at the heart of HOME Parramatta — Sydney's first renter and pet-friendly apartments that are so dog-friendly, they can even come to the inspections. In Parramatta, 42 percent of households own a dog, but only one in six Sydney rental properties allow pets. This Parramatta property is HOME's first in NSW, but with 2500 residents and 300-plus pets in Victoria's Docklands, Southbank and Richmond developments, the brand is looking to bring its blend of comfort, wellness and elevated amenities to two and four-legged residents in Sydney's second CBD. [caption id="attachment_1054116" align="aligncenter" width="1920"] Hugo Agency[/caption] The Doggy HOME Tours are the first taste of that, inviting prospective residents to explore the built-to-rent property with their dog in tow (or the other way around, if the dog is really enjoying it). Accompanying pooches will also get to visit the rooftop lawn, enjoy some pampering at the on-site pet spa, pick their own pet perfume, and sample some of the finest treats for the best boys and girls — joint supplement chews from Dog Years. HOME Parramatta is a 1932 square metre property, built of 435 residences, ranging from studios to three-bedroom apartments. You might have seen the 48-storey tower when passing through, and residents inside can see as far as the city to the east and the Blue Mountains in the west. Human amenities (because you're living there too) include an indoor pool, gym, spa, coworking space, and a landscaped lawn with an outdoor projector screen. [caption id="attachment_1054117" align="aligncenter" width="1920"] Hugo Agency[/caption] Should you choose to join the community, there'll be more special offers to come for you and your dog. In FY25, HOME hosted over 250 events for residents, many of which were pet-friendly, along with a dedicated program of pet events — including pet obedience tips, a pet cartoonist, meet-ups at local parks, and pet treat sampling opportunities. HOME Parramatta is located at 116 Macquarie Street, Parramatta. For more information or to book a tour, visit the website.
When an Australian series becomes the Foxtel Group's most-watched original scripted show of all time, it's bound to keep bounding back for more seasons. That program is Colin From Accounts — and after 2022's gem of a first season saw it renewed for a second, the latter has sparked a third as well. Harriet Dyer and Patrick Brammall will be back on-screen, and also writing and executive producing, as the Aussie rom-com follows what comes next for their characters Ashley and Gordon. "We're very excited to bring you season three of our show. To be honest, with the way we ended season two it would have been weird not to make a third, so here we are. We promise we won't leave you hanging like that again. Probably," said Dyer and Brammall, confirming Colin From Accounts' third run. "We couldn't pass up the opportunity for fans to see what's next for Ash and Gordon (and Colin!). Colin From Accounts has delighted fans the world over and we're proud to commission a third season of this hilarious, chaotic and relatable series that has stolen our hearts," added Foxtel Group's Head of Scripted Lana Greenhalgh. When the series began, Dyer's (American Auto) Ashley and Brammall's (Evil) Gordon first crossed paths thanks to a flashed nipple and an injured dog, then an agreement to co-parent the pooch as it recovered. As a relationship blossomed beyond more than just taking care of the titular canine, little has gone smoothly — with the adorable Colin, and also with the pair's romance. As well as proving an Australian hit — complete with AACTAs and Logies to prove it — for real-life couple and No Activity stars Dyer and Brammall, the show has earned fans overseas, with Foxtel Group licensing it to 150 territories globally. There's no word yet as to exactly when Colin From Accounts will return, what the narrative will follow, and who among the rest of the cast and past guest stars will be back, but renewing the series comes at a crucial time for Binge. With Max launching in Australia at the end of March 2025, the latter has lost its initial big selling point: HBO's content. Here's hoping that more homegrown shows like this charming hit will get the green light to help fill the gap. There's no trailer for season three of Colin From Accounts yet, but check out the trailers for seasons one and two below: Colin From Accounts streams via Binge — we'll update you with a release date for season three when one is announced. Read our review of season one and our review of season two, plus our interview with Harriet Dyer and Patrick Brammall. Images: Lisa Tomasetti / Tony Mott / Brook Rushton.
Humans spend roughly a third of their life sleeping. Aside from the occasional drunken night or camping trip, most of this sleeping is done in a bed. So why, then, are such important objects in our lives often so commonplace and dull? Beds can be used to express our inner self, to represent our deepest loves or simply help us wake up and get going in the morning. Here are 20 of the most creative and eccentric designs that are sure to put a smile on your face. 1. The Stand Up Bed Thanks to this novel bed, which resembles a large vertical bean bag, sleeping while standing is apparently very possible. 2. The Floating Bed This magnetically charged floating bed by Janjaap Ruijssenaars not only looks incredibly chic and contemporary, but also would make it very hard for any monsters to hide underneath it. 3. The Rocking Bed The 'Private Cloud' is a a patented rocking frame designed by Manuel Kloker, which will be sure to lull you into a serene sleep every night. 4. The Sonic Bed Kaffe Matthew's Sonic bed probably isn't exactly designed to provide a good night's sleep, created with 12-channel surround sound speakers encased around the edges to cover every cell of your body with musical beats. 5. The Forest Bed For those who want to have a sense of being out in the wild whilst remaining in the comfort of their own bed, this exotic wooden bed would be the one for you. 6. The Safe Bed This 'Quantum Sleeper' is the ultimate in protection for those paranoid about the threat of natural disasters, terrorist attacks, kidnappers or any variation therein. 7. The Starfish Bed Known as the 'Hold Me Bed', this structure will ensure that you overcome those restless nights of tossing and turning because, well, you won't be able to move a muscle. 8. The Hay Bed Some people have such an affinity for hay they simply want to be surrounded by it when awake and asleep. 9. The Yin and Yang Bed If you believe you've found your absolute soulmate but can't handle sleeping next to them for whatever reason, perhaps this next bed will provide the solution to your problems. 10. The Sandwich Bed You are what you eat, right? 11. The Hammock Bed Everybody loves the tranquil and relaxing sensation induced by the gentle swinging and folding of a hammock. 12. The Pull-Down Bed If you are crammed for space due to a small apartment or want another handy spare bed that doesn't waste the space of a whole room, then this innovative and nifty pull-down bed is the way to go. 13. The Molecular Bed Scientists, sportspeople or ball-lovers will be sure to enjoy this bed made of 120 soft and pleasant balls. 14. The Cinderella Bed Perfectly suited to little princesses with large imaginations and a love for fairytales. 15. The Foetal Position Bed This bed doesn't leave much margin for movement - that is unless you want to end up snuggling up with the floorboards. 16. The Bird Nest Bed This large pit of soft pillows encased in a brown, nest-like structure is a novel way to help kids nod off to sleep. 17. The Geometric Bed If you want to keep the brain cells flowing even when getting some shut-eye, perhaps this bed with a modern geometric structure attached to it is the perfect way to achieve just that. 18. The Brush Bed This bed looks like it would be jabbing uncomfortable protrusions from every angle. 19. The Book Bed Let imaginations soar with this creative life-sized book that also doubles as a bed. 20. The Napping Pod Cure that threethirtyitis by grabbing a quick nap in one of these high-tech napping pods.
An old favourite is returning to Sydney in the form of a new Potts Point bar. Dean's Lounge, which opened November 2020, is a reinvention of the old Dean's Cafe, which made its home in Kings Cross between 1976 and 2011. Dean's Lounge promises a night of cocktails, late-night snacks, retro video games and songs from a vintage jukebox. The new owners, Justin and Louka Marmot of Barangaroo's Shirt Bar have channelled their love of the original Dean's into the new venue, bringing back it's charm and character. The pair actually met at Dean's Cafe back in 2002, while Justin was working there. The Potts Point location has expanded into multiple rooms, providing space for private dinners and larger group bookings. The front deck is home to an open courtyard ideal for sipping cocktails on a balmy summer night. As you head inside, you're offered one of four homely rooms inside the bar, with each one fitted with restored vintage furniture, exuding a relaxed throwback feeling. An array of cocktails are on offer, too, including a banoffee old fashioned and Tropicana spritz. Bar Manager Jaxon Jager's recommends the Brooklyn Sunset, a mix of rye whiskey, dry vermouth, strawberry shrub and absinthe. If you get peckish, you'll find truffle mac 'n' cheese, roast beef and spicy lamb jaffles ($12–15), as well bean nachos ($15–25). Homemade cakes — such as flourless chocolate cake ($14) and sticky date pudding ($15) — and coffee ($3.50-4.50) are also served until close if you're looking for a somewhere to dip into for dessert or your late-night caffeine fix.
The best breakfasts in Sydney are as diverse as the city they're served in. Sure, you'll find Vegemite on toast and every conceivable iteration of smashed avocado on the menu at these Sydney breakfast spots, but with this list we've endeavoured to look beyond the obvious and expand your culinary horizons for The Most Important Meal Of The Day. After a breakfast burrito? We have you covered. Japanese-style brunches? They're well represented here. Hungover and desperate for bacon and bloody Marys? Let us take care of you in your hour of need. We even have a few healthy options where the sugar and fat might be left out, but flavour and fun still reign supreme. And the best breakfast in Sydney isn't necessarily found in a cafe — although many are. You'll also uncover some of the best early-morning treats in bakeries, bagel shops and delis. We have all bases covered in this guide. Read on to see where you'll next be fuelling up before work or relaxing during a long, lazy Sunday morning with mates. Without further ado: here are our picks of the best breakfasts in Sydney. Recommended reads: The Best Cafes in Sydney The Best Weekday Breakfast Spots in Sydney's CBD The Best Coffee Shops in Sydney's CBD The Best Bottomless Brunches in Sydney
In the Annex is proof that Forest Lodge — that half suburb in between Annandale and Glebe, whose main drag Ross Street left much to be desired until now — is slowly catching up to its neighbours. The 30-seater joint's got the cafe trifecta: a bang on coffee dispensary manned by barista babes, a compact menu based on fresh, seasonal produce and conversation-worthy decor. And if our recent visit was anything to go by, we're not the only ones who've been charmed. Flodge's newest kid on the coffee shop block's got it going on in large part due to the beans — Umami beans. A blend is used for milk-based coffee while a single origin, roasted slightly lighter, is used for black. The delivery of your morning pick-me-up is just as considered — flats and caps come in teacups while lattes come in science beakers. And while we're on the liquids, there's plenty more worth noting. In the Annex offers a colourful selection of freshly squeezed juice, frappes and smoothies with unique flavour combos akin to those you'd expect to find at some dreamy beachside resort. Try the grapefruit, ginger, tonic and honey frappe ($8) for fresh citric goodness; the kale, banana, coconut and chia smoothie ($8) for a taste of suburban Tropicana; or the almond, macadamia, cinnamon and rice milk smoothie ($9) for nutty indulgence. And who's banging about the pans? That's a certain Joey Astorga (ex El Capo) whose seasonal menu caters for a number of tastes. Astorga's dishes are well executed and demonstrate a great understanding of portion control and ethical food processes — all eggs are free range and meats sustainably farmed. The best part? Chef's food is delivered by only the most amicable service. Win win. The breaky burrito ($10) — scrambled egg, rice 'n' beans with guac and jalapenos — is perhaps the least inventive on the menu, but caught my eye nonetheless. For something more carnivorous, go for the cured duck, roasted Brussels sprouts, brioche and duck egg ($16). This baby looks like something you'd see served in a hatted restaurant and clearly demonstrates chef's inventive presentation, but the best part? You're free to dig in sans any obligation to do so with the refined poise often expected at aforementioned swank fest. Then there's the crumbed egg with bubble and squeek ($14), which is the hero dish in my opinion. Slice into the crumbed egg and warm yolk oozes out to provide the desired mess — a yolky mess to be mopped up by remaining mash, whole baby potatoes, peas, green beans and heirloom carrots. Lest we forget to mention one more thing. It's a must you check out the In the Annex's goodie cabinet up front. A selection of sambos and sweet treats are readily available for those on the go. And if you're lucky, you might catch a glimpse of a few Hubba Bubba-flavoured lamingtons. Yeah, that's right. I just said Hubba Bubba-flavoured lamingtons. Do it. Alas, no longer is Ross Street a cultural wasteland swarming with vacant shopfronts and barefooted students. In the Annex has amped things up and seems to be vibing on something along the lines of, "I've done this before, I know how to please you and I'm doing it for your own good." And to that I say thank you. Cue In the Annex: You're welcome.
It's been a few years now since Westfield Miranda unveiled its renovations, including its brand new food court and fresh food precinct. And one of the best additions to the area was The Grocery Store, a grocer overflowing with fresh produce and quality goods. The store is run by veteran grocer Charlie Evripidou and his two sons At the entrance of the store is a cafe that serves coffee, freshly squeezed juice, fruit salads, yoghurts and cakes, if you're looking for a place to refuel during a shopping marathon. Venture into the spacious store and you'll find more fresh fruit and veg, plus a deli and shelves packed with pasta, sauces, canned goods, nuts and more. And the refrigerated section features ready meals, Fresh Fodder dips, kombucha and yoghurt. The store offers delivery across the Sutherland Shire and St George areas (free for orders over $50) via its website, with same-day delivery available in some cases, too. Images: Leigh Griffiths
Shake up your next get-together with mates by going full send at Send It! Social Club, a revamped sports-meets-cocktail hub. Formally known as SportsPlus, this spot was previously a go-to destination for those testing their skills through state-of-the-art simulators, from golf to cricket and F1-inspired racing. While the simulators haven't gone anywhere, Send It! Social Club has refocused around a new-look social experience primed for unique nights out with friends and corporate shindigs that take team-building to greater heights. So, if you're tired of dinner and drinks, this might just be the ideal alternative. Think competing against your pals on the simulators, then heading to the bar for a top-notch cocktail and an all-in share plate feed. "Send It! Social Club is about giving people permission to let loose, spark connections and make memories. Whether it's with friends, colleagues or clients, we want every moment to feel premium, playful and unashamedly unhinged," says Jacques Bergh, Chief Commercial Officer of Send It! Social Club. Spanning two locations at Canterbury Leagues Club and The Doylo, you're invited to step into multi-sport batting cages, where you can showcase your talent with baseball bats, tennis racquets and more. There are also Trackman-powered golf bays so the crew can see who's got the best swing of the bunch, whether that's driving or putting. Next, AR-augmented darts go above and beyond the well-worn oche at your local. Instead, Send It! Social Club has auto-scoring, live video playback and six chaotic game modes bound to level up your experience. Meanwhile, those with the need for speed can strap into fully-fledged racing sims to tackle the world's most iconic tracks at high velocity. Serving up an action-packed combination of tech-driven games and quality hospitality, this comprehensive rebrand shifts the experience away from simply sports, bringing the fun of low-pressure social connection to nights out. Yet after a cocktail or two, don't expect to keep your competitiveness under wraps for long. Send It! Social Club is open at Canterbury Leagues Club, 26 Bridge Road, Belmore and The Doylo, 80 Pacific Hwy, Doyalson. Head to the website for more information.
"A pink, glittery, existential dance party in their heart." That's what Greta Gerwig hopes that audiences will find when her third film as a solo director splashes its rosy — and rose-hued — frames across the silver screen. The movie in question is Barbie, marking Mattel's six-decade-old doll's live-action debut. And, no matter how you feel about the toy itself, the feature boasts no shortage of reasons to get excited: the Lady Bird and Little Women filmmaker guiding the show; the fact that Gerwig co-wrote the film with her Frances Ha, Mistress America and White Noise helmer Noah Baumbach; Margot Robbie not only starring but producing and originating the project; a killer cast, including Ryan Gosling as Ken; and the self-aware sense of humour that's bounced through not one, not two, but three trailers before the picture hits cinemas Down Under on July 20. Gerwig and Robbie know that Barbie is a product with history. First reaching stores in 1959, as one of the first-ever dolls that weren't of babies, the plaything has sparked more reactions than the toy itself sports outfits — and this figurine in all of its many guises has never been short on wardrobe options. As a flick, Barbie aims to unpack those swirling responses and, yes, play with them. The feature's marketing tagline might be adamant that "if you love Barbie, this movie is for you" and also "if you hate Barbie, this movie is for you", but Robbie adds to it. "It's also a film for people who feel indifferent about Barbie. But when I pitched that to marketing, it didn't really roll off the tongue in the same way." The Australian Babylon, Amsterdam and The Suicide Squad actor shared her thoughts in Sydney, as did her Maggie's Plan, Jackie and 20th Century Women star-turned-filmmaker helmer Gerwig. In the leadup to the picture's release, Barbie is going global, with a trip Down Under one stop on the feature's promotional tour. Also visiting: Issa Rae and America Ferrera, with the Insecure and Superstore talents popping up on-screen alongside Robbie. Rae plays President Barbie, while Ferrera is Gloria, one of the film's few non-doll characters. Weeks out from Barbie hitting cinemas, the Gerwig-directed, Robbie-led, Rae- and Ferrera-costarring movie has already achieved a feat that would likely seem unthinkable if any other talents were involved: this is one of 2023's most-anticipated cinema releases. Actually, Barbie scored that status months out — years even, after the Gerwig-and-Robbie pairing was locked in back in 2021. Audiences are eager, but the folks that've been given the chance to bring this Barbie flick to them couldn't be more thrilled, too. Talking about the film at a beachside Bondi event at Icebergs, where the venue's famous pool even scored a temporary Barbie-themed makeover, the team's enthusiasm is palpable. "It's a movie that I think can really cut across generations and gender," notes Gerwig, who advises that the feature has been made for everyone aged eight to 108. Also covered at Gerwig, Robbie, Rae and Ferrera's Australian press conference: making a "wild, bananas Barbie movie", the huge opportunity to play with something so globally recognised, expanding the character, challenging stereotypes, following Wonder Woman's lead and breaking all of the Barbie rules. ON HOW IT FEELS NOW THAT BARBIE WILL SOON BE IN CINEMAS Greta: "At this very moment, just being in this setting and being with all of you — and the beach, and we're in Australia, and all these talented people — I really am feeling like what a spectacular life this is. It's overwhelming and amazing, and I just feel very grateful that Margot came to me almost four years ago and said 'do you want to you write a Barbie thing?'. And I'm grateful that in my postpartum haze four years ago, I said yes. It's just been such an extraordinary confluence of so many people coming together who are just outrageous and smart and talented — and that we got to make this wild, bananas Barbie movie is just an extraordinary blessing." ON WANTING TO MAKE A BARBIE MOVIE IN THE FIRST PLACE Margot: "I was aware that the Barbie IP was floating around, had gone up and running, and hadn't come to full fruition. So we've been keeping tabs on the property, and when there seemed like there was an opening, we jumped at the opportunity. We sat down with the Mattel CEO, Ynon [Kreiz], and that was five years ago, and pitched what we as our production company would want to do with a Barbie movie. And I knew even at that time that I would want to do it with someone like Greta Gerwig. She was the dream writer/director for it. I didn't know if she was going to say yes to it, but there are very few people in my mind that I want to make a Barbie movie with, Greta being the top of the list — and thank goodness she said yes. But the reason we went after the property is because it seemed like a very big and exciting and scary opportunity. It's globally recognised — the word itself is globally recognised. And not only that, people have very strong feelings about Barbie in a lot of cases. So it felt like a really exciting place to start a film, and start with the audience, where they already feel a certain way — perhaps that, at the very least, they have associated childhood memories with it. And it seemed like we could do something special with it." ON BEING A PART OF BARBIE'S ON-SCREEN WORLD Issa: "It was spectacular. Greta approached me and, just in our interview-slash-meeting, told me that she envisioned a world, a Barbie world, where I was President. I was super flattered by that, and also questioned her taste in political leaders. But it's a world that is perfect and beautiful — and seeing her brilliant writing, and the cast attached, it was a no brainer for me. So I was just honoured to to play in the world." America: "It was Margot and Greta's involvement that made me interested in what the script was. It was irresistible to be invited to — to take a peek into the world that these two incredibly talented and intelligent, respected women in our fields were going to do with Barbie. I never imagined myself in a Barbie movie, and I just opened the script and I was laughing on page one and then I was crying — and then I was laughing and crying. I had so many feelings and, truly, my first thought was 'are they even going to let Greta make this?'. I did not go into it feeling invested in Barbie — I didn't grow up playing with Barbies, I didn't feel represented in the world of Barbie — but Greta and Noah's brilliance created a world that made it relevant to me. And it is really exciting to get to be a part of a moment that is expanding such a dominant, influential female iconic character in our global culture, to include more of us. And also to include people with perspectives that aren't necessarily positive and kind toward the very long legacy and history that Barbie has." ON TACKLING A CHARACTER WITH SUCH HISTORY — AND BREAKING ALL THE BARBIE RULES Greta: "I grew up with a mum who didn't love Barbie, which only made me more interested in Barbie. So I had a lot of hand-me-down Barbies — a lot of Barbies who were Kate McKinnon's version, like their clothes were all on backward. That Barbie is very close to my heart. When we signed on to write it and I went to the Mattel headquarters, they opened up all the archives and took me through everything from 1959 till now, and the designers and the people who work there were just really fun to talk to and really interesting. But I would say that actually what we we did is, if there were rules, I think we broke all of them. That was part of it, in a way: 'tell me what your sacred cows are and I will do something naughty with it'. Margot, as a producer, was so instrumental in the whole process of just saying 'I want to make this. I want to make her version of this movie, her vision and and really protect it'. But yeah, if anything, it was an introduction to all the rules so they could be broken." America: "I remember when Greta and I first started speaking, she gave me a list of movies to watch to get in the vibe and the feel and the tone, and actually one of the movies I watched was a documentary called Tiny Shoulders about the expansion of the brand. I learned so much watching that. I did know a little, but through the making of this movie and the little bits of research that are either in the movie or that you caught researching it, it's really phenomenal to get a sense of how long the Barbie legacy has been — and how there have been times in the legacy where she was a revolution, and other times where she was behind her times and she needed to catch up. Just the mere fact that she was the first doll a girl could play with that wasn't a baby doll is something that I didn't really ever know. So there was there was an appreciation right from the start of how long her legacy is and how varied her place in our culture has been." ON CHALLENGING THE BARBIE STEREOTYPE Margot: "I definitely didn't want to portray Barbie as being vapid in any way. The thing about our how our story is constructed is that Barbie can be anything — Barbie can be president, Barbie can be a Nobel Prize-winner, you see all this stuff at the beginning of the movie that sets up how incredibly intelligent Barbie is. But at the same time, she hasn't been exposed to so many of the concepts that she's going to be exposed to in the real world. So it was a fine line between playing naivety without it coming across as unintelligent, because I didn't want it to seem ditsy— and that's just not interesting to play. It's not interesting to watch, either. There are times in the movie where we lean into stereotypes — we literally call my Barbie 'stereotypical Barbie' — so we're very much leaning into some stereotypes so that we can, in a way of being self-aware, play up the comedy, and also have a deeper conversation about some sort of issue. But then there are other times where you're like 'okay, if we play up that particular stereotype, it's going to be boring for people for the hour and 40 minutes that they're watching this movie'. It was an interesting challenge to find 'okay, what how do we portray the fact that she hasn't been exposed to certain things that she's going to learn along the way, but it doesn't mean that she's not intelligent?'." ON GETTING HELP FROM WONDER WOMAN — AND PASSING THAT HELP ON Margot: "Obviously I want the movie to do well because we all worked so hard and we love it so much. But I think it is important when a movie like this does do well — like, if Wonder Woman hadn't done what Wonder Woman had done, I don't know if people would have given us the budget we got to. And if this does well, then the next person who wants to make [something female-led]. It's so important." Greta: "We were just saying this the other day. I think all the time, I was like 'I'm so grateful that Patty Jenkins made Wonder Woman'. And yeah, whoever comes next, it will be..." Margot: "I remember when they were trying to come up with comps [comparable films] for this movie, and there's not that many. And it's important to have them. It makes a difference on the business side of things to have those comps, and have the proof in the pudding that they've made money and done well. Hopefully we can be an extra stepping stone for the next thing." Check out the trailer for Barbie below: Barbie releases in cinemas Down Under on July 20. Images: Barbie press tour photography by Caroline McCredie for Warner Bros/NBC Universal. Barbie film stills via Warner Bros.
The Whitsundays is a stunning holiday destination. Thanks to its gorgeous natural surroundings, vacationing at the Sunshine State spot is rarely solely driven by wanting to dine at a particular restaurant, then; however, on Hamilton Island, that might be the motivation now. If any eatery and bar is worth planning a getaway around, it's the brand-new Catseye Pool Club. First announced in 2024 and open since late April 2025, it's Josh and Julie Niland's latest venture — and their first ever in Queensland. When the pair revealed that they were launching their debut Sunshine State restaurant on Hamilton Island, it was huge news. Indeed, this is one of the big culinary openings of 2025. Catseye Pool Club is part of The Sundays, the also brand-new 59-room hotel at Catseye Beach's northern end that's all about luxury, but also boasts being family friendly as part of its point of difference. This Niland venture stands out from the duo's other restaurants for a few reasons. There's the location, of course — and eating here does indeed mean dining at an oceanfront tropical destination. Then there's the fact that Catseye Pool Club isn't a seafood joint. Whenever Josh and Julie's names come up, it's usually in the same breath as their preferred form of protein. Acclaimed Sydney restaurants, award-winning cookbooks, global kudos, a sustainable seafood restaurant in Singapore: championing a fin-to-tail approach to the ocean's finest, their footprint spans all of the above. Whole-fish cookery remains a feature at Catseye Pool Club, but it's just one part of the menu. This restaurant and bar heroes Australian ingredients and celebrate shared dining, with dishes designed to be tucked into communally. Taking your time in the sun, making the most of the fact that you're on an island and relaxing in general are also key aspects of the vibe — and the pool club part of the restaurant's name says plenty. Yes, the eatery is by the pool, so expect to peer at water from multiple sources. "Whilst 'family-style' or 'share-style' dining is very much a way restaurants have operated for many years, the Catseye Pool Club approaches its menu with each item very much designed to be enjoyed as a whole table, with all the trimmings coming with each dish," explained Josh back in March. The opening food and drink lineup spans 14 pages, starting with rock oysters with pepperberry mignonette, pizza bread, and a selection of wild raw fish and scallops for two. Almost everything edible from there is for at least a pair of diners, whether battered and fried wild fish tacos, Tweed Heads rock lobster, roast pork, Bowen mud crab pie, sirloin on the bone, lamb cutlets or line-caught trout tempt your tastebuds — or raspberry and coconut trifle, chocolate cake or flambé pineapple tart among the desserts. The one exception: the neapolitan sundae is just designed for one. Catseye Pool Club is also serving up breakfast just for hotel guests — and patrons can be enjoy its range of meals if they're hanging out by the pool rather than sitting at a table. At a hotel run by Hamilton Island Enterprises, which is also behind qualia, guests can also make the most of that oceanfront swimming pool surrounded by private cabanas, alongside a pickleball court and tropical gardens. Room options include balcony and terrace, plus interconnecting family rooms, all decked out in calming hues. "The Sundays brings something truly special to Hamilton Island — an elevated boutique escape that welcomes families and reflects the warm, laidback, uniquely Australian style of hospitality Hamilton Island is known for," advises Hamilton Island CEO Nick Dowling. "The Sundays is part of Hamilton Island's ongoing evolution — reimagined for today's traveller on the site of one of the island's original hotels. Over the years, we've evolved our accommodation, dining and experiences to reflect what our guests are looking for. Those who've been returning for decades know that you don't need to travel far to tick off a bucket-list destination — the Great Barrier Reef is right here on our doorstep.' Find Catseye Pool Club at The Sundays, Catseye Beach, Hamilton Island — and head to the hotel's website for more details.
Stanmore has welcomed a new neighbourhood bakery that may already be staking a claim to be up there with the city's best. After cutting their teeth at the Ryde Wharf Markets, co-owners Mutiara Sucipto (ex-Sonoma) and Hari Wibowo have taken over an unassuming Parramatta Road space and transformed it into a tiny cafe with flaky, buttery, inventive baked goods on offer. Surrounded by stores specialising in water filters, flags and beads and plenty of empty shopfronts, this stretch of Parramatta Road isn't where you'd typically find one of Sydney's most exciting new openings. But Sucipto and Wibowo say they've received a warm welcome from neighbouring businesses and are excited to make the most of their Stanmore spot. Originally looking for a space to bake out of for their market stalls, the pair found 336 Parramatta Road on Facebook Marketplace. "Let's just do it" said Wibowo to Sucipto, deciding to throw caution to the wind. After a soft beige paint job and a nostalgic DIY fitout, the space has now been transformed into a homely neighbourhood meeting spot. Thanks to the cult following they'd built at the markets and a couple of viral TikToks, Pantry Story has already been a huge success, with patrons lining up out the door and along Parramatta Road to get their hands on a sweet or savoury treat. All of the day's tasty options are laid out around a curved white table in the centre of the cafe, a decision that Wibowo says was inspired by memories of his family congregating around a big round table during Chinese New Year celebrations. There are a few different must-tries so you might have to come back a few times in order to make your way through the menu. Wibowo's pick of the bunch is the signature pandan cookie, which has been on the menu since the first market stall. A take on the Indonesian favourite klepon or onde-onde, the cookie melds together coconut, hand-stretched mochi, a palm sugar filling and an icing sugar coating. There's also a chocolate chip cookie that's perfectly firm and gooey with melty pockets of choc throughout and a sprinkling of sea salt on top. Sucipto's pick of the bunch is the beef brisket hand pie — a one-handed puff pastry take on the servo classic that can be eaten on the run (or, more specifically, on a walk from Pastry Story to Stanmore Station). Other highlights include focaccia baked with kimchi or miso mushrooms, pork sausage rolls with caramelised pear and onion, and weekly specials like the pandan and custard buns that the team created in collaboration with Marrickville Road cafe Algorithm. Plus, if you're after your caffeine hit for the day, there are Stitch Coffee cappuccinos, mochas and iced long blacks, alongside matcha lattes and cold maple chai. Pantry Story is located at 336 Parramatta Road, Stanmore. For more information and to stay on top of its regular specials, follow the bakery on Instagram.
For those following a vegan diet, plenty of obvious items are off the menu: meat, dairy products and eggs in particular. So is anything made with gelatine, given that the substance is derived from collagen from animal body parts — which rules out many a sweet treat, too. Gummy and jelly lollies are definitely usually made with gelatine; however, with its newest release, The Natural Confectionery Co is giving vegans an animal product-free alternative. Already known for completely avoiding artificial colours, flavours and sweeteners, plus high-fructose corn syrup as well, the company is now launching a gelatine-free, vegan-, vegetarian- and flexitarian-friendly version of its fruity jelly lollies. If that's your next snack taken care of, you'll find packs of Vegan Fruity Flavoured Jellies in supermarkets from mid-August — starting with Coles and independent stores, then hitting Woolworths from mid-September. They'll cost you $4 for a 200-gram packet, which boasts five varieties of lollies inside: apple, blackcurrant, peach, pineapple and raspberry. The new addition to The Natural Confectionery Co's range comes in response to demand. "We couldn't ignore the requests from Aussies asking for a vegan-friendly option," explains Lauren Fildes, the Cadbury-owned company's Marketing Director for Candy, Biscuits and Meals. If you're a fan of the brand's other types of lollies — its snakes, fruity chews and sour worms, for example — you'll have to cross your fingers that they eventually get a vegan version as well. [caption id="attachment_779206" align="aligncenter" width="1920"] Peter O'Connor via Flickr[/caption] Find The Natural Confectionery Co's Vegan Fruity Flavoured Jellies in Coles and independent supermarkets from mid-August, and in Woolworths from mid-September — costing $4 for a 200-gram pack.
Some stories are so wild that they can only be true, and the tale of Australian cult The Family is definitely one of them. That's worth remembering when it finally becomes your next homegrown streaming obsession — in fact, you probably won't be able to forget it — with Disney+ taking inspiration from the sinister Aussie sect for a new eight-part series called The Clearing. If you're new to The Family — and you didn't see the excellent and supremely creepy 2016 documentary that shares the cult's name, or the 2019 series The Cult of the Family, both by filmmaker Rosie Jones — then strap yourself in for quite the story. It was very real, forming in the 1960s around Melbourne, with charismatic yoga teacher Anne Hamilton-Byrne at its head. A cult run by a woman is already extremely rare, but this tale also includes adopting kids who looked identical, dressing them in matching clothing, claiming that Hamilton-Byrne was a living god and, because that's not enough, a lot of LSD. Police raided the sect's Lake Eildon compound back in 1987, all those children were removed from the property, and Hamilton-Byrne and her husband fled Australia, but were arrested in the US in 1993. [caption id="attachment_611844" align="alignnone" width="1920"] The Family[/caption] There's more to this tale, which inspired JP Pomare's novel In the Clearing — and that's what The Clearing adapts. The show will step into the fictionalised but still chaotic details by following a woman who starts to confront her nightmarish past to stop a secret cult that's gathering up children to serve its master plan. Unsurprisingly, the mood will be tense, with the Disney+ series firmly a psychological thriller. Cast-wise, almost every famous Aussie acting name possible is involved, or so it seems, including Teresa Palmer (Ride Like a Girl), Miranda Otto (True Colours) and Guy Pearce (Mare of Easttown), as well as Claudia Karvan (Bump) and Mark Coles-Smith (Mystery Road: Origin). Also set to appear on-screen: Hazem Shammas (The Twelve), Kate Mulvany (Hunters), Xavier Samuel (Elvis), Anna Lise Phillips (Fires), Harry Greenwood (Wakefield) Erroll Shand (The Justice of Bunny King), Doris Younane (Five Bedrooms), Miah Madden (Dive Club), Julia Savage (Mr Inbetween), Gary Sweet (Wentworth), Alicia Gardiner (Offspring), Matt Okine (The Other Guy) and Jeremy Blewitt (The Lost Flowers of Alice Hart), plus Lily La Torre (Run Rabbit Run) and Ras-Samuel Welda'abzgi (Neighbours). We told you it was a hefty list. [caption id="attachment_862740" align="alignnone" width="1920"] The Cult of the Family[/caption] Behind the lens, Jeffrey Walker (Lambs of God) and Gracie Otto (Seriously Red) are on directing duties, with Elise McCredie (Stateless) and Matt Cameron (Jack Irish) creating and writing The Clearing — with help from co-writer Osamah Sami (Ali's Wedding). The Clearing is one of Disney+'s first three newly commissioned local scripted dramas — its first three ever, in fact — alongside The Artful Dodger and Last Days of the Space Age. There's obviously no trailer for The Clearing yet, but you can check out the trailer for The Family below: The Clearing will stream via Disney+, with a release date yet to be revealed — we'll update you with further details when they're announced. Top image: The Cult of the Family.
Five years after Sydney's lockout laws were introduced by Liberal Premier Barry O'Farrell, it could be a Liberal Government that finally winds them back. The Parliament of NSW has this morning released its extensive review of the city's nighttime economy — and it looks like it could be the final nail in the coffin for the lockout laws. The 126-page report makes 40 recommendations in total, most notably recommending that that the 2014 lockout laws be removed across the CBD, Darling Harbour, The Rocks, the top half of Surry Hills and Oxford Street with "appropriate urgency". The report says that the 1.30am lockout, bans on shots after midnight and the 3am closing time should all be lifted across licensed venues in this area. The Kings Cross precinct won't be as lucky, with the report citing that it "requires a specific, nuanced approach" as it's a high-density area with a "high risk" that violence would increase again if the laws are lifted. It does, however, recommend that the lockout laws be reviewed again in 12 months. The report also suggests that the sale of alcohol be extended until midnight Monday to Saturday (and 11pm on Sunday), extend the standard closing time of small bars until 2am a request for Transport for NSW look into 24-hour transport on weekends. [caption id="attachment_637655" align="alignnone" width="1920"] Frankies in the CBD, which would be affected by the lockout law change. Image: Katje Ford.[/caption] The parliamentary inquiry, which was first announced in May by Premier Gladys Berejiklian, was undertaken by a ten-member cross-party committee made up of politicians from both the upper and lower house, the NSW Government and cross-benchers. It considered close to 800 submissions from business owners and industry members including police, health, entertainment and live music stakeholders to make the reccommendations to the government. While they are all just recommendations at this stage, it looks likely that the legislative changes to the lockout laws will be entered into parliament by the NSW Government. Plans to scrap the lockout laws (in terms that seem to reflect this report) were announced earlier this month by the Premier herself, who told The Daily Telegraph that "Sydney is Australia's only global city and we need our night-life to reflect that." And if the Coalition is bringing the motion to relax the lockout laws, it's likely it will be successful — especially as the Shooters, Farmers and Fishers Party has already expressed its support for scrapping them. You can check out the major parties' views on live music and the lockouts in our pre-election wrap-up. The CBD's nightlife and live music scene has struggled under the stifling legislation — and has seen a reported 176 venues, including institutions like The Basement, close — the lifting of the lockout laws together with the City of Sydney's plans to introduce 24-hour trading to the CBD could mean big changes for the area. It won't change overnight, but the repeal of the lockout laws would allow Sydneysiders to head into CBD bars, pubs and nightclubs after 1.30am — and those same venues to remain open after 3am — while the City of Sydney is hoping to encourage the 24 hour trading of unlicensed CBD businesses. Now it's over to the NSW Government to make the next move. We'll update you when we have any new info. Top image: Kimberley Low.
There aren't many things that Sydney likes more than a rooftop bar. Sipping an ice-cold cocktail high above the city on a sunny day — does it get any better? Luckily, we've got plenty of options, including this colourful new watering hole on top of boutique Art Deco hotel, the Kimpton Margot. Harper Rooftop Bar fills out the hotel's quality dining options which include Luke Mangan's Luke's Kitchen and the lobby cocktail haven The Wilmot Bar. Harper joins in on the fun with a summer-ready drinks list and fit-out, a sky-high pool and a selection of eats once again courtesy of Mangan. Fast-paced bites include truffle fries, burrata and marinated olives, while more serious meals range from lobster rolls to veal cottoletta. As for the drinks menu, it's been injected with a whole lot of fun. Alongside classic cocktails and a robust wine selection, there are boozy slushies ready to cool you down on a warm December day. Kimpton claims that Harper is the CBD's biggest rooftop bar with the expansive L-shaped space set up to accommodate everything from intimate after-work drinks to large group events. Surrounded by Sydney's mass of inner-city high-rises, the new seventh-floor venue boasts plenty of greenery, bright pod seating and long dining tables for groups. Topping things off, you'll also find the hotel's swimming pool perched above the bar, calling out for hotel guests to enjoy a poolside martini during their stay. With a set up that good, why even bother leaving the premises?
Inimitable frozen dessert guru Nick Palumbo is responsible for making gelato the hottest thing in Sydney served below 0°C. His revered Gelato Messina sets the benchmark for gelato in Australia, taking a traditional Sicilian craft (everything is made from scratch using raw, natural ingredients) and carefully folding in an avant-garde approach towards flavours (there are six to seven specials released each week, with even the most deceptively unassuming beige ones accumulating Facebook likes in the hundreds). Now he's been tasked with the duty of finding one Australian craftsman blending tradition with inspiration. Ketel One has snagged Nick to sit on the judging panel of their Modern Craft Project, which you might remember us talking about here and which you should probably enter if you have a traditional craft, an entrepreneurial spirit and a partiality towards $100,000 cash prizes. Before the competition kicks off we stole a few minutes out of Nick's busy schedule to get the scoop on his idiosyncratic approach to artisan gelati. Concrete Playground (CP): Why gelato? Nick Palumbo (NP): In Messina, Sicily (where we are from) there is a huge culture of gelato and I wanted to create a brand that used traditional craftsmanship but was flexible in the sense that there is no limit to how creative you want to be. CP: What flavours did you launch Gelato Messina with back in 2002? NP: We only had 20 basic flavours back then but there was always a focus on quality. The innovation started to come in about two years later once we gained the trust of our customers. Coconut lychee, which sounds boring now, was our first "experimental flavour" back then. CP: Why did you decide to do the Gelato Messina Lab? NP: Because in the gelateria, we thought we had taken the quality side of things to quite a high level and all we had now was innovation of flavours. We wanted to push the boundaries a bit and marry in the world of high end patisserie with gelato, and saw it as a huge challenge and something that, to our knowledge, no one had done before. CP: The cakes are incredibly intricate — which one is the most satisfying to assemble? NP: The Black Forest, there are lots of components and the end result looks amazing. CP: They also incorporate many ingredients that aren't normally found in frozen desserts. Which ingredient poses the most problems? NP: All the jellies, they are hard to make soft at -18°C! CP: How do you come up with new flavours? NP: Basically we look for inspiration everywhere, especially from the world of patisserie, but it's also about continually finding flavours that work together. CP: What flavour has been the biggest surprise for you in terms of popularity? NP: Salted Caramel and White Choc Chip. It's now our best seller yet but when it first came out I actually heard a few people saying they didn't like it. Now those same people love it. CP: Obviously coming up with flavours must involve a lot of trial and error. What have been some of the errors? NP: Tomato sorbet. CP: I read a story about the frontman of Amy Meredith turning to his Facebook fans to demand the return of this favourite flavour (Elvis the Fat Years, which was then reborn as Christian Skinny Jeans). Is there anyone else you would like to reincarnate as gelato? NP: My three-month-old boy! The Milky Bar Kid. CP: Why did you want to become involved with the Ketel One Modern Craft Project? NP: Because Ketel One is an amazing brand full of history, which is my dream for Messina, and because there is not much in the way of support in this country for young people with a passion to do good things so anything that will help support artisans is something I'd like to be a part of. CP: What is next for Gelato Messina? NP: We open in Bondi in the middle of next year and we open in China (Hangzhou) in April next year. CP: And finally, cup or cone? NP: Silly question, CONE!
