When Jennifer Kent's The Babadook creeped its way across screens in 2014, it became an Australian horror classic. Now, five years later, the Aussie filmmaker is back with a completely different type of unsettling film. Prepare to feel just as uncomfortable in The Nightingale, which steps back to Tasmania circa 1825 to follow a young Irish convict (Aisling Franciosi) seeking revenge on a cruel British officer (Sam Claflin) — with assistance on her trek from an Aboriginal tracker named Billy (Baykali Ganambarr). Premiering at the Venice Film Festival last year, the movie made an instant splash, winning a special jury prize for Kent and nabbing the best young actor award for Ganambarr — a dancer from Arnhem Land who had never appeared on screen before. The Nightingale then screened at the Adelaide Film Festival, as well as at Sundance; however the bulk of Australia has been waiting for the film to finally hit cinemas. And, to even catch a glimpse of just what's in store. The just-released first trailer for The Nightingale takes care of the latter problem. "You don't want trouble, but sometimes trouble wants you," Claflin's character snarls menacingly in a particularly chilling moment, with the Hunger Games star definitely playing against type. As for when it'll release locally, the film is set to play this year's Sydney Film Festival before rolling out in cinemas around the country at the end of August. Unpacking Australia's colonial history, as well as its treatment of both women and the country's Indigenous population, it's an absolutely essential and shattering masterpiece — something we say from experience. The vengeance-fuelled film is also far from easy to watch, filled as it is with trauma, darkness, visceral shocks and deep-seated pain. Inspiring walkouts at the movie's sessions in Adelaide, Kent can't be accused of holding back. Check out the trailer below: https://www.youtube.com/watch?v=nfPxmnMAyZw The Nightingale releases in Australian cinemas on August 29, 2019.
The new decade has only just landed, but already we're getting a taste of some futuristic things headed our way — like the much-hyped air taxis from Uber, for example. This week, the company unveiled the latest designs for its new flying vehicles. We already know Aussies will be among the first in the world to experience this Uber Elevate aerial rideshare network, after Melbourne was named as one of three global cities where the service will commence testing. Along with Dallas and Los Angeles in the US, the Victorian city is set to host Uber Elevate trials from some time this year. Now, the world has scored a glimpse of just what these aerial taxis will look like, as Uber Elevate and Hyundai (the company's just-announced first automotive partner) unveiled their new full-scale aircraft concept model at the Consumer Electronics Show (CES) in Las Vegas. Dubbed S-A1, the Personal Air Vehicle (PAV) has been designed to cruise at speeds of up to 290 kilometres per hour (similar to a helicopter), flying around 300–600 metres above the ground on trips of up to 100 kilometres in distance. Initially, the taxis would be flown by pilots, though there are plans to make them completely driverless over time. Sitting in an autonomous helicopter-like vehicle flying through the sky at 290 kilometres per hour sounds like a potential nightmare, but we're sure (or we hope) they'll do a lot of testing with drivers before it gets to that. The vehicles are also set to run entirely on electricity and will have several smaller helicopter-style rotors, instead of just one, helping to keep things a lot quieter. It's expected that during peak times, the electric vehicle will only take five to seven minutes to recharge, which is bound to seem pretty speedy to anyone who's ever been stuck in peak-hour traffic in a regular taxi. The Uber Elevate vehicles can carry up to four passengers and they'll take off and land vertically using helipad-style 'Skyports' located on high rooftops at key points around the city that might look a little like this: As this is just as concept at the moment, the PAVs (and helipads) that eventually take to Melbourne's skies could look wildly different. Last year, Uber Elevate revealed the aerial taxi system would be available to riders from as early as 2023 and that eventually, flights would cost the same as an UberX trip of the same distance. So, we guess we can get set for some Jetsons-style travel action in the not too distant future. Uber Elevate is slated to start tests in Melbourne by the end of 2020 with regular services kicking off in 2023. To read more about the program, head to the Uber website, and to check out the vehicle designs, see Hyundai's website.
After 21 years of trade, de Vine has a new look and feel. The wine bar and Italian restaurant that's long sat, unassuming, on a busy Market Street stretch has undergone a million-dollar renovation to reveal a swanky new interior with exposed brick, a curving granite bar, champagne-tinted mirrors and green velvet banquette seating. The design is the kind of classic big city style you'd encounter in the osterias of New York or Chicago. The hospitality, however, has the warmth and personality of a small neighbourhood restaurant. If it feels like a family affair, that's because it is. Restaurateur brother duo Anthony and Julian Izzillo (formerly of Wildfire Circular Quay) are behind the transformation of de Vine — but they're also front and centre of the service experience. Anthony is often front of house, greeting guests and and talking them through the menu, while Julian is in charge of the drinks program which includes a showstopping selection of Amaro, all on show a brass wall display in the front bar seating section. The wine offering is equally impressive with some 500 bottles available from the cellar. It is, after all, a wine bar first and foremost, and you can duck in for an elegant post-work or pre-theatre drink. [caption id="attachment_949201" align="alignnone" width="1920"] Julian Izzillo (left) and Anthony Izzillo in front of their huge Amaro selection.[/caption] Don't sleep on the food, though. The kitchen is now helmed by Head Chef Timothy Fisher, previously of Michelin-starred Osteria Lucio in Dublin. The menu stars classical Italian dishes executed without fault like vitello tonnato and polpette meatballs, a lineup of excellent house made pastas, and mains like the pork cotoletta (which Anthony tells us is "life changing" although he may be biased). Then, once the plates have been cleared, if amaro is your pleasure, just sit back and let Julian pick a match for your palate or treat yourself to a tasting flight. Whether you're in the market for an intimate date venue or a power broker's lunch spot, the reimagined de Vine is worth rediscovering. You'll find de Vine Wine Bar and Restaurant at 32 Market Street in the city — open 11.45am-10.30pm on Monday to Wednesday, 11.45am-11pm on Thursday and Friday, and 4.30pm-11pm on Saturdays. Head to the website to book.
Thanks to his Oscar-nominated work co-penning The Worst Person in the World's screenplay, Eskil Vogt has already helped give the world one devastatingly accurate slice-of-life portrait in the past year. That applauded film is so insightful and relatable about being in your twenties, and also about weathering quarter-life malaise, uncertainty and crisis, that it feels inescapably lifted from reality — and it's sublime. The Innocents, the Norwegian filmmaker's latest movie, couldn't be more different in tone and narrative; however, it too bears the fingerprints of achingly perceptive and deep-seated truth. Perhaps that should be mindprints, though. Making his second feature as a director after 2014's exceptional Blind, Vogt hones in on childhood, and on the way that kids behave with each other when adults are absent or oblivious — and on tykes and preteens who can wreak havoc solely using their mental faculties. Another riff on Firestarter, this thankfully isn't. The Innocents hasn't simply jumped on the Stranger Things bandwagon, either. Thanks to the latter, on-screen tales about young 'uns battling with the supernatural are one of Hollywood's current favourite trends — see also: the awful Ghostbusters: Afterlife — but all that this Nordic horror movie's group of kids are tussling with is themselves. Their fight starts when nine-year-old Ida (debutant Rakel Lenora Fløttum) and her 11-year-old sister Anna (fellow first-timer Alva Brynsmo Ramstad), who is on the autism spectrum, move to an apartment block in Romsås, Oslo with their mother (Blind's Ellen Dorrit Petersen) and father (Morten Svartveit, Ninjababy). It's summer, the days are long, and the two girls are largely left to their own devices outside in the complex's communal spaces. That's where Ida befriends Aisha (Mina Yasmin Bremseth Asheim) and Ben (Sam Ashraf), albeit not together, and starts to learn about their abilities. One of The Innocents' most astonishing scenes — in a film with many — springs from Ida discovering what the sullen, bullied Ben can do solely with his brain. Indeed, one of Vogt's masterstrokes is focusing on how she reacts to the boy's telekinesis, as demonstrated by flinging around a bottle cap. Ida is almost preternaturally excited, and she's lured in by the thrall of what Ben might be able to do next, even though she can visibly sense that something isn't quite right. Another series of unforgettable moments arises shortly afterward when her new pal, lapping up the attention from his only friend, cruelly and sickeningly shows off without even deploying his superpowers. It's a deeply disturbing turn in a movie that repeatedly isn't afraid to find evident terrors in ordinary, everyday, banal surroundings, and Ida's response — horrified, alarmed, yet unwilling to completely cut ties — again says everything. Vogt doesn't shy away from intimating something that society often doesn't, won't or both: that childhood and innocence don't always go hand in hand. En route to their new home in the film's opening sequence, Ida is already spied pinching the non-verbal Anna just to glean what she'll do. Later, as conveyed in economical imagery lensed by stellar cinematographer Sturla Brandth Grøvlen — who already has Another Round, Last and First Men, Shirley, Rams and Victoria to his name, and uses blood here with haunting precision — she's seen escalating that pain-fulled experimentation in a gutwrenching fashion. This side to the girl's personality isn't played as a twist or shock, and neither are Ben's skills and proclivities, or the friendly Aisha's telepathic powers (including the ability to communicate with Anna). Instead, The Innocents is positively matter of fact about what its pint-sized characters are capable of, and also steadfastly avoids trading in simplistic ideas of good and evil, or offering up neat rationales. It's one thing to bake such complexity into the script, which Vogt does with ease. When it comes to working with children, it's another entirely to have those layers and that eagerness to reside in shades of grey radiate from the cast. All newcomers to the screen, Fløttum, Ramstad, Ashraf and Asheim each manage to possess both relaxed naturalism and heaving texture — like they're not being recorded at all, but also as if they've always belonged in front of the camera, playing out their intricate games. Fløttum's expressive face is particularly striking in capturing The Innocents' eerie yet probing mood, whether Ida is flirting with darkness herself, frightened by what may come, or doing whatever she can to protect her sister and her family. But she's definitely not alone in making chatting without saying a thing, throwing about frying pans without moving a muscle and twisting childhood larks in otherworldly ways feel as commonplace as hitting the sandpit or swing set. They're little alike in vibe and atmosphere — a sense of fairy tale-esque dreaminess aside, although deployed in vastly dissimilar manners — but in stepping into the realms inhabited only by young hearts and minds, The Innocents slides in nicely alongside recent French delight Petite Maman. Both movies let their youthful characters exist in worlds defined only by themselves and their own rules, rather than by ideas and norms outlined by grown-ups. Neither of the two features would ever dare suggest that how its central figures experience life isn't worthy of attention or respect, or comes second to adult routines and woes. And, the pair of flicks also dive into how kids cope with everything that's constantly thrown in their direction, including by each other, with the utmost of seriousness. Here, that includes unpacking the morals they enforce among themselves, and also come to by themselves, but never explaining away something so complicated. In The Innocents, that detailed and disarming portrait of youth sits within a daylight nightmare, too — one that's not quite on the also Scandinavian-set Midsommar's level of chills, but always festers with unease nonetheless. Parallels also lurk with the superb Let the Right One In and its account of an undead tween, with the mental scares inflicted in Carrie and The Shining, and, unsurprisingly, with Thelma, the 2017 film about a university student grappling with inexplicable powers that Vogt wrote with The Worst Person in the World's Joachim Trier. The Innocents stands boldly beside its thematic peers, however, rather than in their shadows. Its various bits and pieces have their predecessors, but its blend of uncanny candour, creepiness, empathy and intelligence is all its own. While an English-language remake is bound to follow, frolicking in this smart and savvy playground again — and making something that doesn't just play like a cookie-cutter superhero origin flick at best (yes, the recent Firestarter comes to mind once more) — won't be an easy feat.
In Encanto, the Madrigal family might not talk about Bruno, but they sure do sing about him — and, thanks to that earworm of a Lin-Manuel Miranda-composed track, everyone watching soon does, too. Just try to catch the Golden Globe-winning, Oscar nominated animated hit without getting that song stuck in your head for weeks. No matter what you do, it's impossible. In fact, even mentioning the tune in this very paragraph will cause the same result. Yes, we know that everyone reading this now has 'We Don't Talk About Bruno' burrowed into their brains again — and there's absolutely nothing that we can do about it. But when a ditty takes up residence inside your skull and won't leave, you may as well lean in. And, over at Disney+, you can stream a sing-along version of Encanto that'll get you crooning with the movie from your couch. No longer solely the domain of special cinema screenings, Disney's sing-along takes on its famous musicals are heading to its streaming service. It was always bound to happen, and the Mouse House has started with the movie of the moment. As you watch, lyrics will dance across your TV screen when it's time to belt out ballads — so if you don't know all the words yet (or if you're viewing with someone who thinks they do, but inserts their own mistaken lyrics), they'll all be there for you. While Encanto is the first flick to get the sing-along Disney+ treatment among the company's popular musicals — and it hit the service back on Friday, March 18, so it's there to watch and warble along to now — it obviously won't be the last. The Mouse House has plenty of other tune-filled movies to its name, after all, and it's planning to build up a catalogue of them on its streaming service. Accordingly, before 2022 is out, Frozen, Frozen 2, and both the animated and live-action versions of Beauty and the Beast are all set to make their way to the platform. Exact dates haven't yet been revealed, but at least you now know there'll be other chances to get different Disney tunes stuck in your head — or 'We Don't Talk About Bruno' will just have 'Let It Go' and 'Be Our Guest' for company. The sing-along version of Encanto is available to stream via Disney+ now, with Frozen, Frozen 2, and both the animated and live-action versions of Beauty and the Beast set to hit the platform throughout 2022.
It's never been a better time to go no-alc than right now. Today, it's not odd to be going dry, it's accepted, celebrated and understood. Alcohol isn't for everyone or every occasion, but no one really wants to be excluded from the fun. The underwhelming or straight-up bland alcohol-free options of the past have evolved. Bartenders are getting creative with mocktails, there are numerous no- and low-alcohol brands now on offer, and even traditional alcohol brands are getting involved with alc-free versions to shift with the changing times. If you're booze-free, reducing your boozing or just curious about what's available out there, we've teamed up with Edenvale Wines — a premium alcohol-removed wine range — to create this list of our best takes on the top alternative alcohol-free beverages in the market today. WINE — EDENVALE WINES It's tricky to make non-alcoholic wine that doesn't taste just like grape juice. With lots of research — and some tinkering to the custom spinning cone column technology which removes the alcohol — Edenvale is constantly perfecting its range. The beauty of Edenvale Wines is that the alcohol is removed after the wine is made, meaning it retains all the flavours, tannins, complexity and aromas of traditional wines. The winemakers are slinging both Aussie and international wines to offer a range that is true-to-varietal and expressions of the regions they are grown in. So whether you want a semillon sauv blanc from Frankland River, WA, a GSM from Barossa or even a verdejo from Spain, Edenvale Wines have options for you. If you are a wine drinker looking to make a change or sober curious and wondering if you could dupe your mates with a non-alc version of their favourite varietals, Edenvale is recognised as being one of the best non-alc versions out there. The sparkling shiraz was just awarded a gold medal at the International Wine and Spirits Competition (IWSC), London 2023 and is an excellent match for red meats like a juicy steak. BEER — HEAPS NORMAL Many of our favourite beer brands are putting out their own non-alcoholic ranges of beers, but few are primarily dedicated to creating a quality booze-free beer option. Enter Heaps Normal, which has solidified itself as a top beer choice with its considered range that includes an XPA, hazy pale ale, lager and — most recently — a stout. The team behind Heaps Normal are champions of the no-alcohol and low-alc movement and mindful drinking and aim to serve great-tasting beer without the potential downsides. WHISKEY — THE GOSPEL Whisk(e)y is a tricky spirit to create a satisfying non-alc version of, as most bonafide whiskey fiends love to drink it straight. The trademark burn at the back of your throat satisfies those who love a dram. And that burn is alcohol. Australia's first-ever dedicated all-rye distillery, The Gospel, (recently named the maker of Australia's Best Whiskey) is now one of the first to produce non-alcoholic rye whiskey: Responsible Rye. Under the guidance of its Sommelier and R&D distiller Ellie Ash and over a year in development, the rye-lovers at The Gospel have perfected the non-alc alternative to a dram. It is made using de-alcoholised rye whiskey — a similar process to alcohol removal used by Edenvale Wines — to ensure the liquid is full of the classic rye whiskey flavours: underlying smokiness, candied nuts, cardamom and cola. GIN — LYRE'S SPIRIT One of the first non-alc offerings on the market was non-alcoholic gin. Numerous brands duped G&T lovers with bottled non-alc spirits that emulated the alcoholic brethren on the shelves. Craft spirits lovers assumed they were the latest craft gin on the market, only to discover that they were all flavour and no hangover. One such brand is Lyre's Spirit. An innovative brand pumping out non-alc spirits — they even have a bitter orange liqueur so you can enjoy a summer spritz free from booze. The Lyre's London Dry is a take on the traditional gin style. Expect juniper flavours, peppercorn and citrus. Ideal for a dry G&T or not-so-classic classic Tom Collins. And those that like a bitter orange spritz can opt for the Italian Orange and Aperifit Rosso for their day-time summer sipping. TEQUILA — DRUMMERBOY MEXICAN AGAVE SPIRIT Another dedicated spirits brand pushing out award-winning versions of our favourite sips is Drummerboy and its Mexican Agave Spirit, ideal for those that love a margarita but not the alcohol. Like Edenvale Wines, it has also been recognised by the International Wine and Spirits Competition. A bright and zesty alternative to your traditional tequila that is perfect in cocktails or by itself. Edenvale Wines is a premium range of alcohol-removed wines that are available to purchase directly from the website or at most major supermarket retailers. Top image: Moira Vella Photography
One of Sydney Festival 2017's most Instagrammed events was The Beach, an enormous ball pit inside a human-made cave, as created by Brooklyn-based design studio Snarkitecture. Tonnes of the city's residents spent at least some part of January diving, cannonballing and floating about in a sea of plastic bliss. Understandably. If you've been fretting about whether this kind of fun would ever return, here's your answer. Another ball pit is on its way around the country. After originally popping up in Sydney this May, it's returning just in time for Halloween. Like last time, it will be divided up into several spaces creating a kind of playground. There'll also be an on-site cocktail bar, to let you rest and refuel in between dips and dives. The ball pit will pop up in Bondi Junction on Saturday, October 20 from 1pm till 1am. Entry will be via ticket, which will entitle you to two hours of playtime. The ball pit folk have gotten into the festival spirit this time round, too, and will be hiding $1000 throughout the ball pit. If you're keen to find it, we suggest booking into one of the earlier sessions. Anyone keen to attend between 1pm and 3pm can add some extra fun to their ball pit experience: a two-long bottomless prosecco and pizza session. Tickets including food and drinks cost $55, with only 200 available. A tip: you might want to go easy on the jumping around after getting your fill of eats and bubbles.
Fans of Brett Whiteley, and those eager to know more about the treasured Australian artist, should make a beeline for the Art Gallery of NSW after work on Wednesday, February 13. As part of the Brett Whiteley: Drawing is Everything exhibition, the gallery is hosting a free celebrity talk with Whiteley's muse and former partner Wendy Whiteley (yes, the same Wendy Whiteley who designed Lavender Bay's stunning Wendy's Secret Garden). The exhibition's curator Anne Ryan and author Lou Klepac will lead the conversation with Whiteley. Expect intimate insights into Brett Whiteley's life, inspiration and works — with a special focus on the pivotal role that the medium of drawing played throughout the decades of the celebrated artist's practice. Following the talk, you can meet Whiteley and Klepac and pick up a signed copy of the latter's book on the subject. Then, you're free to take in the rest of that evening's Art After Hours lineup. You might fancy a guided tour of the Masters of Modern Art from the Hermitage exhibition — or you can simply kick back with a drink and soak up a live performance by jazz musician Frances Madden. Celebrity Talk: Wendy Whiteley will take place in the Entrance Court at 6.30pm on Wednesday, February 13. This talk is free and no booking is required. For more information, visit the Art Gallery of NSW's website.
Over the past ten years, Mark Gatiss and Steven Moffat have spent a considerable amount of time focusing on the most portrayed human literary character in film and television, all thanks to their Benedict Cumberbatch-starring series Sherlock. After four seasons, the series doesn't appear to be making any more episodes anytime soon, so the TV writers and producers have turned their attention elsewhere. To start a new decade, they're sinking their teeth into only literary character, human or otherwise, that's featured on the big and small screens more often than their beloved detective. That'd be Dracula. Adapting Bram Stoker's 1987 gothic classic for the BBC and Netflix, the duo's new take on the undead figure tells unravels the bloodsucking count's tale across a three-part mini-series. From ol' Drac's origins in Transylvania to his run-ins with Van Helsing, it's all covered — plus his encounters with solicitor Jonathan Harker and his wife Mina, and his impact in Victorian-era London, too — although Dracula promises to revisit and reshape the famous horror story in a fresh way. Baring his fangs as the most notorious vampire of all is Danish actor Claes Bang (The Square, The Girl in the Spider's Web), while the show's cast also features Dolly Wells (Can You Ever Forgive Me?), John Heffernan (Official Secrets) and Morfydd Clark (Crawl). Naturally, it all looks suitably creepy and brooding — and, in more than a few scenes, rather bloody. Netflix has just revealed the full final trailer ahead of dropping the entire show itself, which'll hit the streaming platform Down Under on Saturday, January 4. The exact time hasn't been revealed, but Netflix's newbies usually release at 6pm AEST / 7pm ADST. Check out the Dracula trailer below: https://www.youtube.com/watch?v=c-b2HXpbg7U Dracula hits Netflix on Saturday, January 4.
Just like Lego, dodgem cars and games arcades, no one ever grows out of Easter eggs. Sure, once you're no longer a kid, you know that they're an expensive way to eat chocolate. You know that regular old blocks of the stuff are sold in the same supermarkets at the same time, too. But, when the world becomes obsessed with oval-shaped sweet treats each year, a familiar feeling kicks in. Your tastebuds still want what they want — and they want something round and chocolatey. In 2021, Mr Black has a new option to tempt your sweet tooth: dark chocolate Easter eggs filled with coffee liqueur caramel. Yes, they're the ideal option if you don't want to choose between a boozy beverage and chocolate — and you'd prefer to eat your dessert, not sip it. Hand-painted and measuring just over six centimetres tall, the Mr Black Easter eggs are a collaboration with chocolatier Meltdown Artisan, and cost $20 each. Both Mr Black and Meltdown Artisan are selling them. Usually, the latter's eggs sell out, so getting in quickly is recommended. If you decide to pick up some of Mr Black's coffee liqueur at the same time — or its bottled coffee negroni or old fashioned — you can also score a free egg if you spend over $50. The coffee liqueur-filled Easter eggs are available for $20 from both Mr Black and Meltdown Artisan.
We all remember those night cramming before a big exam. The frantic highlighting, notetaking and pangs of regret for not starting sooner. Inevitably, we'd have a good mate by our side to keep us company along the way. And snacks, of course. Whether it's hitting the books or starting that big idea of yours, our best results come when we work together. New ideas and unique perspectives help us to push harder and try things we'd never dreamed of giving a go. When business owners support each other, everyone benefits. But, how can you give back to those daring start-ups and innovative entrepreneurs who are pushing the status quo? To give you a dose of inspiration, we've partnered with the City of Sydney as part of its Retail Innovation Program to help get you started. From creating platforms for networking and collaboration to practicals tips for getting involved in your local community, here are the ways five Sydney entrepreneurs are supporting other local businesses. [caption id="attachment_735022" align="alignnone" width="1920"] Trent Van der jagt[/caption] SAINT JOHN ESPRESSO: GETTING INVOLVED IN THE LOCAL COMMUNITY Since Kate Fellowes took over her local cafe in Glebe and transformed it into Saint John Espresso, the business has gone from strength to strength. The neighbourhood favourite continues to evolve, with the addition of a new look, a takeaway window and online preordering helping to boost sales. Fellowes attributes much of the success to her focus on giving back to others. "Because I live and work in Glebe I know a lot of the community, and they know me," explains Fellowes. "I have become a Justice of the Peace to assist the community, and I'm on the Glebe Chamber of Commerce and Coalition of Glebe Groups." And prioritising her local community is key to continuing her business' growth. "I've seen first-hand as a resident and business owner that locals support local businesses that interact with their community," Fellowes tells. "I like new locals to feel welcome in the community, pointing them in the direction of community associations or other businesses to support." FOODCOSTR: DEVELOPING TOOLS TO REDUCE WASTE AND IMPROVE SUSTAINABILITY Trying your hand at a new recipe is, well, a steep learning curve. You're juggling cooking times and crossing your fingers all the flavours come together on the plate. And once you're done, you're surrounded by a sea of dirty pots and a bin full of wasted produce. For Min Cha, founder of the now-closed N2 Extreme Gelato, this was a situation he knew all too well. "Towards the end, it was impossible to calculate and update food costs. It was a problem that was bugging me a lot," Chai said. That's where his new venture Foodcostr will come in. While still in development, the app will primarily be a food management system that helps chefs and owners calculate food costs. From calculating profit margins to ordering stock, the platform aims to take the stress and 'guestimation' out of running a hospitality business. "I hope I get to a point where, you know, it would actually really help the chefs and they come up to me and say 'Thank you. This saved my restaurant'," he reveals. THE FREEDOM HUB: CONNECTING WITH LIKE-MINDED BUSINESSES Taking tangible steps towards ending human rights abuses can seem like an impossible task. But the team behind The Freedom Hub think otherwise. This business proves as ambitious as the mission they are working towards. It comes to life as an ethical cafe and event space with 100 percent of proceeds going towards its Survivor School, providing long-term support to those touched by modern slavery. The Freedom Hub is built on the concept of helping others, with partnerships proving an essential part of its business. With no funds to invest in marketing efforts, aligning with likeminded ethical organisations is essential to spreading its mission and goals to the world. For this team, it's about creating a network of businesses that strive to lift each other up in order for everyone to succeed. [caption id="attachment_734254" align="alignnone" width="1920"] Kimberley Low[/caption] KOA RECOVERY: PAVING THE WAY FOR INNOVATION Shaun Button, the founder of Waterloo's Koa Recovery health centre, created his business from a very personal experience. After a serious back injury, Button travelled to the United States and uncovered a world of innovative injury treatments that had yet to hit Australian shores — so he brought them here himself. As the first recovery centre of its kind, Koa Recovery is on a mission to revolutionise injury care to improve patient treatment and outcomes. For Button, working with nearby businesses to promote self-care and allow their employees access to world-class facilities is vital. "Providing Sydney with these facilities gives local businesses the opportunity to reduce workplace injury costs and increase productivity," he explains. POP-UP FINDS: PROVIDING A PLATFORM FOR COLLABORATION Opening a brick and mortar store isn't easy — these days, many business owners are opting to play in the digital space alone. So, what happens when businesses work together to bring physical stores to life? That's the goal behind pop-up experience provider, Pop Up Finds. The platform provides furniture rental to help entrepreneurs and brands bring their pop-up shopfronts to life. Whether it's a jeweller bringing their designs to shoppers or an artist showcasing their work with the world, it's about giving every retailer a chance to launch a physical presence. These temporary, pop-up experiences also prove the perfect climate for collaboration. Whether its providing expert advice on planning an event or connecting like-minded owners so they can rent a space or host a pop-up together — thereby combining costs and support from their individual followings — Pop Up Finds hopes to enable businesses to work and grow together. Learn more about the City of Sydney Retail Innovation Program here. Top Image: Trent Van der jagt.
Music-streaming service Spotify is set to launch in Australia this week, finally blessing Australians with its promise of "all the music, all the time". It's about time, as Spotify has already become the music service of choice for over 10 million users in 13 countries. With an estimated 10,000 musical tracks added each day, Spotify is essentially a vast music library. It allows users to listen to any of its millions of tracks in real time (no irritating buffering required) on any desktop computer or mobile device, and to share those tracks effortlessly with friends. Spotify is forward-thinking in its approach to online music streaming; instead of fighting the changing face of the music industry, it is embracing the fact that people are just not purchasing CDs in the volume that they used to. Thriving off of an audio advertising revenue model, Spotify identifies a demographic target audience based on users' musical tastes. This method has proven satisfactory to advertisers and record labels alike; the majority of US and UK record labels seem to be of the thought that some revenue is better than none. The social aspect of Spotify sets it apart from other music services. It integrates into Facebook and Twitter alike, allowing users to create and share playlists. It's simple to see and hear what friends are listening to: just press 'play' on another user's playlist. All you need to get started is a username and password, and to download the service to either Windows or Mac. The Spotify website currently offers Australians the option to sign up pre-launch. Enter your e-mail address and be one of the first in line to delve into this gigantic music library.
In their quest for the perfect pop song, Gung Ho's Michael McAlary (guitar/vocals) and Ollie Duncan (bass/vocals) aren't doing too badly so far. They've spent many an hour in bedrooms self-producing their debut EP, Anywhere Else. Frustrated by the limitations of professional studios, they decided to take matters into their own hands. Their commitment to DIY is paying off. Over the past few weeks, Triple J has had the EP's three singles — 'Twin Rays', 'Side by Side', and 'Stranger' — on high rotation, and Gung Ho are on the eve of an extensive East Coast tour. All of this follows a highly charged 2012, which saw the duo support The Rubens, Bleeding Knees Club, and DZ Deathrays, as well as win over the crowd at Peats Ridge. With its reverb-enriched harmonies, seriously dexterous bass lines and punk-tinged feel, Anywhere Else is immediately accessible but certainly not predictable. https://youtube.com/watch?v=UY06ajzAMWU
Get ready to feel your age. After the definition of a runaway debut album, a couple of Grammys, a world tour, a collaboration with Disclosure and worldwide fame, Lorde is returning to Australia for a handful of shows — and she's still only 20 years old. The New Zealand artist — also known as Ella Yelich-O'Connor — has this morning announced she will tack on four Australian shows to her Melodrama world tour in November. All outdoor venues, she will play in Sydney's iconic Opera House Forecourt, the Sidney Myer Music Bowl in Melbourne, Kings Park in Perth and Brisbane's City Botanic Gardens. It will be Lorde's first visit back to Australia since 2014, when she toured Pure Heroine as a wee 16-year-old. This time around, she will showcase her new album Melodrama, which is set to be released next week. General tickets go on sale at noon on Monday, June 19, but if you're a Frontier member or signed up to the Sydney Opera House's newsletter, you can access pre-sales ahead of time. Find more info on the tour here. LORDE MELODRAMA AUSTRALIAN TOUR Saturday, November 18 — Kings Park, Perth Tuesday, November 21 — Sydney Opera House Forecourt, Sydney Thursday, November 23 — Riverstage, City Botanic Gardens, Brisbane Saturday, November 26 — Sidney Myer Music Bowl, Melbourne
After almost two years of waiting, there's less than two weeks left until Stranger Things returns to your Netflix queue to unravel more of the Upside Down's mysteries. Come July, the beloved series will finally unveil its latest 80s-set supernatural chapter, much to the delight of fans everywhere. And if you've been counting down the days for far too long, the streaming platform has gifted fans with another look at the series' new eight episodes. As we saw in the show's first full season three trailer three months ago, everyone is back — although the main crew is a little older, so expect teenage versions of Mike (Finn Wolfhard), Eleven (Millie Bobbie Brown), Will (Noah Schnapp), Dustin (Gaten Matarazzo), Lucas (Caleb McLaughlin) and Max (Sadie Sink) this time around. Elsewhere, Joyce Byers (Winona Ryder) still looks shaken, Hawkins police chief Jim Hopper (David Harbour) is still a man on a mission, and everyone's favourite walking hairstyle — aka Steve Harrington (Joe Keery) — is now working in an ice cream parlour. Of course he is. Steve's place of work isn't a minor detail. As the marketing campaign has made plain and this new trailer expands upon, the brand new Hawkins mall plays a major part in the new batch of episodes. It's the sunny summer of 1985 in the small town, and its inhabitants are making the most of the warm weather, lack of school and abundance of free time that comes with it by hanging out at the shops. And dallying with more monsters, naturally. Said critter don't appear to be just regular ol' Demogorgons, either. This time, the creatures have a voice, too, advising Eleven and the gang that "we're going to end you, we're going to end your friends, and we're going to end everyone." While she thought she had banished them from our world at the end of the last season, it seems that's not how things have turned out. Adding to a list of trailers, alongside the season's initial cryptic teaser, this new footage also serves up plenty of other bits and pieces, but we'll let you discover the rest by watching. Check out the full trailer below: https://www.youtube.com/watch?v=XcnHOQ-cHa0 Stranger Things season three arrives on Netflix on Thursday, July 4. Images: Netflix.
Love the fact or not, as far as top-notch tipples and world-class watering holes go, Melbourne just kicked a serious goal. Here to add a little more fuel to the 'which city does it best?' debate, the Victorian capital has outranked all other Australian counterparts to nab a spot in Punch's 2023 guide to the world's most travel-worthy drinking destinations. The international drinks publication has revealed its Where to Drink in 2023 wrap-up, naming Melbourne as one of just five cities worldwide. Also making the unranked list were Buenos Aires in Argentina, Portugal's capital Lisbon, Osaka in Japan and, flying the flag for the United States, Madison in Wisconsin. [caption id="attachment_787570" align="alignnone" width="1920"] Nick & Nora's by Brook James[/caption] Punch's drinks connoisseurs selected their top five locations based on their ability to deftly balance long-held traditions and old-school sensibilities with fresh, forward-thinking philosophies. "The results are often surprising, sometimes frenetic, tense, even bewildering, but never boring," Punch explains. As for what specifically earned Melbourne a spot in this year's lineup, the publication cited its penchant for the unpretentious, its new-school take on casual service and the cultural diversity that continues to shape its drinks scene. That broad assortment of genres proved a wining formula, too — whether you're into divey rock 'n roll joints like Heartbreaker, sophisticated cocktail haunts like Nick & Nora's, intimate wine bars such as The Moon, or something in between, Melbourne's got a drinking den to suit. The city's commitment to sustainability and innovation also scored a shoutout, as did its famed pub culture — according to Punch, "rivalled only by the U.'s, with a diversity and familiarity that feels particularly Australian." [caption id="attachment_835092" align="alignnone" width="1920"] Pearl Diver Cocktail & Oysters[/caption] The publication also shared its top three picks for Melbourne's must-drink cocktails, naming the espresso martini (no shocks there), the New York-style sazerac and the Melbourne-born Japanese Slipper. This boozy new badge of honour comes after Melbourne scored a slew of drinks-related accolades in 2022. CBD bar Caretaker's Cottage nabbed a spot in latest's edition of The World's 50 Best Bars extended 51–100 list, Pearl Diver's Alex Boon was crowned 2022 winner of the Patrón Perfectionists Australian Cocktail Competition and Nick Tesar of Bar Liberty took out the title of Australia's Best Bartender. [caption id="attachment_623310" align="alignnone" width="1920"] Bar Liberty by Brook James[/caption] Check out Punch's full Where to Drink in 2023 list over at its website. Top image: The Moon.
It's the film that first made the world fall in love with Hugh Grant, screenwriter Richard Curtis and their brand of British rom-coms — and, just like everything else with a well-known name in the entertainment game, Four Weddings and a Funeral is coming back. This time around, the hit flick has been remade as an American TV miniseries. If you're unsurprisingly a little skeptical, the news that Mindy Kaling is one of the show's creators and writers should change that. Kaling's six-season sitcom The Mindy Project was basically a long-running ode to the romantic comedy genre, complete with plenty of references to plenty of classic flicks. As a result, reworking one of the huge rom-com successes of the past 25 years really does feel like the logical next step. Across a ten-episode series made for US streaming service Hulu, the new Four Weddings and a Funeral will follow four American friends who meet up in London for a wedding. Clearly, given the title, three more ceremonies are in their future, as is a tearful farewell to someone they know. The show tracks a year in their lives, their romantic escapades and even political scandals — all with a cast that includes Game of Thrones' Nathalie Emmanuel as Maya, plus Rebecca Rittenhouse (The Mindy Project), Brandon Mychal Smith (You're the Worst) and John Reynolds (Search Party) as her best buddies. Nikesh Patel (Doctor Who) also features as Maya's potential love interest, who she first encounters in an airport meet cute, naturally. And while Hugh Grant doesn't show up in the trailer — sorry, 90s obsessives — original Four Weddings star Andie MacDowell does. Because Kaling isn't averse to nodding to other rom-com favourites of the era, My Best Friend's Wedding's Dermot Mulroney also makes an appearance. Watch the charming first trailer below: https://www.youtube.com/watch?v=604JeF9RNu8 While Four Weddings and a Funeral drops on Hulu in the US on July 31, it doesn't yet have an Australian platform or airdate — we'll update you if and when that changes.
Back in April, Sydneysiders were hit with a dose of devastating news: longtime Enmore Road favourite Stanbuli would be closing with beloved chef Ibrahim Kasif stepping away from the venue. Following a few months of mourning for Stanbuli, we now have news of Kasif's next venture. Following six years in the Inner West, Kasif will be moving to Surry Hills where he'll head up the latest venture from the NOMAD team — a new Reservoir Street bar and restaurant called Beau. The 100-seat spot will be divided into two sections, with one area dedicated to an all-day manoush-based eatery (which will be known as Dough) and the other a wine bar where quality drops will be accompanied by snacks from the kitchen. "We're all incredibly proud to welcome Ibrahim into the NOMAD Group, a chef we've all long admired and who just gets real food," NOMAD Executive Chef Jacqui Challinor said. "I'm really excited about the diversity that Beau will offer and to dip our toes into a different market and concept. Come to the Dough side for a quick breakfast or lunch or grab a spread to take home to feed the family; or soak up the laneway and take a seat at the bar for a bit of indulgence." At the centre of the menu will be Lebanese flatbread, infused with za'atar and cheese or lamb mince. The manoush will be accompanied by complementary Middle Eastern staples like fried cauliflower, falafel or hummus and meat. Patrons can come to enjoy a sit-down meal, or pick up food to-go, with a daily takeaway menu and Single O coffee on offer. At the wine bar, seafood will play a big role. Expect a 300-strong wine list and wine on tap with a strong focus on local drops and natural wines — as well as a selection of sustainability-focused cocktails utilising waste from the kitchen. Beau will be located just down the road from NOMAD and will have private use of Franks Lane which connects Reservoir Street to NOMAD's Foster Street. "Whilst the Reservoir St site has definitely had its challenges, we're confident that it will add to our local community that we've been a part of for so long," NOMAD Group Owner Rebecca Yazbek says. "We have always lived and worked in the area and thought what we'd like to see is manoush and a wine bar. We never thought there would be an opportunity to combine the two! We like to think of this as NOMAD's cool little sibling, exhibiting all the family values but like all third children, a little cooler, a little funkier, a little freer to find its own identity." View this post on Instagram A post shared by Beau (@beau.syd) Beau will open in late 2022 at 52 Reservoir Street, Surry Hills. Top image: Kitti Gould
As COVID-19 cases have continued to grow across New South Wales in recent days — including 681 new cases recorded in the 24 hours to 8pm on Wednesday, August 18 — those figures have included increasing numbers in regional parts of the state. As a result, NSW Premier Gladys Berejiklian has announced the the statewide lockdown that first came into effect on Saturday, August 14 will now continue until at least Saturday, August 28. That extension puts the entire state on the same lockdown timeline as the Greater Sydney region, which has been in lockdown since late June. At present, stay-at-home conditions are slated to end at 12.01am on Saturday, August 28; however, obviously case numbers between now and then will influence whether that actually happens. The Premier has also said that once NSW reaches six million vaccinations, some rules may loosen for folks who've had the jab — again, depending on case numbers. At the state's daily COVID-19 press conference, western NSW was named as a particular area of concern, with 25 new cases reported in the area in the latest numbers, and the total tally now up to 167. "This is why it is right to stay in front of the curve, in front of the spread, and keep regional rural New South Wales in lockdown," said NSW Deputy Premier and Minister for Regional NSW John Barilaro. Due to ongoing concerns about community transmission, stay-at-home orders in place for regional NSW will be extended until at least 12.01am on 28 August, in line with existing orders for the Greater Sydney area. — NSW Health (@NSWHealth) August 19, 2021 Under the rules for regional NSW, everyone is required to remain at home unless they have a reasonable excuse to leave, just like in Greater Sydney. Work is a permitted reason to head out of your house, but only if it is not practicable to do your job from home. Also, no visitors from outside your household are allowed to come to your home, including family and friends — other than for very select reasons. So, regional NSW residents can only have one person over at one time, and only to fulfil carers' responsibilities, for care or assistance, or compassionate reasons, the latter of which covers people who are in a relationship but don't live together. Also in effect: the closure of all hospitality venues other than for takeaways, and the closure of retail premises except for a small list that sell essentials. Supermarkets and grocery stores, other shops that mainly sell food or drinks to consume at home, chemists and pharmacies, kiosks, and places that primarily sell office supplies, pet supplies, newspapers, magazines and stationery, alcohol, maternity and baby supplies, and medical or pharmaceutical supplies can remain open, as can places that sell hardware, building and landscaping supplies, and timber, garden and plant items. Vehicle hire places, mobile phone repairs shops, service stations, banks, post offices, laundromats and dry cleaners can also stay open. Anyone who leaves their home must carry a mask with them at all times, too — and they must be worn in most situations. So, that means masking up in all indoor venues outside of your own home, while working outdoors, in outdoor markets and at outdoor shopping strips, and while lining up outside to pick up products like coffee and food. NSW recorded 681 new locally acquired cases of COVID-19 in the 24 hours to 8pm last night Of these locally acquired cases, 170 linked to a known case or cluster – 149 are household contacts & 21 are close contacts – & the source of infection for 511 cases is under investigation pic.twitter.com/kyq5RDvGzE — NSW Health (@NSWHealth) August 19, 2021 As has been the case since the beginning of the pandemic, NSW residents are also asked to continue to frequently check NSW Health's long list of locations and venues that positive coronavirus cases have visited. If you've been to anywhere listed on the specific dates and times, you'll need to get tested immediately and follow NSW Health's self-isolation instructions. In terms of symptoms, you should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste — and getting tested at a clinic if you have any. The entire state of New South Wales will remain in lockdown until at least 12.01am on Saturday, August 28. For more information about the status of COVID-19 in NSW, head to the NSW Health website. Top image: Mattinbgn via Wikimedia Commons.
What do Gertrude Stein, J.K. Rowling, Jack Kerouac, Rudyard Kipling, Sylvia Plath and Colonel Sanders have in common? On top of collectively penning a notable portion of the most memorable and well-known literature ever (the king of KFC came up with that song about Kentucky fried chicken and a pizza hut, right?) they are all familiar with the harsh sting of rejection, each having had their unpublished manuscripts rejected by people whose names no one remembers now. If only these seminal thinkers had been familiar with premier print-on-demand publishing company Blurb they could have cut out the middleman and saved themselves the heartache. The creative platform allows anyone with a computer (aka anyone with a pulse) to create, promote and flog his or her own seriously schmick looking book, photo book, magazine or e-book. This weekend Blurb hosts a series of free masterclasses and workshops run by photographers Daniel Milnor and Garry Trinh, who wax lyrical on the bookmaking process, the future of print and advancements in modern storytelling. Book now to avoid the kind of disappointment experienced by Stein, Rowling, Kerouac and co. Image Garry Trinh via Blurb
UPDATE, January 25, 2021: The Australian Dream is available to stream via Google Play, YouTube Movies and Amazon Video. When the crowd roars, cheers or applauds at an AFL game, the sound can be deafening. Caught in the moment, thousands of people watch the sport they love and vocalise their immediate feelings, with the resulting racket echoing through football stadiums around the country. For much of his Aussie Rules career, Adam Goodes experienced that joyous onslaught of noise — as he played 372 matches for the Sydney Swans, became the all-time Indigenous games record-holder until just this past month, kicked 464 goals, won two premierships, earned the code's highest individual honour not once but twice, and was even anointed Australian of the Year. But, as the champion's on-field days came to an end, he also became the target of merciless booing. Reverberating across multiple seasons, those jeers were thunderous, too. Anyone who heard them won't easily forget them, nor should they. It's hardly surprising that Goodes decided to take a break from playing when the taunting wouldn't stop, then retired not long afterwards. The ins and outs of the behaviour directed towards him were discussed at length at the time, as were the supposed reasons for the booing, but the basics really couldn't be more simple. One of this country's greatest Indigenous athletes was shunned for embracing his culture, speaking out against racism and calling out specific attacks against him — and, instead of hearing his eloquently stated position, empathising with his suffering, and affording him the respect and decency that everyone deserves, AFL crowds voiced their displeasure in a primal and abusive way. Even when Goodes explained that he found the ordeal deeply hurtful, as anyone would, it didn't stop. Rather, he was bluntly told to toughen up. It's a bleak chapter in Australia's history — even more so because it happened so recently, between 2013–15. It's also a damning indictment of our society, indicative of defensiveness rather than a willingness to evolve, and illustrating that racial prejudice remains part of our everyday lives. From the moment that Goodes enraged some portions of the population by drawing attention to vilification hurled at him by a young Collingwood supporter, his loud-mouthed detractors have tried to rationalise their position. Contending that they oppose his supposed 'bullying' (by asking that the young girl who insulted him be removed from the match), and decrying his playing abilities and sportsmanship, their excuses have always fallen flat. But if any further evidence of their futility was needed, The Australian Dream lays bare the situation. An emotional account of Goodes' AFL career directed by experienced British sports documentarian Daniel Gordon and written by Australian journalist Stan Grant, the film offers both an intimate and an overarching view of the footballer's experiences. As well as chronicling his rise from quiet kid, to reluctant superstar, to determined anti-racism activist, it places Goodes' plight in historical and social context. Walkley Award-winner Grant also provides the movie's narration, title and thesis, and inspires its shape and structure. "The Australian Dream is rooted in racism. It is the very foundation of the dream," he announced during a rousing address back in 2015. "It is there at the birth of the nation. It is there in terra nullius," he continued, with his speech quickly going viral. It's this sentiment that the documentary unpacks. To explore Goodes' story, why the tide of public opinion turned on him in some quarters and why he still sparks heated debate, is to explore Australia's treatment of its first peoples for more than two centuries. The parallels aren't hard to spot. Indeed, in making this point, The Australian Dream isn't a subtle film. It doesn't wait for the audience to join the dots, but instead shouts its message at every turn. It tells the bulk of the nation what we already know, especially arriving so soon after fellow Goodes-focused doco The Final Quarter (which relived his final three years in the AFL solely through media footage from the time). But a subject as important as racial discrimination — including casual racism, aka comments with a racist impact even if they're not intended that way — warrants force. A documentary so thoughtfully stitched-together also justifies such bluntness, with The Australian Dream taking a broad and detailed look at its topic. Childhood photos, family recollections and archival clips combine with face-to-face chats with Goodes today, evocatively shot sequences of him traversing the country's sprawling landscape, and glimpses of the champ and his ex-Swans teammate Michael O'Loughlin attending Australia Day gatherings. When needed, historical primers fill in the gaps. So does a hefty roster of talking heads that features Goodes' loved ones, former footballers Nicky Winmar and Gilbert McAdam, and past and present Swans coaches Paul Roos and John Longmire. Polarising figures such as Eddie McGuire and Andrew Bolt, both of whom have made unacceptable comments about Goodes in the past, are also interviewed — and if giving them screen-time seems strange, it demonstrates The Australian Dream's wholistic approach. It also exemplifies Gordon and Grant's aim to weave the spirit of reconciliation into every aspect of their film. Of course, while McGuire is in somewhat apologetic mode, his appearance — alongside the typically inflammatory Bolt — provides a strong reminder. The attitudes that The Australian Dream examines, and the racist treatment of Indigenous Australians that's been part of the nation since its formation, haven't disappeared since Goodes stepped off the field. In fact, the existence of two movies about the footballer in such short succession has made this plain. The Final Quarter received a standing ovation at its Sydney Film Festival world premiere, and finally inspired the AFL to apologise to Goodes for its lack of action. And yet, when the doco aired on TV, it was followed by a national news poll once again questioning whether the booing of Goodes was racially motivated. The Australian Dream earned widespread acclaim when it opened this year's Melbourne International Film Festival, and will screen at the Toronto International Film Festival as well. And still, when Goodes revealed that he has no desire to return to the game after his traumatic experiences — speaking in a rare interview just this past weekend, to support the picture's local theatrical release — the online trolls came out in force. That's the reality that these films belong to, as The Australian Dream confronts head-on. It's also a situation that Aussies need to keep seeing and interrogating, including in this powerful and essential documentary. https://www.youtube.com/watch?v=zRJkLgl56jk
We all know that terrible feeling the day after a night of drinking and shenanigans: your head is throbbing, body sore, and stomach growling, but you're just not sure what to feed it. It could be temperamental to say the least. We've done the research and cut out the time needed to decide where you'll be most satisfied. Whether it's a simple bacon and egg roll, a glorious feast with a plate full of grease or a refreshing smoothie that will do the trick, fingers crossed something helps you out this party season. 1. Satellite Cafe Satellite is a funky little cafe tucked away from bustling King Street in Newtown with a cool menu that avoids the overfamiliar eggs-and-toast combination. They like to 'smash their hash' — potato, peas, eggs, and zesty herb and garlic dressing ($14/$16 with ham) — and keep googie eggs sunny with sesame oil, coriander pesto, chilli, shallots, and black sesame ($11). All those herbs and spices work wonders for a pounding head. Carnivores, be sure not to miss the chorizo roll with egg, rocket, and caramelised onion ($9). Appetising to say the least. A decent Little Marionette espresso ($3.50) might hit the spot, too, or to really lift your spirits, try the lychee and spiced boysenberry soda ($5). You'll almost want to be hungover every weekend once you stumble upon this back-street haven. 7-8/80 Wilson Street, Newtown; (02) 8065 4572; Open 7am-4pm everyday; www.satellitenewtown.com 2. Deus Cafe Deus cafe sits alongside its sister store Deus ex Machina, run by former Mambo guru Dare Jennings. Its distinctive style sets it apart from your usual cafe, with music, art, surfboards, motorbikes, and hip clothing all under one roof. Communal tables are spread out across the warehouse-type layout, and an open kitchen in the back corner cracks out an uncomplicated menu (all-day breakfast on weekends added bonus!). This is the place to come for every variation of eggs Benedict ($14-17) or one of their 'custom' breakfasts with ample choice of sides. The mixed berry frappe ($6) is a good, sweet kickstart to the day. But hands down, the best choice for an addled brain is the slow-cooked Boston beans ($17). Paired with pork sausage, baby spinach, poached egg and toasted ciabatta, it is the cure for that morning after delirium. 98-104 Parramatta Road, Camperdown; (02) 9519 3669; Mon-Tues 7.30am-3pm, Wed-Sat 7.30am-9.30pm, Sun: 8.30am-9pm; www.deuscafe.com.au 3. Harry's Espresso Bar Bondi There's something about the Hot Mess Chorizo Scramble ($12.50) here that keeps people coming back. Or it could be the Proud Mary coffee ($3.50) that they're perfectly pouring out at full throttle to the locals as they await their daily fix. Either way, Harry's will refuel you with good coffee and a sincere breakfast. Set away from the main drag in Bondi, it has the simple offerings such as bagels or toasted sourdough ($6) (from Iggy's bakery, even better) that are sometimes the only thing you can handle after a big night out. For something heartier, the Italian Stallion with goat's cheese, avocado, tomatoes, and fresh basil ($13.50) hits all the right spots. So too do the array of pastries on display (from $3) or a fresh orange, carrot, and ginger juice ($8.50) to give your body a much needed cleanse. Shop 2, 136 Wairoa Avenue, Bondi Beach; (02) 9310 2180; Open 7am-4pm every day 4. Double Roasters Despite the name indicating that their main focus is coffee, the simple menu at the recently renovated Double Roasters offers up plenty of homemade culinary delights. There's nothing quite like a bit of sincere heart and soul in your food in order to restore normal human functionality. House-made baked beans are jazzed up with prosciutto and spinach ($12), and the avocado and feta mash with cherry tomatoes and rocket on turkish bread ($8.50) could run the business alone. The iced coffee ($4.50) is pleasing; however, the iced ginger and mint tea ($4) is the perfect thirst-quenching alternative to Powerade. Double Roasters might have that industrial chic-ness to it, but you'll definitely feel at home. 199 Victoria Road, Marrickville; (02) 9572 7711; Open from 6am everyday; www.doubleroasters.com 5. Cafe Shenkin This should most certainly be a stop on your patrol for a hangover breakfast. Cafe Shenkin fuses Israeli and modern Australian cuisine in a way like no other, and there'll be some serious food envy going on once you spy the Portuguese omelette ($16) or hummus plate with fava beans ($18.50) being whisked out to your neighbouring diners. That being said, you can't go wrong with much here: everything is full of taste and will assist in your mission to feel better. A Mexican shakshuka with beans and corn ($19) has a good zing to it, and the Israeli Big Breakfast ($19) sure lives up to its name. Mecca coffee ($3.50) is smooth and consistent, and if you've got room for a sweet treat upon leaving, their Israeli pastry offerings include bureka and chocolate pyramids. 53 Erskineville Road, Erskineville; (02) 9550 5511; Mon-Sun 6.30am-5pm, Wed-Sat 6.30pm-10pm; www.cafeshenkin.com.au 6. St Jude If you're a fan of fritters, then you may already have heard about St Jude's, because they are a blessing in disguise. The seamless combination of corn and pumpkin, lightly fried then served with poached eggs, hollandaise sauce, avocado cream, and baby spinach ($14.50) is enough to ensure a hasty return. The adorable cafe is often buzzing with people but maintains a sense of serenity in this quiet part of the neighbourhood. There's nothing worse than sitting in a cafe with music louder than a Big Day Out concert when your head is as heavy as a medicine ball. The staff are friendly and patient while you decide between the daily breakfast sanga ($13) or omelette of the day ($16). Order a fresh juice ($6) and have a side of the smashed avocado and tomato salsa, too; redemption will follow promptly. Corner Thurlow and Bourke Streets, Redfern; (02) 9310 3525; Open every day 7am to late afternoon. 7. Four Ate Five You may be hard pressed to nab a seat here on the weekends, as this place has a fine menu for those in need of some serious revitalising. Get your eggs scrambled, poached, or fried ($9) then add beef chipolatas ($3.50), haloumi ($4), or potato and fennel hash ($3.50) — whatever floats your boat really; they seem to have all the appropriate additions down pat. The Moroccan baked eggs ($17) with almonds and labne tastes as good as it smells, and so, too, does the homemade creamed corn ($17). But it's the notorious pulled pork sandwich ($13) with its mishmash of aioli and apple tomato chutney on grilled sourdough that will win you over if you've rocked up at lunchtime. Down a banana, cinnamon, and honey smoothie ($7.50) or a coffee frappe ($6), and you're on the mend. 485 Crown Street, Surry Hills; (02) 9698 6485; Open everyday 7am-4pm; www.fouratefive.com 8. Baffi & Mo No matter what time you manage to roll out of bed, Baffi & Mo certainly has you covered. The eclectic cafe with its famous moustachioed sign, has an all-day breakfast and lunch menu that manages to meticulously include all the dreamy combinations you want in a hangover meal. There's the infamous potato hash stack ($16/$18 with smoked salmon) that keeps people coming back and the artfully arranged corn fritters with grilled haloumi ($15) that's consistently pleasing. If grease isn't your cure-all the day following a big night, opt for the banana, chocolate, and strawberry crepes with ice-cream ($15) or an iced coffee ($5.50). Sometimes a sugar rush hits the nail on the coffin, just like Baffi & Mo will do for that grumbling stomach. 94 Redfern Street, Redfern; (02) 8065 3294; Open everyday 7am-3pm. 9. Revolver Sometimes all you need to feel human again, post alcohol indulgent evenings, is a good bacon and egg roll, and Revolver cafe is pulling off an impeccably foolproof version ($8). They don’t give away their secret, but it's definitely the 'awesome sauce' that tempts you to lose all inhibitions and lick the plate in a crowded cafe. If you need something slightly more substantial, don't look further than the Revolver Big Breakie ($16.50) — eggs baked in house-made beans are impressive enough, let alone when paired with a plate full of other goodies. Even the veggie stack ($15.50) could have any carnivore drooling. They serve a mean coffee ($3.20), or a refreshing banana smoothie ($5.50) could give you zest to life again. 291 Annandale Street, Annandale; (02) 9555 4727; Open every day 8am-4pm; www.revolver.com.au 10. Three Blue Ducks After you've had a refreshing ocean dip, stroll on up the hill to Three Blue Ducks and complete the path to rejuvenation. With everything on the menu packed full of flavour, it's worth going with a few people so you can stick your fork in everyone's dish. Sit outside in the sunshine and delve into some scrambled eggs with black sausage, dill cucumber salad, and redcurrant jam ($19) for some serious protein. If you want to get off to a healthy start, their Bircher muesli with yoghurt, pear, and muesli ($14) has got something seriously secretive about it, and a choice of fresh juices ($6) is fortifying to say the least. If you can't manage a sit-down brekkie, grab a bacon and egg roll ($12) takeaway. The pimiento sauce will give you your waddle back. 141-143 Macpherson Street, Bronte; (02) 9389 0010; Breakfast weekdays 7-11.30am, weekends 7.30-12pm; www.threeblueducks.com Top image: Bacon and egg roll at Revolver Cafe. Images by Aimee Sics.
With apologies to Bonnie Tyler, cinema isn't holding out for a hero — and hasn't been for some time. The singer's 80s-era Footloose-soundtrack hit basically describes the state of mainstream movies today, filled as screens now are with strong, fast, sure and larger-than-life figures racing on thunder and rising on heat. But what does heroism truly mean beyond the spandex of pop-culture's biggest current force? Who do we hold up as role models, and as feel-good champions of kind and selfless deeds? How do those tales of IRL heroism ebb, flow and spread, too? Pondering this far beyond the caped-crusader realm is Asghar Farhadi, a two-time Oscar-winner thanks to A Separation and The Salesman. As is the acclaimed Iranian filmmaker's gambit, his latest movie is intricately complicated, as are its views on human nature and Iranian society. As Farhadi has adored since 2003's Dancing in the Dust — and in everything from 2009's exceptional About Elly to his 2018 Spanish-language feature Everybody Knows as well — A Hero is steeped in the usual and the everyday. The 2021 Cannes Film Festival Grand Prix-winner may start with a sight that's the absolute opposite thanks to necropolis Naqsh-e Rostam near the Iranian city of Shiraz, an imposingly grand site that includes the tombs of ancient Persian rulers Xerxes and Darius, but the writer/director's main concerns are as routine, recognisable and relatable as films get. One such obsession: domestic disharmony, aka the cracks that fracture the ties of blood, love and friendship. A Hero sprawls further thematically, wondering if genuine altruism — that is, really and wholeheartedly acting in someone else's interest, even at a cost to oneself — can ever actually exist. But it charts that path because of the frayed and thorny relationships it surveys, and the everyman caught within them. When A Hero begins, calligrapher and sign painter Rahim Soltani (Amir Jadidi, Cold Sweat) is no one's saviour, victor or ideal. While he definitely isn't a villain, he's just been given a two-day pass from an Iranian debtor's prison, where he's incarcerated over a family financial feud. Owing 150,000,000 tomans to his ex-wife's brother-in-law, he's stuck serving out his sentence unless he can settle it or his creditor, copy shop owner Bahram (Mohsen Tanabandeh, Capital), agrees to forgive him. The latter is unlikely, so with his girlfriend Farkhondeh (debutant Sahar Goldust), Rahim hatches a repayment plan. She has stumbled across a handbag filled with 17 gold coins, and together they hope to sell it, then use the proceeds to secure his freedom — except, when they attempt to cash in, they're told that their haul won't reach anywhere the sum they need. Instead, with a mixture of guilt and resignation — and at Farkhondeh's suggestion — Rahim decides to track down the coins' rightful owner. Cue signs plastered around the streets, then an immensely thankful phone call. Cue also the prison's higher-ups discovering Rahim's efforts, and wanting to cash in themselves by eagerly whipping up publicity around their model inmate's considerate choice. The media lap it up, as do the locals. Rahim's young son Siavash (newcomer Saleh Karimaei), a quiet boy with a stutter that's been cared for by his aunt Malileh (fellow first-timer Maryam Shahdaei), gets drawn into the chaos. A charity that fundraises to resolve prisoners' debts takes up the cause, too. Still, the stern and stubborn Bahram remains skeptical, especially as more fame and attention comes Rahim's way. Also, the kind of heroism that's fuelled via news reports and furthered by social media is fickle above all else, especially when competing information comes to light. It's always been apt that Farhadi loves warm hues — tones that are even golden here, as lensed meticulously by cinematographers Ali Ghazi (Zero Day) and Arash Ramezani (Headless). His pictures are so intimate, and so engrained in homes and daily lives, that the cosy neutral colours that shade these spaces automatically become the director's own. His work is never about black-and-white situations, either, and his exacting search through a plethora of shades of grey is also never cold or calculating. A Hero uses the glow of its imagery to help offer plenty of questions about its underlying scenario, in fact, including who might be right and wrong within it. Of course, solving that binary battle is not the movie's aim; rather, poking, prodding and probing it, examining why we're so obsessed with heroes and villains, and exploring what that means when social media's moods, whims and affinities can turn in a second, flickers scorchingly at the film's core. Also searing is Jadidi's performance, which couldn't be more complex. His smile charms, yet also has a flimsy tenor, the grin of someone who knows how embracing the world can be to him — and how closed. When the movie opens with Rahim making the difficult albeit spectacular climb up the Tomb of Xerxes to speak with his brother-in-law Hossein (Alireza Jahandideh, another debutant), who is working amid the scaffolding, it also immediately casts its protagonist as an ordinary man facing an insurmountable and age-old situation. Jadidi plays the part exactly that way, as someone striving to get by, grasping rare and unlikely chances with visible desperation, yet still bound by so much that's long proven unmovable about his country. His character is caught in a morality play where no good deed goes unpunished, too, and the weight of that truth ripples in his posture. But he's also the centre of a reckoning on what's worthy of praise and scorn — "where in the world are people celebrated for not doing wrong?" asks Bahram — and what that says about those cheering, condemning and flipping between the two. The brilliantly layered premise, the deep and cutting dissection of Iran today, the devastating lead portrayal, the incisive visual gaze, the station-full of trains of thought set in motion: it's all classic Farhadi, and he has the applauded past flicks to prove it. Thankfully, A Hero also sees the writer/director back at his best; despite that wealth of familiar elements, the feature is never as oh-so-expected as Everybody Knows and The Salesman, both of which felt like the filmmaker on autopilot. Tough, tight, tenacious, and terrifically disdainful of opportunism and obstinance alike, and of people and institutions guilty of both, A Hero is an excavation of secrets and lies as well — but its power can't be hidden, and its emotional impact is as true as cinema gets. And, although almost everyone in its frames is indeed holding out for some style of hero, few movies realise how fraught and futile that is, let alone with the same patient but unshakeable feeling and intelligence.
For those who have been worried about the prospect of no more Opera on the Harbour, now you can relax. It's been officially confirmed that Sydney's most striking outdoor musical experience will be returning for at least three more years, and if the future productions are as good as this season's Madama Butterfly, that is pretty happy news. The event has been transformative for Opera Australia, with 2012's La Traviata and last year's Carmen seducing previously uninitiated audiences into the operatic fold. The shows have been successful enough to secure the continued patronage of Dr Haruhisa Handa, the businessman/priest (quite a hybrid) who gave them millions to stage the past three seasons. There's something extra special about an event funded by a Japanese Shinto priest — plus the obvious pleasure factor in listening to beautiful music whilst gazing at the Opera House. If you've never been, consider investing in a ticket to the next production (it's a gentle splurge), which has already been chosen but is still under wraps. Via Sydney Morning Herald.
El Jannah has earned cult status for its Lebanese-style charcoal chicken and finger-lickin'-good garlic sauce, but for inner-city folk, it's never been all that easy to get your mitts on. Sure, the legendary chicken joint has an impressive six outlets under its belt, but — if you've lived east, north or south — you've had to trek out west to get to any of them. Until now. The inner west will finally have all of that chook goodness right at its fingertips, after the company announced it's opening an El Jannah store in the heart of Newtown. Which means Sydney's 'chicken curtain' may need some urgent adjustments. Details are still vague, but El Jannah has confirmed the rumours and revealed a glimpse instead the new store, saying: "The secret is out! We are so excited to announce that our next El Jannah store will be located in Newtown! Stay tuned for more!" Over one thousand excited Sydneysiders have already commented on the Facebook post. https://www.facebook.com/ElJannahChicken/photos/pb.624930250853870.-2207520000.1568947800./2940023156011223/?type=3&theater The store, which will called El Jannah Express, is slated to open at 156–158 King Street, across the road from cocktail bar Corridor and The Marlborough Hotel, sometime in the next three–six weeks. We'll update you when we know more. El Jannah has won plenty of fans for its offering of charcoal chicken matched with that famed garlic sauce, along with hot meat-stuffed rolls, grab-and-go meal packs, burgers, salads and Middle Eastern skewers. Following stores in Blacktown, Campbelltown, Punchbowl, Granville, Kogarah and Penrith, this Newtown outpost will be the group's first 'express' offering. No word yet on exactly what that means, but as long as there's some of that chicken involved, we're on board. El Jannah Express is slated to open at 156–158 King Street, Newtown sometime in October or early November.
It's official: for only the second time in the more than three decades that the country's professional Aussie Rules competition has called itself the Australian Football League, the AFL grand final will be hosted outside of Melbourne. The game will move outside Victoria for the second year in a row, too. After flagging last week that Perth's Optus Stadium would hold the biggest match of the 2021 season if the Melbourne Cricket Ground was unable to welcome in spectators, AFL CEO Gillon McLachlan has now confirmed that the grand final will indeed be held in Western Australia. Given that Melbourne is currently under lockdown for the sixth time during the pandemic, and that those stay-at-home conditions won't be ending this week as last outlined — and, even if Victoria's lockdown does end by grand final day, Melbourne's stadiums may not be permitted to host crowds under post-lockdown restrictions — the news comes as absolutely no surprise. The game will still go ahead on Saturday, September 25, although exactly what time it'll kick off is yet to be revealed. Moving the match to Perth does means that 2020's night grand final won't be repeated, due to the time difference between Australia's west and east coasts — and McLachlan said that the AFL is looking at an afternoon or twilight time slot. Also yet to be announced: the crowd capacity under Western Australia's restrictions. Optus Stadium can host 60,000 people, however. The move comes after the 2020 grand final was held at the Brisbane Cricket Ground, aka the Gabba, thanks to Melbourne's lengthy stint of stay-at-home conditions at the time. This year, Perth will also host a Brownlow Medal function in the lead up to the decider. Still, the grand final won't feature any Western Australian AFL teams, with both the West Coast Eagles and the Fremantle Dockers failing to make the code's finals season. At the time of writing, Melbourne, Port Adelaide, the Brisbane Lions, Geelong, Greater Western Sydney and the Western Bulldogs remain in the running. [caption id="attachment_823646" align="aligncenter" width="1920"] Optus Stadium, Government of Western Australia[/caption] Just like last year, it really shouldn't have taken three decades for a competition that's not only named after the entire country, but that changed its moniker in 1990 to reflect the fact that it was no longer just about Victoria, to host its deciders in other cities. Before 2020, the grand final had actually been played at venues other than the MCG before — but still in Melbourne. The MCG remains contracted to host the grand final for a significant period moving forward, however, with its agreement originally running through until 2057, then extended until 2058 as part of the arrangement to allow the game to be played at the Gabba in 2020. With the move to Perth, that contract with the MCG will be extended again until 2059. If you're a Victorian — whether you've been missing the footy over the past month, or you're not fussed about the sport at all — you might be wondering about the usual pre-grand final public holiday. Although an official announcement hasn't been made as yet, Victorian Sports Minister Martin Pakula said during the press conference about the move to Perth that he expected that the public holiday will still go ahead, as happened last year when the game was played in Brisbane. The 2021 AFL Grand Final will take place on Saturday, September 25 at Optus Stadium in Perth. For further information, head to the AFL website.
Whether you're keen on an after-work drink, a bite to eat, an excuse to catch up with your mates or some live tunes, everything goes better with a view. That's one of the main ideas behind The Garden Social, the returning summer event hosted in The Domain by the Royal Botanic Garden Sydney — and popping up every Thursday–Sunday between January 6–February 14. Taking over The Domain's Tarpeian Precinct, the event features a vantage that'll see you peering out at the Sydney Opera House and Sydney Harbour Bridge. Yep, that's a classic Sydney backdrop. You can say cheers to it with drinks from the bar — with G&Ts, vodka-fuelled lime yuzu and blood orange sodas, beer and wine all on the menu. Food-wise, your tastebuds can opt for onion pakoras, beer-battered flathead, chickpea and herb falafels, pork and prawn dumplings, truffle mushroom gnocchi and chocolate brownie sundaes — and they're just a few menu options. Also, to set the mood, you can listen to a jazz, pop, soul, electronic and blues soundtrack provided by a 15-musician lineup, including Sam Hunter, Tash Wolf, Ricky Nifo, Club Sol and Emily Hanks. With the last instalment of the event taking place on Valentine's Day, The Garden Social will be the perfect place for some al fresco romance. Pull up a pair of deck chairs to take in the view as you and your boo enjoy live serenades from DJ Chad and harpist Jack Meadows, with vocals by the powerhouse Hayley Teal Duo. There'll also be a heart-shaped light installation and floral light tunnel for the perfect photoshoot backdrop. You can also make the evening seamless by pre-ordering one of four Valentine's Day hampers. With gourmet, seafood, cheese and vegetarian options available, you're bound to find something to impress your other half. Entry is free, with The Garden Social running from 5–10pm Thursday–Friday, from 11am–10pm every Saturday and from 11am–8pm each Sunday. Keep the good times going this summer at The Garden Social. For more info — and for the full lineup — head to the website. This project is proudly funded by the NSW Government's The Festival of Place
If you’ve been teetering on the brink of comic book and superhero fatigue, meet the movie that just might push you over the edge. In the case of the latest version of Fantastic Four, it’s not just the fact that every month seems to see a new film in the genre reach cinemas (or the knowledge that this particular content was translated to the screen just last decade). It's also the feature's embrace of cliché, grim tone and a complete lack of energy that causes it to grate, and then some. Fantastic Four is yet another gritty reboot of a superhero origin story. In case you can’t remember the 2005 film of the same name and its 2007 sequel Fantastic Four: Rise of the Silver Surfer (or in case you’ve willingly forgotten them), the series mythology concerns a quartet of friends who get genetically altered and gain superpowers — stretchy limbs, rock-like skin, bursting into flames and invisibility. The characters first created in 1961 by Stan Lee and Jack Kirby are now brought back to the big screen by Chronicle writer/director Josh Trank. Reed Richards (Miles Teller), Ben Grimm (Jamie Bell) and Johnny Storm (Michael B Jordan) travel to another dimension and come back changed, with the latter's sister Sue (Kate Mara) also caught up in the fallout. Their one-time friend Victor Von Doom (Toby Kebbell) goes with them...but doesn’t fare quite so well. With X-Men: Days of Future Past writer Simon Kinberg and The Lazarus Effect's Jeremy Slater helping on the script, Trank’s take is as stern and serious as his cast are young and fresh-faced — think Fantastic Four filtered through the template of a teen drama, even if the actors are slightly older than that. Outcasts come together, trouble ensues, and everyone tries to come to terms with their trauma in a manner not unlike many after-school specials. Yes, life lessons are also learned, including the all-important “never drink and teleport” and “don’t touch the green, glowing goo”. It all makes for as low-key, downbeat affair as comic book adaptations have seen, with the cast the saving grace. The presence of the five key players — plus Reg E Cathey as Johnny and Sue's father — is a welcome one, although their performances hardly live up to the great work they've delivered in the past. Bell's version of the Thing is the feature's highlight, though we hear much more of the actor than we see. In his brooding brute of boulders, a glimpse of the emotion Trank is aiming for is apparent, albeit only briefly. That Teller and co. hardly shine could be a reflection of the stilted dialogue they’re spouting, (including a blatant one-line rip-off of Ghostbusters) as well as the unengaging series set-up they're immersed in. When all the lab scenes, messy action and cheap-looking special effects ultimately build up to the bestowing of the group’s name (aka the movie’s title), disappointment isn’t the only emotion you'll be feeling. As a concept, there’s plenty of interest in Fantastic Four — and yet filmmakers keep floundering in bringing it to the screen. A sequel is already slated, of course, and here's hoping that it tells a new tale with a smattering of enthusiasm, rather than blandly rehashing familiar territory.
In 2020, the pandemic forced international sport come to a halt for months, Australian football seasons to be played in condensed blocks and the AFL Grand Final to be held in Brisbane for the first time ever. In 2021 so far, it has also seen parts of the Australian Open played without spectators. Now, COVID-19 is affecting the Aussie leg of this year's World Surf League Championship Tour, too, with the WSL announcing that it's making some big changes to its upcoming stint Down Under. Usually, WSL's annual Australian events include high profile stops in Bells Beach and on the Gold Coast, but they've both been cancelled in 2021. Instead the sporting body will head to New South Wales, and over to Western Australia for two events as well. From April 1–11, the Rip Curl Cup will take over Newcastle's beaches, while the Rip Curl Classic will hit Narrabeen in Sydney's northern beaches from April 16–26. Then, Margaret River will become the centre of the surfing world from May 2–12, before the tour will head over to Rottnest Island from May 16–26. Announcing the change, WSL advised that it would concentrate on NSW and WA this year "following approvals for pre-approved quarantine bubbles" for surfers and staff. In a statement, it explained that it "could not achieve these bubbles in Victoria and Queensland in the short amount of time it needed to do so". https://twitter.com/wsl/status/1361449251172061185 Victorian surf fans — and anyone who has memorised the final Bells Beach-set scene from Point Break — can rest assured that WSL will be returning to town from 2022. Earlier this month, it announced that it had signed a deal for a three-year stint in the Surf Coast Shire until 2024. Regarding the Gold Coast event, its future hasn't been revealed; however, WSL advised that the decision to "cancel this event was based on the genuine possibility of multiple risks attached to sudden public health measures in reaction to COVID-19 such as lockdowns, state border restrictions and event cancellations". Under an agreement with the NSW Government, international competitors heading Down Under for the Australian leg of the 2021 World Surf League Championship Tour will board a chartered flight in Los Angeles that'll fly to Sydney, which is where all traveling athletes and support staff will then undergo 14 days of hotel quarantine. They'll also need to obtain a medical clearance from public health officials before they can enter the general community and start preparing for competition events. The Australian leg of the 2021 World Surf League Championship Tour will head to Newcastle and Narrabeen, plus Margaret River and Rottnest Island in Western Australia, between April 1–May 26. For further details, head to the World Surf League website.
An eclectic group of modern innovators in soul, R&B and electronica, The Internet is heading to the Sydney Opera House for the very first time this March. Renowned for seamlessly mixing genres, sultry smooth vocals and addictive basslines, The Internet is an acclaimed five-piece band from the wild west coast of California. The band is headed by one of the most unique and multi-talented humans around, Syd Bennett — a Crenshaw local who's been singing since 11 and taught herself to record, engineer and produce by the age of 15. After two acclaimed but underground albums The Internet released Ego Death a Grammy-nominated masterwork in genre-bending soul music. The group then split up, to each produce their own solo work, then reunited earlier this year to release their fourth studio album, Hive Mind. This March, head to the Opera House to soak up the sultry vocals and slinking basslines straight from the source, as the quintet performs a career-spanning set with hits off all four albums. The Internet tickets go on sale to the public at 12pm on Friday, November 2. You can sign-up for pre-sale access here.
Australia's annual week-long celebration of the history, achievements and diverse culture of Aboriginal and Torres Strait Islander peoples is back this July. Running from July 7–14, this year's festivities are centred around the theme of 'Voice. Treaty. Truth.', coinciding with the United Nations International Year of Indigenous Languages. During the week, the city will be united with fairs, art shows, parties and performances showcasing Indigenous Australian culture and highlighting the strength, power and importance of its past, present and future. And many of them are free — from lunchtime screenings to public installations — so it's a great chance to enjoy our country's diverse culture without spending a cent. The celebration of Indigenous Australian and Torres Strait Islander culture isn't just restricted to this week, either. To continue learning about, and celebrating one of the oldest cultures on the planet, you can watch shows and documentaries on SBS's National Indigenous Television, join the conversation at Aboriginal-led website Common Ground and visit local Indigenous art centres.
In a society as culturally diverse as Sydney, food is an excellent way to highlight community approach and rich global culture. In particular, Newtown is a hub of good food and community spirit. So what better way to celebrate this success than with the Newtown Good Food Fair? On Sunday, 13 October, Newtown will mark Sydney's Good Food Month by playing host to a celebration of food and community. Newtown locals and broader Sydneysiders alike are invited to embark on a taste sensation: sampling a little of everything that the friendly neighbourhood will be offering on the day, for the dirt cheap prices of regular street food. Held in the Newtown Square, the culinary lineup for the day is, in itself, something to celebrate. On offer will be feasts from a selection of Newtown's 'new wave' of food, with spreads put on by Miss Peaches, Newtown Hotel's The Animal, Suzy Spoon's Vegetarian Butcher. Old favourites like Bloodwood, Mad Pizza e Bar, Kuki Tanuki, Rubyos, Twelve, Coopers Hotel and WaterHorse Small Bar will also be there to cook up a bite-sized storm. Newtown Good Food Fair has been organised in association with the Newtown Precinct Business Association, with all money raised going towards the Newtown Community Centre. The event will take place from 11am to 4pm. Image: Miss Peaches.
Showcasing everything from graphic design to performance poetry to music, ParraNormal is an artistic collaboration by 12 young Western Sydney artists aged between 16-25. You’ll experience six distinctive artistic responses to the people and places of Parramatta. Featured visual artist Harrison Earl describes his contribution as a kind of “melancholic love song” to his hometown. Produced by the Information and Cultural Exchange (ICE) and facilitated by fabulous folk including performance artist/poet Candy Royalle and design duo Webuyyourkids, ParraNormal sounds like a good chance to witness how one creative medium can inspire another. It’s also an opportunity to encounter the talented voices currently emerging from Sydney’s west. The pop-up installation is there until the end of September, but if you want to see the artists performing live, then Thursday’s your chance. Can’t make it? You’ll soon be able to see all six works curated into an online graphic novel. Get a little taster here.
If you're looking to expand your palate, enhance your culinary skills and be inspired by idyllic natural wonders, look no further. Taste Port Douglas is back this year with a four-day festival of the senses. From Thursday, August 11 to Sunday August 14, a dynamic program, curated by founder and culinary director Spencer Patrick, will showcase local produce and industry-leading chefs at the Sheraton Grand Mirage. If feasting on unforgettable culinary delights isn't enough to get you excited, you can't look past the location. Between meals, you can explore all this tropical paradise has to offer, including incredible access to two of Australia's best natural gems: the Great Barrier Reef and the Daintree Rainforest. The full lineup is expected to drop this month, so stay tuned for more info. You can register your interest here to receive more information on early bird releases.
A simple and sweet romance disguised a crime-fighting superhero flick, Griff the Invisible is a film to fall in love with. This elegant feature debut from writer-director Leon Ford stars True Blood's Ryan Kwanten as the eponymous masked crusader, though one who might spend a little more time practicing his lines in front of the mirror than actually protecting the streets. As a painfully awkward recluse, Griff bears all the hallmarks of a misfit: he's mercilessly harassed by office bully Tony (Toby Schmitz), while at home his sole visitor is his caring, if exasperated brother Tim (Patrick Brammall). But this all changes when Tim brings by Melody (Maeve Dermody), a delightful eccentric who spies the superhero behind Griff’s shy façade. Shot through with enchanting magical realism and chock full of heart, Griff the Invisible needs to take its place in your DVD collection alongside films like Amelie, Eternal Sunshine of the Spotless Mind and Lars and the Real Girl. Though Ford's fable is more modest in scope, these titles provide a handy primer for the appeal and tone of his marvellous creation. Because to truly appreciate this film, the audience needs follow Melody and let themselves be sucked into Griff’s oddball world; a leap of faith which ultimately prove utterly charming. For True Blood fans, Kwanten will be almost unrecognisable as the sociophobic superhero. His performance is so expertly restrained (in fact one briefly wonders if there isn't a more insidious pathology at work), yet he also infuses Griff with such earnest enthusiasm, that the audience is quickly rallied to become his champions. Leading the charge is of course Melody, who is brought to wondrous life by the ever-impressive Dermody. Her performance is as bright and colourfully quirky as Melody's wardrobe, and she provides a perfect compliment to Kwanten's quiet reserve. After stealing scenes from Ben Mendelsohn in Beautiful Kate as well as making a name on the Sydney theatre scene, Dermody again proves herself a talent to watch. Another stand out are Sydney band Kids at Risk, who have leapt from Triple J Unearthed discovery to pen the film's soundtrack. Though Ford also makes bold use of silence, the indie-rock trio hit it out of the park, crafting such a striking soundtrack, you’ll want to head straight from the cinema to buy the album (though, for now you'll have to make do with downloading the single Doing the Best that We Can). As a writer and director, Ford playfully eschews the wiz bang trappings of both the superhero and romantic comedy genres to craft a disarmingly honest and guileless love story. But Griff the Invisible also succeeds in acting as a heart-warming reminder to celebrate your idiosyncrasies, as well as having the courage to embrace love when you’re lucky enough to find someone who truly sees you. And much like the film, these are lessons worth taking to heart.
To be a character in a Luca Guadagnino film is to be ravenous. The Italian director does have a self-described Desire trilogy — I Am Love, A Bigger Splash and Call Me By Your Name — on his resume, after all. In those movies and more, he spins sensual stories about hungry hearts, minds and eyes, all while feeding his audience's very same body parts. He tells tales of protagonists bubbling with lust and yearning, craving love and acceptance, and trying to devour this fleeting thing called life while they're living it. Guadagnino hones in on the willingness to surrender to that rumbling and pining, whether pursuing a swooning, sweeping, summery romance in the first feature that put Timothée Chalamet in front of his camera, or losing oneself to twitchy, witchy dance in his Suspiria remake. Never before has he taken having an insatiable appetite to its most literal and unnerving extreme, however, but aching cannibal love story Bones and All is pure Guadagnino. Peaches filled with longing's sticky remnants are so 2017 for Guadagnino, and for now-Little Women, Don't Look Up and Dune star Chalamet. Biting into voracious romances will never get old, though. Five years after Call Me By Your Name earned them both Oscar nominations — the filmmaker for Best Picture, his lead for Best Actor — they reteam for a movie that traverses the American midwest rather than northern Italy, swaps erotic fruit for human flesh and comes loaded with an eerie undercurrent, but also dwells in similar territory. It's still the 80s, and both hope and melancholy still drift in the air. Taylor Russell (Lost in Space) drives the feature as Maren, an 18-year-old with an urge to snack on people that makes her an unpopular slumber-party guest. When she meets Chalamet's Lee, a fellow 'eater', Bones and All becomes another sublime exploration of love's all-consuming feelings — and every bit as exquisite as Guadagnino and Chalamet's last stunning collaboration. First seen newly arrived in a small Virginia town, Maren sneaks out to attend that aforementioned sleepover, which there's zero chance her strict single dad (André Holland, Passing) would've allowed her to attend. Following a swift, grisly chomp on a freshly manicured finger, it's clear why, and evident why Maren's exasperated father doesn't want to stay around in the aftermath. He moves her to Maryland first, leaving her with a cassette spouting backstory, including that her bloodthirsty tastes date back to her toddler days, and to munched-on babysitters — plus a birth certificate bearing her mother's (Chloë Sevigny, Russian Doll) name. So springs a road trip to Minnesota, searching for that estranged mum and more answers. Then, travelling through Ohio brings Maren to the creepy yet earnest Sully (a memorable Mark Rylance, The Phantom of the Open), who shares her hankerings and says he could smell her from blocks over. Next, in an Indiana supermarket, she crosses paths with Lee. Sporting confidence aplenty — "when you weigh 140 pounds wet, you gotta have a big attitude," Lee tells Maren — Chalamet makes an imprint from his first scene. Indeed, that initial moment with Russell leaves an imprint itself, too, resembling Andrea Arnold's American Honey as much of Bones and All does. Inverting the dynamic that worked so well for him in Call Me By Your Name, the internet's boyfriend isn't the thirsty newcomer. Instead, he's the seasoned hand, one half of Bones and All's dreamy but dangerous couple, and always second to Russell's astonishing work as Maren. Both actors turn in subtle, evocative and rousing performances that sting with rawness, naturalism and deeply stomached pain while soothing through their chemistry amid the gristle. As a result, whenever they're together, they're as inviting a treat as the feature serves up. Still, in yet another powerful performance, Russell repeatedly shows why her exceptional breakout turn in Waves wasn't a one-off. As Guadagnino and his now three-time screenwriter David Kajganich (A Bigger Splash, Suspiria) adapt Camille DeAngelis's award-winning 2015 novel, Russell and Chalamet also navigate a coming-of-age search for belonging — an outsider story with actual teeth, and one that isn't afraid to use them. When Maren first gets chewing, she's making a rare friend, only for her world to dissolve by being herself. After her meat-cute with Lee, then seeing his unapologetic approach needing to eat, she finally starts to feel like she fits in. Yet whether she's facing the reality of killing to feed or getting queasy over a fireside encounter with a perturbing eater (Call Me By Your Name's Michael Stuhlbarg) and someone who has willingly chosen the cannibal life (Halloween Ends director David Gordon Green), she keeps grappling with who she is. Maren yearns to connect — and does with Lee, although unsurprisingly shies away from Sully's too-keen offer of companionship — but also has to learn to deal with her appetite, the stark realities of her situation, and the line between predator and prey, none of which she can ignore. If 70s classic Badlands met teen vampire tale Let the Right One In while driving across middle America under the magic-hour sky — and with Duran Duran, Joy Division and New Order as a soundtrack — Bones and All would be on that exact road. Visually, it adores the former, as gorgeously and expressively lensed by cinematographer Arseni Khachaturan (Beginning). The atmospheric score by Nine Inch Nails' Trent Reznor and his film-composing partner Atticus Ross (Academy Award-winners for The Social Network and Soul) has a nervy and layered feel reminiscent of the latter, however. Combining such sumptuous imagery with the affecting score might seem like a stark contrast. Mixing the feature's aesthetics with the narrative's innate horrors, because there's no escaping the gruesome subject matter, blood and all, might appear the same, in fact. But Bones and All's pieces always swirl together in a vivid, affecting, like-you're-there fashion. That's another Guadagnino trademark, as seen most recently in his teens-in-Italy series We Are Who We Are. Bones and All's precise premise hardly matches anyone's lived experience but, even with the film rippling with a tense and disquieting air that never subsides at its headiest and most lyrical of moments — yes, a movie can be tender, a thriller and queasy at once — its underlying feelings couldn't be more relatable. Guadagnino and his committed cast consistently make their decisions with that in mind, tearing into the universal, unavoidable truth that to be human is to wrestle with primal needs and wants. Raw, Fresh, Yellowjackets and The Neon Demon have all sunk their gnashers into cannibalism on-screen in recent years, and well, but Bones and All proves the kind of picture that truly makes you understand the term haunting. Intense, impassioned, frantic and fragile all at once — because teenage love always is, and life in general — it's a flick so rich, lingering and piercing in its emotions, characters and ideas that it gnaws on you after viewing.
Things are quickly heating up at Sydney's dynamic new food and drink precinct, as more and more hospitality gems open their doors within the former railway sheds of South Eveleigh. Mirvac's much-hyped redevelopment of the buildings along Locomotive Street has already welcomed a suite of new arrivals, with a stack of other high-profile launches planned for the coming months. The development has seen the heritage spaces of what was once Sydney's industrial heartland all carefully transformed, forming both a technology and innovation hub and a vibrant destination for wining and dining. Recently opened within the precinct, you'll now find new food venues from a cast of local favourites — RaRa Chan is the latest from the RaRa crew, and the likes of Eat Fuh, Fishbowl, Bekya and Steve Costi's Famous Fish have all come to the party with their latest outposts. The excitement continues with the hotly anticipated arrival of Matt Whiley (Scout) and Maurice Terzini's (Icebergs Dining Room & Bar, Ciccia Bella) groundbreaking new sustainability-focused bar, Re, which started welcoming in Sydneysiders on Tuesday, April 13. Housed in a cleverly refurbished former locomotive workshop, with most of its furniture and features crafted from recycled materials, this one's out to change perceptions and totally redefine the low-waste movement. Behind the bar, some of Sydney's top talent is whipping up a menu of innovative tipples — also guided by a strong sustainability focus — and there's a slew of luxe snacks to match. Another imminent opening is that of fancy independent supermarket Romeo's Food Hall IGA, which is set to boast its own pizzeria, patisserie, sushi bar, roastery and florist. Following in the footsteps of Locali by Romeo's in the CBD, it'll launch on Wednesday, April 21. As South Eveleigh's ambassador for food, culture and community, renowned chef Kylie Kwong (Billy Kwong) is also moving in, set to open her long-planned Cantonese-Australian eatery here in May. Initial plans for the venue outlined a menu filled with ingredients sourced from the nearby Yerrabingin Indigenous rooftop farm. And, on the cards for later this year is the launch of a huge new sibling venue to The Grounds of Alexandria and The Grounds of the City — complete with a planned 200-seat dining precinct, and an espresso bar and coffee research lab. Find the South Eveleigh food precinct at Locomotive Street, South Eveleigh. Images: Kitti Gould
Everyone knows that farmers do it pretty tough even at the best of times, but, recently, 100 percent of NSW has been declared in drought, making conditions even harder. But city folk have been quick to lend a hand — Bunnings recently held nationwide sausage sizzles to raise money for the Buy a Bale campaign, and pubs around Sydney have been donating a dollar or two from all parmas sold to the cause. And now, Circular Quay's Custom House Bar is hosting an Aussie BBQ fundraiser in support of the agricultural community. From 12.30–2.30pm on Wednesday, August 15, the bar's sun-drenched courtyard will be hosting a good ol' barbie, giving you both a delicious lunch and an easy way to chip in a few dollars to a worthy cause. It'll have some fancy sausage options — including the British Cumberland, South African Boerewors, chorizo and chicken — each served on a roll with onion, sauce and bread for five bucks a piece. There will also be beef, lamb or mushroom burgers sizzling away for $10, plus buttery corn on the cob for a gold coin. With 100 percent of proceeds (that is, all the money you hand over) going directly to Buy a Bale and its drought assistance campaign, you'll be helping the organisation support Australian farmers by delivering hay and other essential items to those who are struggling to provide feed for their cattle. So round up your workmates together and get them outside for a snag on Wednesday — it's meant to be a sunny 24 degrees.
It's 'The One Where They Get Back Together' — and, after more than a year of teasing, it's finally about to hit screens. First hinted at in 2019, officially confirmed in 2020, releasing its initial teaser last week and now dropping a full trailer, Friends: The Reunion is exactly what it sounds like. If you know everything there is to know about orange couches, smelly cats and whether a couple is on a break, you'll be more than a little excited. It has been 27 years since the TV sitcom about six New Yorkers made audiences a promise: that it'd be there for us. And, as well as making stars out of Jennifer Aniston, Courteney Cox, Matthew Perry, Matt LeBlanc, David Schwimmer and Lisa Kudrow, Friends has done just that. Sure, the hit series wrapped up its ten-season run in 2004, but the show has lived on — on streaming platforms, by sending an orange couch around Australia, by screening anniversary marathons in cinemas and in boozy brunch parties, for example. Friends: The Reunion promises to take pop culture's lingering affection for the show to another level, though, by reuniting its cast for a big dose of nostalgia. And, for trivia, too. That's the first thing that Aniston, Cox, Perry, LeBlanc, Schwimmer and Kudrow do in the new trailer for the special, which is slated to hit HBO's streaming platform HBO Max on Thursday, May 27 in the US. During the unscripted special, the actors behind Rachel, Monica, Chandler, Joey, Ross and Phoebe all chat about their experiences on and memories of the show — all on the same soundstage where Friends was originally shot, so expect to see some familiar faces and some recognisable decor. Aniston, Cox and the gang also have a few other famous pals for company, with the hefty guest lineup spanning folks with connections to the show and others that must just love it. On the list: David Beckham, Justin Bieber, BTS, James Corden, Cindy Crawford, Cara Delevingne, Lady Gaga, Elliott Gould, Kit Harington, Larry Hankin and Mindy Kaling, as well as Thomas Lennon, Christina Pickles, Tom Selleck, James Michael Tyler, Maggie Wheeler, Reese Witherspoon and Malala Yousafzai. The special was initially set to air in America last May, but those plans delayed due to the pandemic. For friends of Friends Down Under, just when and where Friends: The Reunion will surface hasn't yet been revealed; however, it's bound to be here for us sooner or later. Check out the full trailer below: https://www.youtube.com/watch?v=HRXVQ77ehRQ Friends: The Reunion will be available to stream in the US via HBO Max on Thursday, May 27. It doesn't currently have an air date or streaming date Down Under — we'll update you when one is announced.
Whether you're looking for a hardcore mountain bike or a smooth electric cruiser, you'll find it at Velocipede on Sorrell Street. This super-friendly bike shop is happy to help cyclists of all types — not just serious, Lycra-ed, long-distance peddlers. You can count on genuine interest in your riding ambitions, a range of services and all the gear you need, including clothing and accessories. There's also an in-store cafe, so, if your bike's getting fixed, you can snack and drink while you wait. Once you're done, you'll find loads of cycle paths to explore in and around Parramatta — from Parramatta Park's easy-going, 3.2-kilometre loop to the epic Parramatta River Cycleway.
In March 2022, the annual Sydney Gay and Lesbian Mardi Gras Parade will return to the Sydney Cricket Ground, bringing its pageant of costumes, puppetry and props to the venue for the second year in a row. But it isn't the only beloved part of Mardi Gras that's making a comeback next year — with everything from the annual flag raising, Fair Day and the Paradiso Pool Party to the Sissy Ball and Laugh Out Proud also back on the program. While the full 2022 Sydney Gay and Lesbian Mardi Gras lineup hasn't yet been announced, the festival has revealed a stack of returning favourites that you can pop in your diary right now. First up: the Progress Pride flag-raising at Sydney Town Hall, which'll kick off the event on Friday, February 18. The flag will then fly all throughout the fest. With Mardi Gras running through until Sunday, March 6, it'll also welcome back Fair Day at Victoria Park on Sunday, February 20; the Kaftana Pool Party at the ivy Pool on Wednesday, February 23; and Laugh Out Proud at the Enmore Theatre on Friday, February 25. Yes, that means picnics, stalls, music and celebrating LGBTQI+ artists, as well as poolside partying and giggling at Australia's rising queer comedy stars. Also returning: the Sissy Ball on Saturday, February 26, this time bringing its glam ballroom shindig, house battles, DJs and live tunes to Sydney Town Hall; the Paradiso Pool Party on Monday, February 28, giving the ivy Pool and Changeroom a Mediterranean feel to farewell summer; the parade party across Hordern Pavilion, Max Watts, Watsons and Entertainment Quarter on Saturday, March 5; and the Laneway recovery party the next day, on Sunday, March 6, at The Beresford and Hill Street. And, both the Queer Screen Mardi Gras Film Festival and Queer Art After Hours are back, too — the former from Thursday, February 17–Thursday, March 3, and the latter at the Art Gallery of New South Wales on Wednesday, March 2. Specifics in terms of exactly who'll be playing and what'll be showing where haven't yet been revealed, so watch this space. But we already know one thing for sure: 2022 is going to kick into gear in Sydney with quite the dazzling showcase of queer art and culture, all celebrating the theme 'United We Shine'. The 2022 Sydney Gay and Lesbian Mardi Gras will take between Friday, February 18–Sunday, March 6, with pre-sale tickets launching at 11am AEDT on Friday, November 11 and general sales kicking off at 12pm AEDT on Monday, November 15. For more information, head to the Mardi Gras website. Top images: Anna Kucera.
Sometimes, dreams do come true. More often than not, they don't. The bulk of life is what dwells in-between, as we all cope with the inescapable truth that we won't get everything that we've ever fantasised about, and we mightn't even score more than just a few things we want. This is the space that Party Down has always made its own, asking "are we having fun yet?" about life's disappointments while focusing on Los Angeles-based hopefuls played by Adam Scott (Severance), Ken Marino (The Other Two), Ryan Hansen (A Million Little Things), Martin Starr (Guillermo del Toro's Cabinet of Curiosities) and more. They'd all rather be doing something other than being cater waiters at an array of California functions, and most have stars in their eyes. In the cult comedy's first two seasons back in 2009–10, the majority of its characters have their sights set on show business, slinging hors d'oeuvres while trying to make acting, screenwriting or comedy happen. By even existing, Party Down itself is the product of dreams that aren't fulfilled and the twists of fate that follow. If Veronica Mars hadn't initially been cancelled after three seasons, its creator Rob Thomas mightn't have moved onto a new collaboration with two of the show's fellow former staff — writer/producer John Enbom and producer Dan Etheridge — plus one-time guest star Paul Rudd (Ant-Man and the Wasp: Quantumania). And, if that hadn't have occurred, Party Down wouldn't have ever graced screens with its spectacular dark farce at all. It too was cancelled too soon but has found a way to make a comeback. In its 13-years-later revival, it smartly and hilariously grapples with what it means when dreams don't pan out, and when they seem like they will only to crash. Bringing most of the original gang back together — Lizzy Caplan had scheduling issues making the also-excellent Fleishman Is in Trouble, but Jane Lynch (Only Murders in the Building) and Megan Mullally (Reservation Dogs) return — Party Down keeps its shindig-by-shindig setup. Across its first 20 instalments as well as its new six, which drop weekly on Stan from Friday, February 24, each episode sends the titular crew to a different soirée. The opening get-together is thrown by one of their own, Kyle Bradway (Hansen), who has just scored the lead part in a massive superhero franchise. Ex-actor Henry Pollard (Scott) is among the attendees, as are now-heiress Constance Carmell (Lynch) and perennial stage mum Lydia Dunfree (Mullally), but comedian Casey Klein (Caplan) is too busy being Saturday Night Live-level famous. Hard sci-fi obsessive Roman DeBeers (Starr) and the eager-to-please Ron Donald (Marino) are present as well, in a catering capacity. Having some of the team still sporting their black pants, crisp white shirts and pastel pink bow ties after such time has passed could've played as lazy or unbelievable. Party Down has always been as unflinchingly honest as it is sidesplittingly funny, however. It finds its main figures literally in reunion mode, and uses that entry point to explore everything that could've changed — and what mightn't have — for anyone getting their start working in hospitality in LA. Some achieved exactly what they said they would. Some are still just talking about it, and bitterly. As for Henry, he advises Kyle that he's a high-school English teacher. When his pal asks "on what show?" in response, Party Down remains as incisive as ever at tearing down the Hollywood mindset, its posturing and its centre-of-the-universe delusion. Henry genuinely is a high-school English teacher IRL, a fact that Kyle hasn't even entertained. More of the Party Down OGs end up back in uniform, in turns of events that couldn't be more organic, believable and steeped in the series' constant confrontation with dreams failing, flailing and fading. Still, season three has fresh faces; hospitality is a turnover-heavy industry. Content creator Sackson (Tyrel Jackson Williams, Brockmire) would rather be filling his socials, and flouts the Ron Donald dos and Ron Donald don'ts as Henry, Kyle, Roman and the group always have. The Gen-Z influencer wannabe also acts as visible reminder of how the notion of stardom has changed. Chef Lucy Dang (Zoë Chao, The Afterparty) seeks fame through her cooking, which isn't your standard catering spread. Baking ripened camembert into birthday cake, for instance, she wants food to be art rather than mere fuel. Also among the newcomers, but not holding trays for minimum wage, are Jennifer Garner (The Adam Project) as film executive Evie Adler and James Marsden (Dead to Me) as hotshot actor Jack Botty. The former hits it off with Henry — because with Caplan's Casey absent, Party Down still needs its emotional core and will-they-won't-they rom-com spark amid the Hollywood takedowns, ridiculous celebration ideas and slapstick absurdity it throws together skilfully, cleverly and hysterically. Unsurprisingly, season three is usually at its best when the show's old favourites bounce off each other, but Thomas and company have done well with their newcomers. That's another returning talent; before she was winning awards for The White Lotus, Jennifer Coolidge made a killer two-episode addition to the crew, and Mullally joined the cast when Lynch moved onto Glee. Are we having fun yet? Yes, always. While the catchphrase that's long haunted Henry — uttered in a beer commercial, and his biggest acting claim to fame — is rolled out again, Party Down season three is also supremely skilled at working in nods and callbacks without ever feeling like the person at the party that won't move on from the past. With Enbom showrunning, the writing is again intelligent and amusing, and the tone hasn't wavered a decade-plus on. And, once getting the gang back together has been established, Party Down's latest stint still ranks it among the all-time great workplace comedies. Scott does love pondering the daily grind, starring in Parks and Recreation and Severance before making his way back to pouring drinks. There's exactly one issue with season three: it only runs for six episodes. Since 2009, the world has always needed more Party Down, and that remains the case now that it's finally back. No one needs Party Down, the company, like Ron still does, though. None of the show's characters have ever embodied the desperate extremes that someone can go to to make their dreams come true as he still does, either — or what happens when someone has pitched their whole identity on one thing and won't accept any alternatives no matter the humiliations that arise. Marino, like Hansen and Scott, made the jump over to Party Down from Veronica Mars to play the catering outfit's oh-so-keen (but always-bumbling) manager, and his performance continues to be a masterclass in bleak and physical comedy in a series that's outstanding at (and has fun with) both. Check out the trailer for Party Down season three below: Party Down's third season streams via Stan from Friday, February 24 — and via TVNZ+ as well.
Trust a movie that's all about connection and pluck to boast plenty itself. The second of cinema's recent father-daughter pictures out of Britain that's directed by a first-time feature filmmaker called Charlotte — the first: Charlotte Wells' Aftersun — Charlotte Regan's Scrapper couldn't be better cast or any more fearless about telling its tale. Starring as 12-year-old Georgie, a pre-teen striving to survive on her own with any help from adults or the authorities after her mum Vicky's (Olivia Brady, The Phantom of the Open) death from cancer, debutant Lola Campbell is an electrifying find. Fresh from playing a model in Triangle of Sadness, Harris Dickinson is now an absent rather than ideal dad, a part that he infuses with equal doses of soul, sorrow, charisma and cheek. And, recognising that she's hardly skipping through new narrative territory, writer/director Regan heaps on character and personality. This is a perky, bright and bubbly take on a kitchen-sink story. There's sadness in 2023's Sundance Film Festival Grand Jury Prize-winner, too, with Scrapper scoring its award in the fest's World Cinema Dramatic Competition. There's anger as well, especially about a society that has Georgie convinced that staying solo in the council flat she lived in with her mother — a space that she's now fastidious about keeping exactly as it was before heartbreak struck — is her top choice. But Regan sees colour amid the grey, plus possibilities alongside struggles. Her view is clear-eyed but never steely. Regan unblinkingly witnesses the realities of working-class existence, yet also spies joy and whimsy, and similarly isn't afraid of getting surreal. This is a flick with talking spiders — cue literal bubbles, of the speech variety — alongside scrapping to get by. Indeed, while Scrapper may owe one of its debts to Sorry We Missed You's Ken Loach, aka England's go-to kitchen-sink filmmaker and one of its all-time directing icons, it also slides in next to Del Kathryn Barton's Blaze. That searing debut had its own 12-year-old protagonist's existence forever altered by witnessing horrific violence, which isn't part of Georgie's plight; however, the Australian feature similarly understood the power of escaping to cope so deeply that unleashing its imagination was always its approach. Both movies pair fantasy with empathy, winningly and resonantly so, knowing that seeking solace from life's worst moments is essential and universal. The two films also want their audiences to take in the world from their lead character's perspectives — which being dreamy and leaning into magical realism couldn't be more crucial to. When she's not maintaining her humble abode as her mum left it — even the couch cushions need to sit in the same place they've always been — Georgie has two key ways of getting by. She makes cash by stealing, repainting and selling bicycles with her friend Ali (fellow newcomer Alin Uzun), with the no-nonsense Zeph (Ambreen Razia, Ted Lasso) her fence. To stop child services from stepping in, she tells them that her uncle Winston Churchill is on guardian duties, using taped snippets of the local convenience store clerk saying pivotal phrases to back her up when anyone official rings. Practical, resourceful, enterprising, resilient: these all fit the resolute adolescent, who is determined to retain as much about her days when her mother was alive as she can. Georgie is well-aware that she's working through the stages of grief, diligently tracking them with Ali, but she's certain that she's found the best way of dealing with her situation. Enter Dickinson's Jason, who drops in with bleached-blonde hair — and by jumping over the back fence — to stay with the daughter that he's never known until now. Georgie is wary and flatout unwelcoming, but she's a kid and he's an adult, which means that he's sticking around regardless of her attitude. From there, of course this is an account of two strangers bonded by only blood initially, then getting to know each other. It's never as formulaic as that setup sounds, though, including by constantly embracing openness and playfulness. When Regan has Georgie and Ali ponder what Jason's real motives might be, for instance, she brings to life their fears that he could be a gangster or a vampire. And, often offering to-camera commentary is the picture's chorus of supporting characters, as shot in Super 16, in another of Scrapper's lively stylistic touches. Strip all of Scrapper's aesthetic flourishes away and it wouldn't be the tender, sincere, charming and creative standout that it is. Its rich and energetic look and feel are that evocative, affecting and indispensable, as aided by talented cinematographer Molly Manning Walker — a director herself, with her own feature debut How to Have Sex also an applauded 2023 release, taking out Cannes Film Festival's Un Certain Regard. But, if Regan had served up a visually and tonally standard movie with the usual grit, Campbell and Dickinson's work would've still been gleamingly exceptional. Their dynamic would've remained unmissable as well. Just like Scrapper's palette and production design, there's nothing black and white about Regan's two main characters, who bound across the screen with their strengths, flaws, joys hopes and disappointments on full display — and also nothing straightforward about their complicated relationship. Not just because this is her first-ever acting credit, Campbell's efforts never read like a performance. Authenticity shines as vividly as the paint adorning the film's central housing estate's outer walls, no matter whether Georgie is clinging to her mum's ways for comfort, mischievously palling around with Ali, pulling off her ploys with confidence or ever-so-slowly warming to Jason. In what's proving a prolific chapter of a burgeoning career that's only going to keep blossoming, The King's Man, The Souvenir: Part II, Where the Crawdads Sing and See How They Run's Dickinson also inhabits the role of a wayward dad returned with lived-in commitment and emotion. There are no scraps in these portrayals, and there's nothing piecemeal about this movie; Scrapper and its upbeat yet unflinching slice-of-life chronicle arrives fully and gloriously formed.
You're at work. It's an ordinary day. You've been doing your usual tasks and, in a completely unremarkable incident, you happen to notice a stapler. If your first thought is "hmmm, I bet I could set that in a bowl of jelly", then you're obviously a fan of The Office. One of the rare instances where a TV remake is better than the original — it is based on the UK series of the same name, after all — this sitcom about paper company employees is far more amusing than it really has any right to be. In fact, it's downright side-splitting, and it's immensely easy to just keep rewatching. But that's what you get when you round up Steve Carell, John Krasinski, Jenna Fischer, Rainn Wilson, Mindy Kaling, Ed Helms, Ellie Kemper and Craig Robinson in the same show, and let all of them break out their comedic best.
As one big HBO series came to an end, another signalled its return, with the US cable network dropping the first trailer for Westworld's third season during the Game of Thrones finale. Say goodbye to dragons, fighting over a fancy chair and living in a medieval-looking fantasy realm, and hello to robots, flying cars and stepping outside of everyone's favourite futuristic amusement park. Say hello to Aaron Paul, too, with the Breaking Bad actor not only joining Westworld for the next batch of episodes, but also starring in the initial trailer. His new character was promised a better world, but this dream hasn't come true, so he's now searching for something real. Given how Blade Runner-esque everything is around him, he's probably channelling Jesse Pinkman and exclaiming "yeah, science!" more than once, too (at least internally). As the teaser makes plain, this season steps beyond the confines of the titular amusement park and into the world around it. That's as far as it goes, plot-wise, for the moment, but it's still revealing. While the show has always been futuristic, with its Old West-themed attraction featuring robots who are virtually indistinguishable from normal people, the third season appears to be dialling the sci-fi — and accompanying technology — up a few notches. Here, robots actually look like robots, except when Evan Rachel Wood's Dolores pops up. Now, the bad news: although Westworld's second season aired in 2018, the third season won't hit until 2020. HBO hasn't announced an exact airdate as yet, so watch this space. If a year seems like a long time between android dramas, remember that the first season of the show arrived 43 years after the Michael Crichton-directed movie that it's based on, and 40 years after the film's sequel Futureworld. If you haven't done so already, both are worth viewing while you're waiting for the TV series to return. Check out the first trailer for Westworld's third season below: https://www.youtube.com/watch?v=deSUQ7mZfWk Westworld's third season will air in 2020. We'll keep you updated with an exact airdate when it comes to hand.
Vivid Ideas is the third integral part of the Vivid Sydney ethos, hosting a program of public and industry events focused on discussion and creative collaboration. Over the 18-day program, the newly made-over Museum of Contemporary Arts will become home to the creative hub of Vivid, connecting industry with emerging talent and global leaders in over 100 events, double the creative industry events of the previous three years (when the festival went under the title of 'Creative Sydney'). This year's program will see the CEOs of Etsy, Threadless and VICE giving keynote talks, as well as appearances from Cory Doctorow, author and co-founder of weblog Boing Boing, and Henry Holland, from the UK fashion label House of Holland. The talks will run alongside major industry events such as Song Summit, X Media Lab, Mumbrella 360 and SPARC Design. Other highlights include a partnership with the Sydney Film Festival, an Etsy microbusiness conference and a celebration of the 25th anniversary of ABC's Rage at CarriageWorks. The public program includes free and ticketed events and goes on sale on Thursday, March 22. Vivid is unique among Australia's festivals, and a major celebration of creative industries. This year's instalment of Vivid Ideas reinforces just how vibrant and innovative this city is becoming. Check out the full program here. See our picks for the 10 best events at Vivid Ideas, as well as our highlights of Vivid LIVE and Vivid Light.
Fancy infusing your usual Aussie Christmas with a touch of enchantment? Well, you'll find magic aplenty at The Grounds Of Alexandria over the coming weeks, as it's transformed into an immersive fantasy playground inspired by soon-to-be released Disney flick, The Nutcracker and the Four Realms. The already gorgeous setting now plays host to an other-worldly oasis, made up of a series of realms referencing those in the film. There's the wintery white Land of Snowflakes, where fresh snowfall three times a day coincides with the chimes of Drosselmeyer's grandfather clock. Explosions of colourful blooms grace the Land of Flowers, while a sugary experience — along with plenty of edible treats — awaits you in the Land of Sweets. Still to be announced is a program of themed workshops for young and old, though if you venture in now, you'll find an array of exclusive Nutcracker menu additions already available. Cap off a visit with one of the Drosselmeyer's Scrolls, featuring wild blueberry sponge rolled with blackcurrant, blueberry and violet confit, and vanilla buttercream, or perhaps a Land of Flowers Pink Pavlova, teaming rosewater meringue with mascarpone, jasmine and pistachio cream, mango confit and turkish delight jelly. The Grounds of Alexandria will also be functioning as normal during the Nutcracker pop-up, and the Garden Bar, Potting Shed and cafe will be open. Disney's Nutcracker at the Grounds is open 7am–9pm Monday–Thursday, 7am–10pm Friday, 7.30am–10pm Saturday and 7.30am–9pm Sunday.
Get ready for sensory overload — Chinese New Year is here. Time to fill the streets with fireworks and dancing lions while you alternate between inhaling incredible Asian cuisine and watching feats of strength at the Darling Harbour dragon boat races. For the Year of the Sheep (a sign of creativity and wisdom), the festival will be connecting you with the best of the Chinese creative world, including large-scale performance art pieces with the Yangjiang art collective and fire-breathing puppet troupes, as well giving you the chance to put yourself in the mix, whether walking through an army of glowing terracotta warriors or doing Tai Chi in the sunshine. With so much to do and see, here are a few highlights from Sydney's Chinese New Year Festival you shouldn't miss.
It's Nineteen Seventysomething and the world is changing fast — or is it? The news has yet to reach the small town where Charlie sits around listening to The Best of Bread on vinyl and pondering which singer to lose his virginity to. It's not Cat Stevens or Carol King, by the way. It's Neil Young. It's fairly safe to assume that Barry Divola's short stories are at least semi-autobiographical, not least because he's a music critic. Divola started writing for the free music press in the mid-80s and is known for his sharp, sardonic writing style. Chances are you've read his work in Rolling Stone, the music section in Who, or in the Sydney Magazine. He also features regularly in The Sydney Morning Herald and The Herald Sun, and is delighted by writing that is forthright and personally inspired. Divola has published three non-fiction books and thrice won the Banjo Patterson award for his short stories. In Nineteen Seventysomething, Divola depicts the fumbly awkwardness of adolescence so sharply it's slightly unsettling. A cleverly rendered time capsule, the book captures a period of resistance, turmoil and change through innocent, unblinking eyes. Divola will be signing copies and serving up astute social insights at Surry Hills Library this Thursday from 12 – 1pm. Ride your old Dragstar down and whistle a Neil Young song for him.
UPDATE, September 30, 2022: The Dry is available to stream via Netflix, Google Play, YouTube Movies, Prime Video and iTunes. In The Dry, a man heads back to the drought-stricken town he grew up in for the first time in two decades, returning in the aftermath of a new tragedy and unearthing the still-blistering remnants of an old one in the process. An Australian Federal Police officer who left the regional farming community of Kiewarra under terse circumstances, Aaron Falk has the look of someone who long ago let the ability to display his feelings dry up — and while that isn't what the film's title refers to, Eric Bana plays the movie's protagonist as if it was. He's dogged and no-nonsense. He can shoot a glare at someone that's as severe as his profile, and often does. Twenty years after Chopper made Bana's name as a dramatic actor, rather than a sketch comedy star whose movie career began with The Castle, he's a canny pick for The Dry's lead role. As he stalks through his first Australian movie since 2007's Romulus, My Father, he silently simmers with intensity in every gaze; however, viewers already know that Bana never just plays the hard man — or, in his comic days, just one type of funny guy either. And so, the audience can also spot that his unrelenting exterior holds back a storm of Aaron's pain and loss, all lurking behind an expression as parched as the yellowed fields that stretch as far as the eye can see. Conveying that balance of steely focus and buried heartache isn't a new task; tales on the page and screen are filled with characters, typically men and often those with a badge, who fit the type. But one of the reasons that Bana is so right for The Dry is that, in his hands, Aaron isn't merely the sum of his well-worn traits. Similarly, he isn't just a cookie-cutter conflicted cop in yet another small-town murder-mystery about a community torn apart by a young woman's death, never recovering, then rehashing their woes when another trauma arises. It's lucky that Bana makes such an impact for another reason, too. When the film repeatedly stresses that Aaron was a teenager 20 years ago — with scenes starring Joe Klocek (Nowhere Boys) as a younger, more sensitive version of the character to help — that's The Dry's least convincing element. Bana is a great actor, but buying that he's playing someone who was an adolescent hanging out in a creek and pining after his crush Ellie (debutant BeBe Bettencourt) two decades ago is a stretch, and always feels that way. Those flashbacks pepper The Dry's main narrative, although both threads are intertwined. Based on the best-selling, award-winning novel by Jane Harper, the film explores Aaron's need to interrogate himself and unlock his past as much as his quest to investigate whether there's anything more to the shocking murder-suicide that brings him back. He's renowned for being outstanding at his job, with his reputation preceding him upon his return. Indeed, it's why the Hadlers (Winchester's Bruce Spence and The Dressmaker's Julia Blake) ask him to look into the death of their son and his childhood best friend Luke (Martin Dingle Wall, Strangerland) — and of Luke's wife and son. Alas, this isn't the first time that Luke and Aaron have been linked to a grim situation. To many in a place so wearied by the lack of rain that everyone has been sapped of their strength, his homecoming is far from welcome, and neither are his questions. Sitting in the shadow of recent Australian crime thrillers Mystery Road and Goldstone, The Dry is a whodunnit multiple times over, with Aaron determined to discover the truth behind not only Luke and his family's deaths, but Ellie's. For the audience, the movie itself is just as dedicated to uncovering why the teen Aaron and Luke (Sam Corlett, Chilling Adventures of Sabrina) remained under a cloud of suspicion from all those years ago. Both parts of the story encompass Kiewarra's key figures, spanning everyone from Aaron's old friend Gretchen (Genevieve O'Reilly, Glitch) and Ellie's angry brother Grant (Matt Nable, 1%) to local cop Greg (Keir O'Donnell, Project Blue Book) and his pregnant wife Rita (Miranda Tapsell, Top End Wedding), plus school headmaster Scott (John Polson, acting for the first time since Mission: Impossible II). Still, even given that lineup of characters and the excellent talent behind them, it's Aaron's journey that always demands attention. One of the most intriguing aspects of The Dry is how it's clearly stitched together from familiar elements — not just regarding its central character, but throughout the entire narrative — but, through Aaron, this tale of grief, guilt, secrets, stark truths, dusty fields and emotional desolation finds a way to resonate. At first glance, it might seem as if filmmaker Robert Connolly is in vastly different terrain to 2014's Paper Planes, his last cinema release. Even with its family-friendly focus, that movie was steeped in mourning, though — and it also jumped into a well-populated realm, embraced its tropes and traded upon existing genre affection as well. That's The Dry through and through. Co-scripted by Harry Cripps (the forthcoming Penguin Bloom), it's a solid crime movie, and an engaging but rarely surprising one. It's built from recognisable parts, and stakes its own patch by choosing where and how to make an impact. Of course, with Balibo also on his resume as a writer/director, plus The Boys and Acute Misfortune as a producer, Connolly is experienced in making thorny stories stand out. The filmmaker knows how to tell an absorbing tale, however clear-cut it may be. He's skilled at splashing memorable and thematically loaded imagery across his frames, as The Dry's flaxen landscape, as shot by Stefan Duscio (The Invisible Man) shows. But viewers don't just connect with a dark narrative and eye-catching visuals — they connect with the people within both. Here, there's no choice but to connect with Bana, and with the sorrow that'd seep from Aaron and saturate the movie like a tidal wave if he'd let it. https://www.youtube.com/watch?v=HwJhS4O_IdM
