Black Capital is a collection of performances, seminars and exhibitions co-presented by CarriageWorks and the Sydney Festival as a major part of the 2012 programs of both. The decorated caravans and projection works of Brook Andrew's Travelling Colony project will make their debut moving through the city on Festival First Night and then take up residence and be open to explore at CarriageWorks for the rest of the month. Another major new work featured in the program is I Am Eora, a performance work directed by Wesley Enoch in which the stories of Pemulwuy, Bennelong and Barangaroo for the basis for an exploration of Sydney's spatial identity and history through music, dance and storytelling. The Barefoot Divas, a group of singers and songwriters from Australia, NZ and Papua New Guinea, will debut Walk A Mile In My Shoes. Alongside these landmark premiere performances, which incorporate the talents of emerging art and theatre makers alongside those of established performers headlining the works, there's also an exhibition at and a symposium on Addressing Black Theatre at 181 Regent St, founding home of the National Black Theatre, a Family and Culture Day. Together, this program is a celebration of the vitality and virtuosity of contemporary Aboriginal practice and an exploration of the histories and identities of Redfern as that 'Black Capital'.
Not even Australia's balmy December temperatures can keep us from embracing the ironic ugly Christmas sweater trend. Christmas in July is here, my friends, and so too is a new line of OTT Yuletide-themed pullovers from the Colonel. Yep, KFC has just dropped its 2022 Christmas jumper range — and this time, there's a matching outfit for the furry mate in your life, too. Available to snap up from today, Friday, July 1, the limited-edition designs are primed for cheesy family photos, rocking a cheery red-and-white pattern and emblazoned with a cheeky nod to fried chicken: "Tis The Seasonings". Both the human sweaters and the pet versions come in a range of sizes, so you're sure to find a good fit no matter how hard you — or Murphy— have gone on the winter comfort food this year. What's more, there's zero shame to be felt in this daggy knitwear purchase, since all profits from the jumpers are going to support KFC's charity partners, The Black Dog Institute, ReachOut Australia and Whitelion. While Santa might not be squeezing down the chimney any time soon, KFC has also pulled together a new Festive Bangers playlist to get you in the mood. You can find it over on Spotify. And if the matchy-matchy outfits have left you and your pooch really wanting to cash in on that Christmas in July spirit, KFC's also releasing a limited-edition themed festive feast, featuring a family-sized feed that includes the new Christmas Cranberry and Christmas Mayo Stuffing dipping sauces. KFC's new Christmas in July sweaters are available to buy online, clocking in at RRP $59.95 (plus postage) for the human jumpers and RRP $34.95 (plus postage) for the pet designs.
How easily entertained we were as children — dressing up in our finest and having play-pretend tea parties with our dolls and teddies. If you need a break from being an adult — if only for an afternoon — then head to the Shangri-La Hotel, Sydney for a high tea that will far exceed the toddler tea parties of yesteryear. Throwing a Barbie High Tea in its lower Lobby Lounge, the Shangri-La will see pastry queen Anna Polyviou (Family Food Fight, MasterChef, Sweet Street cookbooks) take over with an explosion of pink. The executive pastry chef has created a full-on, Barbie-themed tea party, complete with rainbow and bubble gum desserts, decorations galore and all the childhood nostalgia you could ask for. The usual chic surrounds have been transformed into a Barbie world. There'll even be a photo wall of 'Barbie through the years' — the girl's been around a while. For $65 a pop, you'll be munching on fairy bread cake with bubble gum and fruit loops, rainbow trifles, vanilla creme and fruit salad, macarons, apple pastries, rhubarb jelly and cinnamon crumble — all tidily arranged on towers. And it wouldn't be a tea party without butter milk scones with clotted cream and strawberries, naturally. For savoury treats, expect sushi, sausage rolls, egg and lettuce wraps and roast chicken finger sandwiches. Of course, endless pots of tea are part of the deal, plus coffee for those looking for something a little stronger. Running until July 28, Barbie High Tea has three daily sittings — 11am–12.45pm, 1.15–3pm and 3.30–5.15pm — so you can pop in for a cuppa throughout the day. Just try to keep Aqua's 'Barbie Girl' out of your head while you eat your way down memory lane. Barbie High Tea will be available in the Shangri-La Hotel, Sydney's lower Lobby Lounge from July 5–28. Sittings are 11am–12.45pm, 1.15–3pm and 3.30–5.15pm every day. Bookings can be made here.
In recent years, Disney has bet heavily on a simple idea: fans of its classic animated films will flock to new live-action versions. So far that gambit has proven accurate, with Alice in Wonderland, Cinderella, The Jungle Book and Beauty and the Beast all doing big things at the box office — and in the coming months, Dumbo, The Lion King and Aladdin are set to join them. Everyone's favourite flying elephant hits cinemas in mere weeks, while moviegoers will be feeling the love again come mid-year; however, a certain Arabian tale will soar onto screens right in the middle. If you've ever found a magic lantern, rubbed its gleaming sides and asked a supernatural being to remake this childhood favourite, your wish is now coming true. If you pleaded for Guy Ritchie and Will Smith to be involved as well, then there's your three wishes taken care of. Yes, Ritchie, the filmmaker behind Lock, Stock and Two Smoking Barrels, Snatch, the awful Robert Downey Jr-starring Sherlock Holmes movies and the very forgettable King Arthur: Legend of the Sword, is in the director and co-writer's chair for this journey to a whole new live-action world — and in good news, there's no signs of Cockney accents, rhyming slang or over-stylised action scenes in Aladdin's just-released first full trailer. As for Smith, he's stepping into the role of Genie, originally made famous by Robin Williams' energetic voice work. In other words, he's turning from a man in black to a spirit in blue. Aladdin's overall story will be familiar to anyone who has seen the 1992 movie, with an Agrabah street urchin once again trying to win over the Sultan's daughter and thwart a scheming sorcerer, with the larger-than-life Genie on hand to help. Canadian actor Mena Massoud (The 99) plays Aladdin, and Naomi Scott (Power Rangers) steps into Princess Jasmine's shoes, while Dutch star Marwan Kenzari (Murder on the Orient Express) takes on the role of Jafar. Check out the trailer below: https://www.youtube.com/watch?v=foyufD52aog Aladdin opens in Australian cinemas on May 23, 2019. Images: (c) 2019 Disney Enterprises Inc. All Rights Reserved.
A new and unique dining experience has arrived at Martin Place from the team behind some of Sydney's most renowned restaurants. Aalia is the new flagship restaurant from Esca, the hospitality group in charge of Nour, Lilymu, Henrietta and Cuckoo Callay. The group's latest and most extravagant offering, Aalia is opening in the new dining precinct in the former MLC Centre space. The 150-seat restaurant offers to take diners on a journey through the history of Middle Eastern food. The dishes have been created by the restaurant's Executive Chef Paul Farag of Nour to demonstrate the rich culinary diversity of the area. "Through food, we're trying to showcase a beautiful region of the world which almost everyone seems to forget has a luscious coastline, flanked by oceans, rivers, and seas," Farag says. "I want this menu to reflect a lighter way of shared eating — in the same way you assume a Mediterranean restaurant is going to be bright and fresh in flavour, this is truly the same principle for Middle Eastern cuisine." Diners will be presented with a wide array of raw and mezze options to begin their meal. Oysters, king salmon, potato and lentil tart, king prawn skewers and hand-stretched haloumi are all on offer for those looking to create an abundant table of shared dishes or ease into the meal before turning to the impressive selections of seafood and meat. As for the larger dishes, think Murray cod masgouf, almond-crusted john dory, lamb neck shawarma and mb5+ dry-aged wagyu rib. There's also Persian caviar service on offer, served with malawach, shallots, labneh, and a sprinkling of chives. The indecisive among us can leave the selections up to the chefs with the $125 per person banquet menu, curated by Farag himself. Designed to share, the degustation is available for parties of four or more and features the lamb shawarma, almond John Dory and haloumi, as well as eggplant mes 'a' aha, quail skewers, a spread of Middle Eastern sides and a decadent Valrhona chocolate kataifi for dessert. "The idea behind the menu itself is to start with a few raw dishes and mezze, followed by mains and sides, with each dish crafted to represent a particular region, or specific era of Arabic culture," Farag says. Highballs, spritzes and inventive cocktails are all on offer to accompany your one-of-a-kind feast. Start off easy with a peach vermouth and hopped grapefruit spritz, or opt for something a bit more stiff like the tobacco old fashioned made with raw cacao bourbon, date molasses and orange tobacco. Aalia is located at Shop Seven and Eight, 25 Martin Place, Sydney. It's open from Tuesday, March 1 for lunch and dinner Tuesday—Friday and dinner on Saturdays. Venue images: Christopher Pearce
The 2024 Paris Olympics didn't turn out as planned for the Matildas, sadly. The next Women's Asian Cup, which Australia is hosting, isn't until 2026. You can still watch Australia's national women's soccer team in action between now and then, however, starting with four friendlies against Brazil and Chinese Taipei to close out the Tillies' 2024 games — all at home, taking the squad to Brisbane, the Gold Coast, Melbourne and Geelong. First up is Brazil, who'll face off against the Matildas on Thursday, November 28 at the Queensland capital's Suncorp Stadium (which was home to plenty of 2023 Women's World Cup action) and again on Sunday, December 1 at Cbus Super Stadium at Robina. After that, Steph Catley, Ellie Carpenter, Caitlin Foord, Mackenzie Arnold and company will take on Chinese Taipei in Victoria. AAMI Park hosts the match on Wednesday, December 4, followed by a game at Geelong's GMHBA Stadium on Saturday, December 7. If you're keen to head along, there are still select tickets left to all four matches. And if you can't make it, you can still tune in from home, or the pub. To watch, 10Play and Paramount+ are your destinations — plus Network 10 on regular TV. After Tony Gustavsson stepped down following the Olympics, the Matildas don't yet have a new permanent full-time coach. Tom Sermanni, who did the job between 1994–97 and 2005–12, is taking the reins for these four friendlies. Sam Kerr remains injured, and Mary Fowler has withdrawn from the squad for the quartet of games to put her mental and physical health first, but high-profile names are still taking to the pitch — including Catley donning the captain's armband, Ellie Carpenter as vice captain, and also everyone from Ford, Arnold, Alanna Kennedy and Kyra Cooney-Cross to Hayley Raso, Michelle Heyman and Claire Polkinghorne. After this, the Tillies will play in the 2025 SheBelieves Cup in the US, making their debut in the competition, with games against Japan on Thursday, February 20; the US on Sunday, February 23; and Colombia on Wednesday, February 26. When those matches roll around, more than a year will have passed since Kerr's knee injury — so cross your fingers that she'll be back on the pitch then. The Matildas vs Brazil and Chinese Taipei Friendlies 2024 Brazil: Thursday, November 28 — Suncorp Stadium, Brisbane Sunday, December 1 — Cbus Super Stadium, Gold Coast Chinese Taipei: Wednesday, December 4 — AAMI Park, Melbourne Saturday, December 7 — GMHBA Stadium, Geelong The Matildas' friendlies against Brazil and Chinese Taipei take place between Thursday, November 28–Saturday, December 7 — and you can watch via 10, 10Play and Paramount+. Images: Tiffany Williams, Football Australia.
What makes a great avocado on toast? The answer to that question is subjective, because we all have different tastes when it comes to the breakfast and brunch staple. What makes a serving of avo on toast so spectacular that it's dubbed the best that Australia, nation of avid avo toast worship, has to offer? Avocados Australia, the industry body representing the Aussie avo industry, thinks it knows — and it has just named the country's top version, in fact. Since June, the organisation has been running the first-ever Australia's Best Avo Toast competition, aiming to find the avo on toast that'd make all other avo on toasts envious if the dish had feelings (and turned even greener with envy about better avos on toast). The winner hails from Brisbane, with Balmoral's Little Hideout Cafe getting the nod for a menu item called 'seasonal avocado'. [caption id="attachment_862831" align="alignnone" width="1920"] Little Hideout Cafe[/caption] If you're a Brisbanite keen to give it a try — if you haven't already — or you now know where you're headed for an avocado fix next time you're up north, the winning dish goes with slices of avo, rather than smashing it all up. It places them atop a toasted slice of grainy sourdough, then pairs it with roast tomato aioli, whipped feta and beetroot hummus, as well as slices of radish and a sprinkle of homemade dukkah. The cost: $16.90. No, spending that on avo on toast won't rob young Aussies of their chance to buy a house. Yes, visiting the cafe for some avo will help make a dent in Australia's current glut of avocados. View this post on Instagram A post shared by Little Hideout Cafe (@littlehideoutcafe) Little Hideout emerged victorious from a list of ten finalists, with Queensland performing strongly. Nodo in Newstead, Anouk Cafe in Paddington, Cinnamon and Co in West End and Kin and Co Cafe in Teneriffe all hail from Brissie, too, while Guyala Cafe is located in Cairns. In New South Wales, Barbetta Cucina in Paddington and Bolton Street Pantry in Newcastle made the list, while Faraday's Cage in Fitzroy was the sole Victorian finalist, and The Banksia Tree in Port Adelaide the lone South Australian venue. [caption id="attachment_862832" align="alignnone" width="1920"] Barbetta Cucina[/caption] And if you're wondering how the competition worked, it was judged by Avocados Australia, with a focus on the quality of avocados used and how they were heroed in the dish. Little Hideout's avos are supplied by Big Michael's, and grown by Simpson Farms. Little Hideout Cafe is located at 2/185 Riding Road, Balmoral, Queensland. For more information about Avocados Australia's best avo toast competition, head to the organisation's website.
This month we commemorated 11 years since the devastating events of September 11, 2001. The events of that morning were beamed on to every television and front page across the globe and those images have come to define a generation. Phrases like the "war on terror" and "suicide bomber" became part of the vernacular of the Western world and international politics, the American identity and the concept of warfare were changed forever. The images of that day were of unthinkable devastation and destruction: billows of smoke shrouding lower Manhattan, people jumping from the skyscrapers to escape the inferno of glass and metal and all of New York joined together in mourning at the death of more than 3,000 of their brothers and sisters. Yet amongst the rubble there were incredible stories of hope, of the very best of human nature, of firefighters running into the fire and of a nation binding together, steadfastly and resolutely, during its darkest hour. An image may be able to tell a thousand words, but the most iconic images, the 'where were you when' images, can tell us so much more about humanity. About its creativity, its innovation and its potential but also about its ability to love and, often more powerfully, its ability to hate. So here are ten images that have stopped the world and ten stories that have shaped the course of history. Moon Landing, 1969 Almost undoubtedly the most famous 'where were you when' moment of the 20th Century, the landing of Apollo 11 on the moon was initially just a pipe dream of President Kennedy's. When in May 1961 Kennedy proclaimed that he wanted to land a man on the Moon "before this decade is out" it was seen as being exactly the sort of political point-scoring and voter-pandering that we have come to expect from our politicians, just on a much grander scale. But on 20 July, 1969 the dream of every science fiction geek became a reality when images of Neil Armstrong setting foot on the Moon were broadcast to every television across the globe. Tiananmen Square Massacre, 1989 The story of the Tiananmen Square Massacre is one of shocking brutality, with estimates of up to 2,500 people, mainly students, being senselessly slaughtered by the Chinese military for protesting against the dictatorial and corrupt communist regime. Yet it was not images of bloodshed and brutality that captured the attention of the world, but instead a startlingly powerful photograph of resistance and hope. An unknown student, armed only with a couple of shopping bags, refused to budge when four Chinese Type 59 tanks approached Tiananmen Square on June 5, 1989, the morning following the military's forcible removal of the one million protestors. The event was captured by a number of foreign journalists and photographers and distributed to newspapers across the globe, giving birth to a remarkable symbol of democracy and defiance. Migrant Mother, 1936 This is the image that gave a face to the Great Depression of the 1930s. This 32-year-old Californian widow had just sold her tent and the tires off her car in order to afford food for her seven children. This is one of many photographs captured by Dorothea Lange from her tours of rural California, which eventually helped convince the US government they were not doing enough to help field workers. While this farmworker's heartbreaking story was not dissimilar to millions of others across America, it was her story and her expression sitting somewhere between defiance and despair as she clutched her starving children that has endured as the Great Depression's most iconic image. Execution of a Viet Kong Guerilla, 1968 The Vietnam War was infamously the first televised wartime conflict and more than the rising death tally or the lack of military success, it was the images capturing the brutality of guerilla warfare that turned public opinion against the war. This Pulitzer Prize winning image depicts South Vietnam's national police chief, Nguyen Ngoc Loan, executing a Viet Kong captain in the middle of a street in Saigon. It was with this photograph that the shocking realities of modern warfare, that for so long had been shrouded in mystery, became tangible for every American. The Beginning of Life, 1965 Lennart Nilsson began taking photographs with an endoscope, an instrument that could see inside the body, as early as 1957 but it wasn't until 1965 when LIFE Magazine did a 16 page spread on his photographs that the world first saw a child inside the womb. Initially the editors of LIFE could not believe that these images were real, spending several months confirming their legitimacy before creating a worldwide sensation when they were published. Lynching, 1930 It is hard to believe but this image was not taken to condemn the barbarity of the racial hatred of the South but was in fact used as a postcard in order to promote white supremacy. The photograph was taken in Marion, Indianapolis and depicts the lynching of two black men accused of raping a white girl who were hauled from a country prison by a 10,000 man lynch mob bearing sledgehammers. Perhaps most frightening about this image is not the the men hanging from the trees but the smiling crowd of revelers who seem to be taking great joy in the horrific affair. Lynches were often seen as big community events, like a carnival or fair, and from the late 1800s to the 1960s more than 5,000 lynching cases were documented and endorsed as a legitimate means of justice. Betty Grable, 1942 Forget Marilyn Munroe and Rita Hayworth, Betty Grable was the original pin-up girl, and rather than being simply a form of cheap thrills, this iconic photograph of Grable represented the only connection that many American WWII soldiers would have with their homeland while serving overseas. With her girl-next-door charm, million-dollar legs and oodles of sex appeal Grable was the perfect antidote for the wartime depression and homesickness suffered by many soldiers. Even if she hasn't been as well remembered as some of her more voluptuous kinsmen, the enormous success of Grable's pin-up is responsible for kick-starting one of the world's most lucrative industries and every pouting, pruning model you see plastered all over your department store should pay a debt to Grable, the woman who started it all. Nagasaki Atomic Bomb, 1945 The effect that the Hiroshima and Nagasaki atomic bombs dropped in August, 1945 had on the course of history is hard to overstate. The numbers alone are staggering, with more than 200,000 dying as a direct result of the blast and countless more dying as a result of the nuclear fallout. While there are countless photographs taken from WWII that capture the inhumanity of the war, this image of the mushroom cloud swirling hundreds of kilometres above Nagasaki perfectly captures the sheer enormity of this event, providing the US and USSR with a stark warning against the awesome and terrible power of nuclear weapons in their the five decade Cold War stand-off. Hindenburg Disaster, 1937 The day the Hindenburg catastrophically and spectacularly came crashing to Earth, was meant to be the day that zeppelins became the world's favourite form of air travel. The Hindenburg's parent company in German had engaged in a massive PR blitz before the voyage into Lakehurst, New Jersey such that 22 photographers, reporters and cameramen were there the day of the crash resulting in the Hindenburg being the most well-documented disaster of the early 20th Century. While rumours still circulate as to why the zeppelin ignited and turned into a deadly fireball, the crash effectively sounded the death knell for the airship business with commercial flights ceasing following the Hindenburg disaster. Dali Atomicus, 1948 While this surrealist photograph may not have stopped the world, the world did seem to stop for this photograph. It took Latvian-American artist Phillipe Halsman six hours, 28 jumps, three angry cats, a roomful of assistants and bucketloads of water to capture this genre-defining portrait and homage to Salvador Dali. One of the most famous pieces of photographic art ever captured, the work explored the idea of "suspension" as inspired by the recent scientific discovery that all matter hangs in a constant state of suspension. While the end result was as bizarre and surreal as many of Dali's mind-boggling paintings, it could have been a whole lot weirder if Halsman had stuck with his original idea which involved exploding a cat in order to capture it "in suspension". Leading image credit: 010914-N-1350W-005 New York, N.Y. (Sept. 14, 2001) -- A fire fighter emerges from the smoke and debris of the World Trade Center. The twin towers of the center were destroyed in a Sep. 11 terrorist attack. U.S. Navy Photo by Photographer's Mate 2nd Class Jim Watson. (RELEASED). From Navy.mil.
Left your Valentine's Day plans a little late? Not to worry, Opera Bar has got you covered with sweeping, romantic views overlooking Sydney Harbour. Taking only walk-ins, this playfully cheesy event is the perfect way to spend your February 14 without getting tied up in ticket sales and reservations. Hosted by two whimsical cupids, the lighthearted Day of Love affair features live tunes from the Hot Potato Band. This joyful 10-piece brass troupe will serve up their take on a host of classic love songs – expect more than a few saxophone solos. Meanwhile, there's a photo booth for snapping pics and caricature artists ready to capture your date in curious ways. [caption id="attachment_990358" align="alignnone" width="1920"] Credit: Ethan Smart[/caption] Throughout the evening, the cupids will roam the space, handing out flowers, love poems and postcards to unwitting couples. There'll also be a host of food and drink specials to celebrate the occasion, with the Cupid Club cocktail offering a tasty concoction of Bombay Sapphire, raspberry, lemon myrtle and egg whites. [caption id="attachment_990360" align="alignnone" width="1920"] Credit: Ethan Smart[/caption]
Messina fans have jaws on the floor; Sydney's Cow and Moon has been declared the world's best gelato maker at one of the world's most prestigious ice cream events. Enmore's family-run Cow and Moon trumped the globe's ice creameries and gelato masters on Sunday, seizing the blue ribbon spot at the Gelato World Tour in Italy. Taking out the top spot for their kickass almond affogato flavour dubbed 'Mandorla Affogato', Cow and Moon's Wendy and John Crowl can now call themselves the world's best gelato makers. Beating 23 international finalists (including Gelato Messina) with their prized confection, John Crown told Good Food the key is balance. "It's about trying to understand the flavour, working on the salt, sweet and sour. You have to marry the flavours so that they blend well together." After public voting and panelist judging, Italy took out the two runner up spots, with second place going to Il Cantagalli, third to Gelateria Fiore. Messina's Donato Toce and Simone Panetta must be pretty bummed having gone in salted caramel guns blazing. They nailed the Oceania round and came out in first place with their Cremino flavour — that salted caramel, joined by house made gianduia fudge, fresh meringue and crushed amaretti biscuits. Australia had a total of three reps (all from Sydney) in the finalists after the hardcore Melbourne selections last October, with Cronulla's Frangipani Gelato nabbing a special accolade for her pavlova-inspired gelato (meringue-flavoured base, meringue pieces and passionfruit puree). Cow and Moon had better get cracking on bucketloads of almond affogato, that's some prize-winning, line-forming gold right there. Via Good Food. Images: Cow and Moon.
We can't think of a much better way to launch into the sunny season than a day spent on an island, gorging on delicious food and wine. With that we say bring on Wine Island 2018, which will take over Sydney's Clark Island for an indulgent weekend of wine tasting from November 2–4. As always, the well-loved food and wine festival promises a packed lineup, starting with the glass of Italian bubbly you'll enjoy on the boatride over. The island itself is set up as the ultimate boozy adult playground, between the Pimms Garden Bar, the Gage Roads Brewing Co. Beer Garden, and Archie Rose's gin cocktail bar. There'll also be a swag of masterclasses curated by the team at Wine Selectors, covering everything from the art of music and wine matching, to a dessert session helmed by 12 Micron's Ashley Smith. Swing by the chill-out zone to pair some top-notch vino with even better views, or cruise the various wine stalls sampling a huge array of local and international drops. And, to keep you fuelled for that big day of wine appreciation, expect food options galore, from oysters and cheese platters, to buns from your mates at Chur Burger. There are three Wine Island ticket packages available, starting with the $99 'five-star experience', which includes ferry transfers, five tastings, a souvenir tumbler and a glass of bubbly. If you're feel extremely opulent you can pay $399 and experience the whole thing from a superyacht.
It’s cold out there. It’s cold out there every day. Though Australia is lucky enough to avoid a Groundhog Day style winter, there is no doubt that the cooler temperatures drive us toward comforting beverages. Before you reach for that bottle of red or heart-warming bourbon, don’t forget that your favourite summer cooler also comes with a serious dark side. When the cold lagers of summer lose their appeal, your favourite brewers turn their craft to an entirely different beast. From nutty to chocolatey and often with a creamy finish, dark beers are the perfect tonic on a wintery night. And while dark brews have been historically underappreciated in Australia’s generally mild climate, you could find yourself becoming the best of friends. Here are some tips to enjoying dark beer this winter, with help from our local brewers. QUALITY OVER QUANTITY Generally heavier and more filling, dark beers must be considered with this golden rule across the spectrum. According to the Shenanigans Brewing Company duo, “When we think winter beers, we think higher-alcohol, malt-driven beers, with a bit more residual sweetness.” The malty porters are undeniably sweet and, like rich desserts, are delicious but best in moderation. Porters and milk stouts are typically nitro beers (made with nitrogen rather than CO2), which adds to the creamy effect and further increases its similarity to a dessert. At the other side of the dark beer profile, the strong imperial stouts are high in alcohol content (many upward of 9 or 10 percent) and will knock you off your rocker if you attempt too many in one sitting. Often brewed in whisky or wine barrels, these stouts contain a more alcoholic flavour, and the barrel ageing process adds depth and complexity to the beer. With bold flavours and lingering sweetness, it's best to stick to a few to get the most enjoyment out of these brews. WINTER WINNERS: DARK BEER VS RED WINE That glass of red isn’t the only thing that will keep you warm on a winter’s night. Rich and smooth with deep fruity notes, dark beers have more in common with red wine than with lager. This is especially true of the barrel-aged stouts, which are often brewed in used sherry casks and take on a wine-like flavour. Many brewers also add spices like cinnamon, vanilla and even chilli, warming you from the inside out. The best advice we’ve received from a bartender on dark beers is to “give your beer a little cuddle” before you drink it. Dark beers should typically be served at room temperature, like a good red, to fully enjoy the taste and flavour. Also like a red, you should never drink dark beer (or any beer, for that matter) from the bottle. But before you go crazy dropping your pay cheque on glassware, many dark beers, including porters and stouts, are best served in a standard pint or oversized wine glass. Similar to its red wine rival, darks beers are something you want to savour. The 750ml bottles are perfect to share with friends. THE IMPORTANCE OF COMFORT FOOD In winter, we crave carbs, carbs, and more carbs. In turn, we need a big beer that can stand up to those heartier foods. The rich, smooth taste makes dark beer the liquid version of a Sunday roast or steamy meat pie. With any great food and drink pairing, it is important to have balance. 3 Ravens Dark Ale made with smoked malts is one of those well-paired with the savoury comfort foods of winter. Instead of going for a port with your dessert, try a porter. The James Squire Jack of Spades Porter, with heavily roasted malts, coffee notes and a sweet finish goes perfectly with dark chocolate, caramel and other rich desserts. BALANCING SUNNY DAYS AND WINTERY NIGHTS While the temperatures may drop, the Aussie east coast is no winter wonderland, so it is worth finding the right beers for day versus night. Think a beer you would want to drink next to an outdoor heater at your favourite beer garden, then one you’d want to drink while curled up on your couch under several blankets. The Batch Brewing Big Kahuna coconut brown ale is a session beer that will remind you of summer while helping you brave the chilly days. For night, try an imperial stout to get your blood flowing. This season, Modus Operandi is releasing Total Eclipse, a Russian imperial stout of 10% ABV aged in Lark Whisky barrels for six months. Once you’ve warmed up with a big brew and have your beer coat on, you won’t need that extra layer when venturing out into the cold. HANG OUT AT YOUR LOCAL BREWERIES The best way to learn more about the beers of winter is to stop by your local brewery, where they are more than happy to guide you through the many profiles of dark beer. There is no better company to keep; your local brewers are like your fairy godmothers of beer, planning months ahead of time on how to keep you warm this winter. Many breweries will also hold winter events, including food pairing dinners. This is the best time to try the full spectrum of dark beers and figure out which best suits your winter drinking needs. Top image: Dollar Photo Club.
It was back in March 2022 that the world first learned of Mrs Davis, who would star in it and which creatives were behind it. Apart from its central faith-versus-technology battle, the show's concept was kept under wraps, but the series itself was announced to the world. The key involvement of three-time GLOW Emmy-nominee Betty Gilpin, Lost and The Leftovers creator Damon Lindelof, and The Big Bang Theory and Young Sheldon writer and executive producer Tara Hernandez was championed, plus the fact that Black Mirror: San Junipero director Owen Harris would helm multiple episodes. Accordingly, although no one knew exactly what it was about, Mrs Davis existed months before ChatGPT was released. A puzzle-box drama that's equally a sci-fi thriller, zany comedy and action-adventure odyssey, Mrs Davis now follows ChatGPT in reaching audiences — hitting screens, including via Binge in Australia, from Friday, April 21. Don't even bother trying not to think about the artificial intelligence-driven chatbot, or pondering the growing number of programs just like it, as you're viewing this delightfully wild and gleefully ridiculous series, however. There's no point dismissing any musings that slip into your head about social media, ever-present tech, digital surveillance and the many ways that algorithms dictate our lives, either. Mrs Davis accepts that such innovations are a mere fact of life in 2023, then imagines what might happen if AI promised to solve the worlds ills and make everyone's existence better and happier. It explores how users could go a-flocking, eager to obey every instruction and even sacrifice themselves to the cause. In other words, it's about ChatGPT-like technology starting a religion in everything but name. That premise isn't particularly outlandish, and nor is speculating where artificial intelligence might lead humanity; on the page, science fiction has been theorising about playing god and creations going rogue since Mary Shelley penned Frankenstein. In those footsteps has sprung everything from 2001: A Space Odyssey, Blade Runner, and the Alien, The Terminator and The Matrix franchises to the TRON movies, WALL-E, Ex Machina and Her on the big screen, plus Alita: Battle Angel, After Yang, M3GAN and more. Indeed, endeavouring not to think about the latter — the unhinged horror-comedy that proved a box-office hit earlier in 2023 — is futile while watching Mrs Davis, too. It isn't just the prominence of AI that binds the pair, but the willingness to go all-in on OTT leaps, detours, and jumps in tone and genre. In fact, Mrs Davis thrusts that somersaulting to a gleefully berserk yet magnificent extreme. The titular Mrs Davis isn't actually married — not to anything but amassing users, then keeping them plugged in — and certainly isn't a person with a surname. In some countries, the AI is called mum or Madonna, such is the loving light that it's seen in by its devotees. But Simone (Gilpin, Gaslit) doesn't subscribe. A nun raised by magicians (The Dropout's Elizabeth Marvel and Scream's David Arquette), she enjoys sabbaticals from her convent to do whatever is necessary to bring down folks who practise her parents' vocation and the show's central technology alike. She also enjoys quite the literal nuptials to Jesus Christ, is divinely bestowed names to chase in her quest and has an ex-boyfriend, Wiley (Jake McDorman, Dopesick), who's a former bullrider-turned-Fight Club-style resistance leader. And, she's tasked with a mission by the algorithm itself: hunting down the Holy Grail. No summary of Mrs Davis can do its plot justice, or the rollercoaster ride it takes from the get-go. In its opening episode alone, the show throws in the Knights Templar sacking Paris for the fabled treasure to end all fabled treasures, Simone zipping about on a motorcycle in her habit, surreal diner chats between the nun and her husband Jay (Andy McQueen, Station Eleven), a car crash staged by magicians, a shipwrecked man called Schrödinger Ben Chaplin, The Dig) with a cat, Nazis, big Kill Bill vibes — well, it is about a blonde in a distinctive outfit kicking ass and seeking revenge, often while placed against western-esque backdrops — and a factory pumping out hippopotamus meat. There's more in that debut instalment, as there is in each that follows, so much so that any chapter feels as if anything can occur at any time. Battling an algorithm is firmly in Mrs Davis' circuitry, but it never seems like it was spat out by one. There's a scene approaching halfway through Mrs Davis' eight-episode run where Simone watches a screen, just as everyone streaming the series is doing. When she exclaims "what the fuck?", it isn't the first time that the show inspires that reaction. When this mind-bender isn't nodding to everything that's ever grappled with AI in pop culture, winking at Lost and obviously elbowing Indiana Jones, it's also skewering commercials, bringing Arrested Development to mind and hopping on The Life Aquatic with Steve Zissou's boat. It has heists and Arthurian legend, details out of Dan Brown and Robinson Crusoe, secret societies and Hands on a Hardbody-inspired endurance contests, the great Margot Martindale (Cocaine Bear) as Simone's Mother Superior and a comically exaggerated Australian (Daisy Jones & The Six's Chris Diamantopoulos, who definitely isn't an Aussie) as well — and it never stops ramping up its absurdity, its excitement to veer anywhere and everywhere all at once, and those what-the-fuck moments. Spin all of the above together and out comes infectious, addictive, must-watch-more fun — constantly surprising viewing, too, especially in these commissioned-by-algorithm times. Mrs Davies does genuinely contemplate what technology's constant advancements may mean for humankind; however, it wants to be rollicking entertainment as it does so. To that end, it helps that the show's three helmers each sport experience in twisty on-screen tales that often aren't afraid to take big steps into the unexpected. They direct a series now that's glossily made but always anarchic with its slickness, its pinballing from one out-there development to the next and its pacing, benefiting from Harris' time on The Twilight Zone and Brave New World, Alethea Jones' background on Made for Love and Dispatches From Elsewhere, and Frederick Toye being a Watchmen and Westworld alum. When Mrs Davies begins, going with the flow is the only response. Although a new burst of idiosyncratic madness is rarely far away, there's always meaning in whatever is happening, with the series examining not just AI and its influence but also parent-child bonds, plus also our species' undying need for both storytelling and something to believe in (and frequently the two at once). And, crucially, at the show's core is the always-phenomenal Gilpin. No matter how eccentric and ambitious Mrs Davies gets, she's its anchor, including while navigating everything that it catapults Simone's way. She's in excellent company — even Diamantopoulos ensures that what could've been a lazy Aussie caricature earns its comedic beats — and she has everyone on- and off-screen along for the ride with her. Check out the trailer for Mrs Davis below: Mrs Davis screens in Australia via Binge from Friday, April 21. Images: Binge/Peacock.
In 2018, The Royal Botanic Garden launched an exhibition of 25,000 creepy carnivorous plants. Now, it's trading blood-thirsty flora for thousands of colourful blooms in its latest display inside The Calyx. Dubbed InBloom, the bright and beautiful exhibition opens on Tuesday, August 11 with more than 20,000 flowers flashing hues across the spectrum and one of the largest vertical floral walls in the Southern Hemisphere. The flowers will be arranged into a living impressionistic watercolour painting stretching over 50 metres in length and over five metres tall. As well as being visually stunning, the exhibition will educate visitors on the roll colour plays in plant ecology. Plus, with so many plants in such a small space, expect an onslaught of aromas, as well as colour. InBloom will be open from 10am–4pm every day until winter hits next year (the only exceptions being Christmas Day and New Year's Eve). It's worth visiting several times — the living exhibition only continues to grow and change over time — and only costs a few dollars, with the garden just asking for a donation on entry. InBloom is open from 10am–4pm daily.
Stakes at the ready: more than three decades after Buffy the Vampire Slayer first hit the big screen, and nearing the same span since the undead-vanquishing character first made the leap to television, another TV series looks set to continue the story. Into every generation a new slayer is born, after all. And if this new small-screen effort comes to fruition, it will indeed focus on a new character — but Sarah Michelle Gellar (Dexter: Original Sin) is also set to co-star. As per both Variety and The Hollywood Reporter, a sequel series to Buffy the Vampire Slayer is expected to receive a pilot order from US streamer Hulu, with Gellar in talks to reprise her performance as the Sunnydale resident who spent her nights dispensing with bloodsuckers. Narrative-wise, details from there are scarce, but a fresh face will take the spotlight, with Gellar featured in a recurring role. Behind the scenes, another big name is attached to the new Buffy: Oscar-winning Nomadland director Chloé Zhao, who is set to helm the pilot if it gets the greenlight, and also executive produce. If you're choosing not to get too excited until everything is official, however, that's understandable. Into every few years, reports of a Buffy the Vampire Slayer comeback are born, too. Back in 2018, a Buffy spinoff was in the works, for instance. Alas, like vamps and making daytime plans, nothing happened. Thanks to Audible, though, Slayers: A Buffyverse Story did continue the tale with a heap of the show's original cast, focusing on bleached-blonde vampire Spike (James Marsters, Isla Monstro). Until confirmation that Buffy really is rising again like the creatures its namesake has spent so long battling, it's time to start hoping that other cast members will return to the TV sequel. Among the show's lineup of talent during its 1997–2003 run, and spinoff Angel's span from 1999–2004: everyone from Alyson Hannigan (Office Race), David Boreanaz (SEAL Team), Michelle Trachtenberg (Gossip Girl) and Alexis Denisof (How I Met Your Father) to Charisma Carpenter (Going Home), Anthony Head (Ted Lasso), Juliet Landau (Claws), Emma Caulfield Ford (Agatha All Along) and Amber Benson (I Saw the TV Glow). If it goes ahead, the new Buffy will boast Nora Zuckerman and Lila Zuckerman (Poker Face) as writers, showrunners and executive producers, while Gellar would executive produce as well. There's obviously no trailer for the latest take on Buffy yet, but you can get a blast from the past with trailers from the OG TV series below: The new Buffy the Vampire Slayer doesn't yet have a release date — we'll update you with more details when they're announced. Via Variety / The Hollywood Reporter.
UPDATE, April 19, 20201 The Invisible Man is available to stream via Amazon Prime Video, Binge, Foxtel Now, Google Play and YouTube Movies. In the latest version of The Invisible Man, Universal unwraps the bandages from one of its iconic horror figures in an astute, unnerving and thrillingly contemporary fashion. But it almost didn't happen, with the studio originally pursuing completely different plans. Let's all take a moment to thank the cinema gods that Tom Cruise's stint as The Mummy didn't work out. If his time dallying with Egyptian spirits had been a success, we'd now be watching Johnny Depp as The Invisible Man instead. That's what Universal's 'dark universe' — aka the studio's modern-day remakes of its old 1930s monster movies — had in store. Then the 2017 version of The Mummy proved a flop, forcing the company to change course. Suddenly, Depp's slated film disappeared into thin air just like the imperceptible man he was supposed to play. So too did an Angelina Jolie and Javier Bardem-starring take on The Bride of Frankenstein. And that left Universal with a gap — which Australian writer/director and Saw co-creator Leigh Whannell fills grippingly and convincingly with his top-notch update of cinema's most famous see-through character. In the Upgrade filmmaker's hands, The Invisible Man has been through some significant changes since HG Wells' 1897 novel and James Whale's 1933 first film adaptation. In fact, this movie doesn't really tell the eponymous figure's story, but that of the woman terrorised by the unseen guy. After years of suffering through an abusive relationship with hotshot optics pioneer Adrian Griffin (Oliver Jackson-Cohen), Cecilia Kass (Elisabeth Moss) works up the courage to leave him. Fleeing from his remote mansion in the middle of the night with the help of her sister (Harriet Dyer), she's petrified that he'll track her down and retaliate. But, as she hides out with a cop friend (Aldis Hodge) and his teenage daughter (Storm Reid), word arrives that Adrian has committed suicide — although when strange things start happening around Cecelia, she's convinced that he's still somehow messing with her. To not only make The Invisible Man today, but set it in today's world too, two areas needed to be addressed. The first is technology, recognising that turning a person invisible is far more plausible than it once was — and that being involved in someone's life without being physically present isn't just possible these days, but commonplace. The second is gender politics. Watching a man terrorise a woman sight unseen has very different connotations in the 21st century, as does the stalking and gaslighting that comes with it. Crucially, Whannell embraces the complexities of both areas in this thoroughly modern take on the tale, switching focus from villain to victim, and bolstering his narrative by pondering the underhanded capabilities of technology as well as the ongoing problem that is domestic violence. Accordingly, this slow-building version of The Invisible Man isn't an account of a scientist corrupted by his latest discovery, as seen in its predecessors. Rather, it's a portrait of a woman at the mercy of a man who'll do anything and use any means to get what he wants. The end result: psychological horror mixed with futuristic science-fiction and layered with a piercing societal statement, and it's as effective as it sounds. Of course, anyone who saw Upgrade will realise that this is the only interpretation of The Invisible Man that Whannell could've made. The Aussie filmmaker continues his fascination with body modification and tech-enabled surveillance, as well as his fondness for hyper-kinetic action, a pervasive mood of dread and tension, and a sparse, sleek look — plus his interrogation of the kind of society that, with not too many imaginative tweaks needed, we just might be headed for. Forgetting the terrible Insidious: Chapter 3, the only blip on his directorial resume to date, Whannell is swiftly establishing a reputation as a genre filmmaker with smarts, style and something to say — as well as the skill to combine all of the above into a thrilling, harrowing and engaging package. He also has canny casting instincts, with The Invisible Man as much Moss' movie as Whannell's. The Handmaid's Tale and Her Smell actor has had more than a little practice in this terrain of late — aka battling insidious enemies, navigating persecution, and devolving into distress, distrust and paranoia — and she draws upon that experience here. Indeed, watching someone face off against an unsighted foe can play as hokey or unintentionally comic, but not with Moss and her haunted yet determined stare taking centre stage. This definitely isn't the movie that Universal imagined when, high on dreams of building its own megastar-studded, monster-fuelled universe, the studio announced its now-defunct Depp-led project. That's something else to continue to thank the movie gods for — because no one needed Depp's usual daffy schtick wrapped in gauze, but cinema definitely does need Whannell's savvy, unsettling, spirited and refreshing The Invisible Man remake. Great horror movies have always reflected and responded to the times they're made in and, in the same vein as Jordan Peele's Get Out and Us, The Invisible Man helps lead the charge as the 21st century reaches its third decade. This is a socially conscious, savagely creepy, supremely clever reinterpretation of a classic scarefest that takes every part of that equation seriously. https://www.youtube.com/watch?v=KLAJyugYEiY
Everyone knows novelty-sized things are infinitely better than their regular-sized counterparts. Fishbowl margaritas! The teeny tiny toys you get in Kinder Surprise eggs! The only drawback I can think of is 'fun-sized' chocolate bars. There's nothing 'fun' about teasing me with a Mars bar half as big as it should rightfully be. Now the ever-popular novelty trade is turing its sights to the post — can our love of adorably small things save a dying industry? The World's Smallest Post Service is a project run out of California by Leafcutter Designs and its founder Lea Redmond, though Redmond herself can't really tell you why it exists. Since launching a tiny letter transcription service in 2008, Redmond has been channeling her passion for miniature things and finessing the ultimate form of correspondence. Six years and one fully-funded Kickstarter project later, the tiny stationery service has hit the big time (pun unfortunately intended). The entire package — which includes enough materials to create 24 tiny letters, six tiny packages and one 3D mailbox — is only as wide as a regular pen and features a much-needed magnifying glass. Once the kit is purchased you can scribe the cutesiest of cutesy messages to your friends, pass notes in class without ever being caught, and your life will invariably be one step closer to that of a character in a Wes Anderson film. Of course, these novelties aren't wholly impractical. The deluxe kit features translucent regular-sized envelopes so you can send your tiny mail through the real-world post. It may be a little more hassle than the regular route, but at least the person receiving the letter will know that you battled the fiddly ordeal that is tiny envelope origami and microscopic stamp hell. How romantic. The Kickstarter campaign is still in full swing despite having already reached its goal (it seems people really, really want this). Get on board now if you're keen to nab some of the pledgers' perks. Remember: Twitter may be an easier means to sending tiny messages but it's nowhere near as darn cute.
"It's just kind of odd that we live in a culture that tells us we need to be better all the time," says playwright Declan Greene. "We're living in that weird suburbia that was always satirised in the nineties as Betty Crocker and white picket fences except now we want holidays in Morocco, anal sex on tap and spray tans." As its spicy name would imply, Greene's Eight Gigabytes of Hardcore Pornography takes place in a world of squeamish vulnerability. Past the barrage of cat videos and poker tournaments, Greene tackles the world of online dating, exploring the potential to craft a fictional identity in a daunting virtual marketplace. It is this sticky junction between self-improvement and a human tendency to confabulate that is the premise of Greene's newest project. "We're always reaching for an illusion just beyond our fingertips," he says. "I'm interested in exploring that shame and guilt of not having access to that." Greene is largely known as the co-founder of Sisters Grimm (Summertime in the Garden of Eden, Little Mercy), a queer theatre company producing melodramatic genre mash-ups, brimming with tacky extravagance and hilarious antics. Whilst still delving into comedies and scrutinising the limits of theatre, his solo practice is perhaps more "sombre in tone." Brought to life by director Lee Lewis, Eight Gigabytes of Hardcore Pornography revolves around a disillusioned middle-aged couple (Andrea Gibbs and Steve Rodgers) who forge their relationship online. In navigating through the pitfalls of cyberspace and the unhappy truths of their realities, Greene aims to balance bleak humour with vulnerability, commenting "these are two people who have been very deeply conditioned to believe that they have to be much better than what they are." With this play, Greene is also interested in exploring our changing relationship with language and its different domains. "If you examine what a play is on a mechanical basis, it's live text, [which is] relevant to our lives in a way that it's never been before. For example, if you scroll back through your iPhone, you'll see a history of every bit of communication you've had with a person. You have literally a script for your relationship that goes back years." In capturing these raw threads that make up the meat of relationships, Greene is tapping into the potential of digital vernacular and reshaping it to fit into a theatrical context. Dispensing with social etiquette, this bold and intimate production aims to excavate the messiness, discomfort and humiliation of relationships as they unfold online and offline. According to Greene, this notion of uncompromising reality has been a guiding principle throughout rehearsals. "One thing Lee said a little while ago that's really stuck with me is that so often theatre is about escapism and that's what people are looking for," he says. "But for her, what's unique about this show is that we're trying to do the opposite. Instead of giving them an out, we're trying to make people focus back in on their lives." Eight Gigabytes of Hardcore Pornography plays at the Griffin Theatre Company's SBW Stables from May 2 to June 14. To book tickets, head to the Griffin website. https://youtube.com/watch?v=bPnS-KjwjQ4
Besuto is another exciting addition to Sydney's quickly expanding repertoire of omakase restaurants. For the uninitiated, omakase restaurants take the decision out of your hands, serving up multi-course set menus created daily by the head chef. What sets Besuto apart is the size — both of its venue and of its menu — boasting just 12 seats, each of which is presented with a mammoth 18-course meal. The Circular Quay spot comes from Joel Best (Bondi's Best) and Finnish celebrity chef Tomi Björck who have enlisted Hirofumi Fujita to helm the kitchen, crafting the intricate dining experience for each of the restaurant's guests. The menu combines both traditional and inventive takes on Japanese cuisine, with some dishes coming and going day-to-day while others remain consistent. [caption id="attachment_844913" align="alignnone" width="1920"] Kitti Gould[/caption] Some elements you can expect no matter when you go: Glacier 51 toothfish marinated in miso, torowith caviar, spiced coconut and cauliflower soup and yuzu sake sorbet. Visitors can also expect sashimi and sushi curated each day based on what fish the team has chosen. "My belief is that seafood done right is one of life's great joys," Joel Best says. "Besuto offers the perfect canvas for Hiro to really get out of the box and show off his world-class artistry." Dassai Beyond and Seven Junmai Daiginjo complete the dining experience with a reserved wine list designed around the seafood-heavy menu also on offer. [caption id="attachment_886842" align="alignnone" width="1920"] Declan Blackall Photography[/caption] Hidden on the second level of the AMP Building, a few doors down from multi-storey mega venue Hinchcliff House, Besuto hosts two dinner seatings each day and a lunch seating on Fridays and Saturdays. The sleek venue boasts a tasteful dining room designed by Sydney hospitality design experts Guru Projects and centres around a large honey-hued dining table. Shoji curtains block the outside world for the restaurant's 12 diners, making each sitting feel intimate and private. Since opening in late 2021, bookings at Besuto have been filling up weeks in advance. Plan ahead and head to the restaurant's website to secure a table. [caption id="attachment_886846" align="alignnone" width="1920"] Declan Blackall Photography[/caption] Top images: Kitti Gould Appears in: The Best Japanese Restaurants in Sydney
Despite some Australian weather maps saying the contrary this week, summer is officially on our doorstep. And what better way to celebrate than with a brand new range of creamy, ice cold treats from the legends at Gelato Messina? The famed gelateria's chefs have been hard at work over the past three months, creating an all-new line of its beloved cakes, all of which are set to hit stores across the country this week. The Dr. Evil's Magic Mushroom cake, with its recognisable polka dot shell, will be the only creation to carry over from the previous range, which has been winning fans and sweetening up group celebrations since way back in 2012. This is also the first time Messina's done a near complete overhaul of its cake offering all at once. In keeping with the usual Messina vibe, the newcomers are as whimsical as they are expertly crafted, and almost too good looking to destroy. Five follow the style of the classic gelato cake, while three "trans cakes" are designed to be enjoyed either from the fridge or straight from the freezer. In the lineup, you'll find intricate delights like The Golden 8 — featuring a Ferrero Rocher-inspired ball of hazelnut gelato, mousse and fudge, encased in a smooth chocolate orb — as well as more classic designs, like the coffee-infused Tiramisu Tart. There's also a big focus on using great local produce, too. The vibrant Strawberries & Cream cake features fruit from Messina's own strawberry farm in Dural, NSW, while the cow-like How Now teams house-made dulce de leche with jersey milk-soaked sponge and vanilla cream. As with the rest of the products, each cake's infused with creamy jersey milk from Messina's own Victorian dairy farm. Keep them in mind if you find yourself in charge of desserts for any impending festive celebrations. The nine new Gelato Messina cakes start at $58 and are available online or in-store from next week.
Oxford Street has long been one of Sydney's most important cultural and creative areas. As a proud LGBTQIA+ hub, the traditional home of the Mardi Gras Parade and a bustling retail, food and drink precinct, the street stands out as a cultural touchstone of the city. Currently, Oxford Street is undergoing a transformation under a new wave of development in the area. A push by the City of Sydney to further develop the Oxford Street as a creative space, and a reignited excitement for the area following the end of the lockout laws, has seen new restaurant openings, rooftop bars and cycleways, a new hotel on the horizon and the redevelopment of multiple long-standing Oxford Street venues including the Kinselas and Courthouse Hotels and the Brighton Hotel. Alongside this wave of new developments, a new multimillion-dollar project has been proposed that would see sweeping changes to a large section of Oxford Street. Property management Toga has lodged two applications with the City of Sydney for $60 million worth of renovations of three major Oxford Street buildings. The renovations would see office and retail buildings 58–76, 82–106 and 110–122 Oxford Street all transformed into a new creative, retail and commercial precinct in the heart of Darlinghurst. [caption id="attachment_801989" align="alignnone" width="1920"] A 3D rendering of the development at 82–106 Oxford Street.[/caption] The application for 58–76 and 82–106 proposes a refurbishment of the buildings with a retail, food and drink, cultural and creative premises on the lower ground, commercial offices above, as well as laneway retail spaces off Oxford Street. The development at 110–122 would include a 75-room hotel, as well as more retail, food and drink, and cultural spaces. The refurbishment would maintain the buildings' heritage facades while expanding them with a new glass roof extension and renovating the interiors, including the installation of new lifts and a redesign of the upper level offices to create larger, open-plan office buildings. Dubbed The Darlinghurst Collection, the three sets of buildings have been leased to real estate investment company Ashe Morgan by the City of Sydney for 99 years. Ashe Morgan and Toga are working together on the development. Businesses including Big Poppa's and Ariel Books have been mainstays in the space, while new businesses like the Babekuhl Gallery have migrated to the buildings recently. Many spaces across the three blocks remain empty. In the submitted proposal, Toga characterises Oxford Street as "operating below its potential" and requiring "significant renewal to rediscover its spirit and become once again a destination for Sydney locals and interstate and international visitors". According to the application, the renovations to The Darlinghurst Collection will aim to "bring new life to the precinct". The application is currently under assessment by the City of Sydney. An application for a $60 million renovation to 58–76, 82–106 and 110–122 Oxford Street is currently under review by the City of Sydney. You can find the applications here and here. Images from the development application submitted to the City of Sydney by Toga.
Well folks, it looks like the future is here — the world's first commercially available flying car is on the market. As CNBC reports, Dutch company PAL-V unveiled its very nifty design at the Geneva International Motor Show and is already taking pre-orders from keen (and cashed-up) potential owners. What's more, it'll start delivering the goods as early as 2019, once the vehicle passes all the necessary safety certifications. According to PAL-V, the two-person car can hit 160 kilometres per hour on road and 180 kilometres per hour in the air, reaching a maximum height of 3352 metres. It takes less than ten minutes to transform the vehicle from car to aircraft, and you'll need to have both a pilot's licence and access to a small airstrip to fly it. Of course, a machine like this doesn't come cheap and you can expect to fork out a cool €499,000 (that's $792,000 Australian dollars) to own the limited edition model. A cheaper model will be available later for an expected €299,000 ($474,000), plus a reservation fee of $10,000 USD ($13,000) if you fancy pre-ordering. Handily enough, the price includes a series of lessons to help you get the most out of your new toy. Start saving now and you might just be able to afford one by the time you're too old to drive. Via CNBC.
UPDATE: June 24, 2020: Mid90s is available to stream via Netflix, Google Play, YouTube and iTunes. The skate movie is having a moment and it's doing so in perfect style, gliding into cinemas one leisurely film at a time. After the all-girl antics of Skate Kitchen and the insightful small-town musings of Oscar-nominated documentary Minding the Gap, Mid90s is the latest picture to profess its love for the board — and to roll along casually while making a big impact. All three kickflip-filled flicks are hangout movies, spending their time with friends who are both shooting and riding the breeze. They're also coming-of-age films, following kids navigating the reality of watching their childhoods slip by. Crucially, they're all slice-of-life pictures too, because nothing conveys the sensation of ollying in and out of adolescence like feeling as though you're right there with them. Thirteen-year-old Stevie (Sunny Suljic) wants nothing more than to join the local skateboarding crew. It's not just the thrill of idling down Los Angeles roads that appeals to the quiet teen, but having somewhere to belong. Ray (Na-Kel Smith), Fuckshit (Olan Prenatt), Fourth Grade (Ryder McLaughlin) and Ruben (Gio Galicia) are all older, however they instantly become family — the family Stevie can escape to when his elder brother Ian (Lucas Hedges) is giving him grief and his single mum Dabney (Katherine Waterston) is sharing her stress. When the quintet aren't tearing up the streets, they're partying as if there's no tomorrow, although you can't skate through life without more than a few stumbles. As summer ticks by, Stevie and his pals bide their time at the resident Motor Avenue skate shop, cruise around empty schools and test their luck with neighbourhood girls. They mouth off to security guards, stay out past Stevie's curfew, generally avoid going home and get in scraps amongst themselves. While they're getting into trouble, they attempt to forget their troubles — and it's this to-and-fro that makes Mid90s bubble along. Watching rebellious kids trying to fix their worries by falling into other woes isn't new or novel, but it keeps popping up on screen because that's how childhood works. Making his directorial debut as well as picking up his first scriptwriting credit, Jonah Hill understands this. In his hands, Mid90s is both an affectionate teenage dream and a devastatingly real reflection of youth struggles, tussles and hardships. As a filmmaker, Hill has two tricks up his sleeve: nostalgia and naturalism. They mightn't seem to be the most obvious combination, but the pair fit together like wheels sliding onto a set of skateboard trucks. Hill mightn't have strictly lived the same existence as Stevie and the gang, but he directs this blast from the past like someone who's been there, seen it all and knows exactly how every second of his film really feels. With his square-shaped frames, he serves up images so vivid that they could be memories. With his clear-eyed view, he doesn't shy away from the grit and grease that lingers behind even the happiest moments. Hill isn't just looking back fondly at his younger days. Rather, he's trying to capture the feeling of being a shy kid entering a new world and learning what getting older actually means. To do so, he needs the painstaking detail — the Teenage Mutant Ninja Turtles sheets, Super Nintendo consoles, and the sounds of 'Kiss From a Rose', 'Pony' and 'Wave of Mutilation' — as well as the picture's stripped-bare performances. Hedges and Waterston might be Mid90s' biggest names, other than its director, but this movie is all about Suljic (The House with a Clock in Its Walls) and his first-timer co-stars. When Hill lets the camera sit and watch Stevie try trick after trick (and endure fall after fall) on his driveway, determination and desperation written across Suljic's face, that's Mid90s' heart. When the film roves around with the group, peering on as they do little more than skate away the hours with unbridled authenticity, that's Mid90s' oh-so-relatable soul. https://www.youtube.com/watch?v=AoPYppF_e5c
We hope the trend of hotels opening up their rooftop bars to the public is one that is long-lived indeed. The jaw-dropping vistas seen from the Intercontinental poolside bar are the same as those enjoyed by Princess Diana, George W. Bush (and his entourage of 300) and Sir Elton John, in its former life as the Ritz Carlton. Well, if it's good enough for those guys. And here's a sneaky tip – if you can't wait until sundown for a sip, they're doing Moet & Chandon brunches through the summer. Did someone say staycation?
The best Australian horror film of 2023 is getting some more skin: Talk to Me, the smash-hit feature debut by Adelaide-born twins Danny and Michael Philippou — aka YouTubers RackaRacka — is scoring a sequel. A24, which released the flick after picking it up in a Sundance Film Festival bidding war, has announced that audiences will be spending more time in this possession thriller's world. Does that news call for shaking hands with an embalmed palm? Feeling the rush while being haunted? Having your mates watch and film it? Dealing with the spooky consequences? If you're game after seeing the initial movie, yes. Variety reports that the Philippou brothers will be back behind the lens, and that Danny is writing the screenplay with Bill Hinzman after the pair penned the first flick together. And the follow-up's name? Talk 2 Me. So far, a release date for the now-franchise's second effort hasn't been announced, nor stars; however, the Philippous have long had more than just one Talk to Me film in their sights. "It's so funny — we've written such an in-depth mythology bible about the backstory of the hand, the spirits that are possessing the kids, and there's just so many seeds that we planted," Danny told Concrete Playground in a chat before the first movie's release. "Even when we're writing the first film, I was writing scenes for a second film — and me and the other writer were always discussing it and talking about it. The idea of franchising or doing a sequel is so exciting to us." Danny and Michael made their leap to the big screen after racking up a huge following with RackaRacka's viral videos, and via behind-the-scenes work on Australian films such as The Babadook. Their debut feature has proven a big box-office success, taking in US$10 million on its opening weekend in America alone, which placed it second among A24's films after Hereditary. In Australia, it has notched up over AU$1.2 million at the time of writing since its July 27 release. Starring Sophie Wilde (The Portable Door), Miranda Otto (The Clearing), Zoe Terakes (Nine Perfect Strangers), Otis Dhanji (June Again), Chris Alosio (Millie Lies Low) and Alexandra Jensen (Joe vs Carole), Talk to Me sits alongside a mighty impressive lineup of other eerie flicks in A24's catalogue — The Witch, Midsommar, In Fabric, Bodies Bodies Bodies, Beau Is Afraid, X and Pearl, to name a few. Soon, Talk 2 Me will join that list as well. Check out the trailer for Talk to Me below: Talk to Me is now screening in Australian and New Zealand cinemas. Read our review, and our interview with Danny Philippou. Via Variety.
Update Tuesday, December 7, 2021: Construction on Urbnsurf Sydney is officially underway with the surf park still on track to open to the public early next year. Originally greenlit back in 2017, Urbnsurf Sydney's massive man-made surf park is finally set to begin construction later this year. Construction on the $50 million development is expected to begin in Sydney Olympic Park in quarter three of 2021, but the 3.6-hectare lagoon from the team behind Australia's first surf park won't open until late 2022. The park will feature a diamond-shaped lagoon, pumping out waves up to two metres high, all day every day. Thanks to LED lighting illuminating the man-made waves after dark, visitors will also have the option of an evening swim. The lagoon will be capable of churning out waves every eight seconds, with surfers set to catch between ten and 12 waves per hour. When surfers are done riding waves, Urbnsurf Sydney will also feature a licensed cafe, rooftop bar, yoga studio, skate park, hot tubs and beach cabanas, plus a surf academy for those looking to take their surfing to the next level. Urbnsurf originally announced the Sydney location alongside in Brisbane and Perth venues in late 2020. After a tumultuous first year at the Melbourne location due to the global pandemic, Urbnsurf Melbourne has had a busy six months, with the opening of farm-to-table favourites Three Blue Ducks inside the park and a series of waterfront concerts featuring Flight Facilities and Mallrat earlier this year. Urbnsurf CEO Damon Tudor said he was excited to use what they had learned in Melbourne to bring a new inclusive way to surf to Sydney. "Growing up in the west and as a Sydneysider, we are blessed with a stunning coastline of surf beaches, but access to those beaches and crowding in the line-up is becoming an increasing issue." Urbnsurf Sydney is excepted to open in Sydney Olympic Park in summer 2022/23.
Its usual mission is to help optimise your lounging time, by hooking you up with comfy, affordable beds and sofas. But from this week, Aussie online furniture brand Koala wants to see you launching yourself off the couch instead, and into a heart-pumping living room sweat sesh. Yes — that same living room you've been seeing a lot of during lockdown. Koala has teamed up with Retrosweat — masters of the vintage-inspired workout — to bring you an at-home aerobics program doused in plenty of 80s Australiana, fittingly dubbed The Great Australian Workout. Best break out the leotards and leg warmers because this is the time-tripping exercise class your dance floor-deprived iso self has been waiting for. Across 12 fun, high-energy episodes, Retrosweat founder Shannon Dooley guides punters through a series of nostalgic workouts they can smash out in the comfort of their own home. With or without a healthy dose of spandex, of course. Expect plenty of old-school ocker lingo, a heap of 80s Aussie references and a fair dinkum retro workout wardrobe that promises to send you straight back to the days of Scott and Charlene's wedding, and Olivia Newton John's Physical. Clocking in at around three minutes each, the free live workout videos have just dropped over at the Koala website, so you can attack one each day or sweat your way through the whole bunch in one go. Plus, those following along on Tik Tok will have the chance to score some sweet prizes. Share a glimpse of some of your own 80s moves and blast-from-the-past workout threads, and you could win some Ken Done artwork or a Koala sofa for your efforts. Clear out that coffee table and get ready to throw down some moves. You can farewell lockdown boredom and catch The Great Australian Workout here. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
It has been more than half a decade since Australia's most ambitious outdoor cinema held its first Sydney pop-up, letting movie lovers catch a flick under the stars while getting cosy in one of its beds (yes, beds). Of course, that type of event hasn't really suited these COVID-19 times so far, so Mov'In has adapted in 2020 — launching Mov'In Car, a pop-up drive-in on Entertainment Quarter's rooftop. Last year, the brand also floated Mov'In Boat into Darling Harbour, too, because there are plenty of ways to watch movies in outside spaces. But this month, for six weeks from Friday, October 29 through till Wednesday, December 1, it's bringing back its automobile-based outdoor film-viewing setup. Returning now that Sydney's lockdown is over and New South Wales' roadmap back to normality is underway, Mov'In Car will screen films every night of the week except Mondays, kicking off with Marvel's Shang-Chi and the Legend of the Ten Rings. From there, it'll move to horror flicks for Halloween — think: IT and The Rocky Horror Picture Show, so you can choose between eerie and song-filled viewing — and then cycle between classics and recent favourites. Other highlights include Wrath of Man, the latest movie to pair Guy Ritchie with Jason Statham; Oscar-winner Nomadland, which brings its own vehicle theme to the drive-in; Aussie page-to-screen drama The Dry; and Joker, featuring Joaquin Phoenix's applauded lead performance. Black Widow, Raya and the Last Dragon, Free Guy and Jungle Cruise help round out the new-ish releases — and yes, Dirty Dancing is also on the bill, because it's always on every drive-in and outdoor cinema lineup. There'll also be snacks, food and beverages available to buy, complete with all-you-can-eat pizza deals, bottomless popcorn and Nutella calzones. Mov'In Car isn't BYO, so you'll have to purchase all hot food and drinks inside — but you can bring your own non-alcoholic beverages and snacks. Price-wise, tickets for a car with one or two people cost $49.90, while you can head along with three or more people for $59.90 per vehicle. All-you-can-eat pizza costs $49.90 for two as well. Also, Mov'In Car is dog-friendly, although your pet pooch will need to stay in your car. Mov'In Car is returning to Entertainment Quarter's rooftop from Friday, October 29–Wednesday, December 1. For further details or to book, head to the Mov'In Car website.
Aussie summers are made for adventures — and those adventures are even better with a four-legged mate by your side. Whether they're a chill cafe companion, an excitable beach sprinter or a happy homebody, they deserve to look and feel just as good as you do when the mercury starts to climb. And that's where Petstock, the blue one, comes in. The pet megastore's new range for cats and dogs has been designed with the warmer months firmly in mind, combining comfort, practicality and style. You'll find breezy shirts in bright prints, eye-catching bandanas, jaunty bucket hats and even mini backpacks for pets who like to keep their treats or toys close at paw. Whether you're dressing them up for a visit to your favourite pet-friendly pub or heading off on their daily constitutional, these summer accessories will make an everyday outing feel more like a catwalk — or a dogwalk, as the case may be. But there's more to the range than just turning heads, with a heap of practical gear to keep pets calm and happy when the heat is on. There are cooling mats and splash-proof toys to keep them chilled when the temperature soars, scratchers and interactive toys that'll keep indoor cats entertained while you soak up the air con, and adventure-ready walking gear with sturdy clips, lightweight leads and comfy harnesses in a range of fun prints that can handle whatever the day throws at you. Put it all together and you've got everything you need to keep tails wagging and whiskers twitching all summer long — just be prepared for a few extra pats from strangers along the way. For more info on Petstock's summer range, head to the brand's website.
Event curators The Festivalists have a plan, it seems, to take over Sydney's nightlife. They've pulled off an excellent bar and daily program of free events at this year's Sydney Film Festival, taken their Possible Worlds film festival to increasingly immersive levels, and made Goat Island into a Battle Royale for World Movies Secret Cinema. But the jewel in their crown is Jurassic Lounge, one of the breakout hits of the 2011 after-hours scene, now returning for a fifth season from February 12 to April 16 in 2013. Here's the formula: every Tuesday night, the Australian Museum is swamped with a thousand punters partaking in drinks, live music, games, and performance. The intelligently curated programs combine off-kilter stuff like slam poetry, alternative stand-up comedy, DJs from FBi Radio, palm reading, and storytelling from emerging writers. The new season is kicking off with an anti-Valentine's Day spectacular that includes burlesque and tango lessons, matchmaking games, Date Roulette hosted by Michael Hing, and screenings of Green Porno, Isabella Rosellini's short film series about the sex lives of the animal kingdom. There'll be a Snake Party to coincide with Chinese New Year, and a Queer Culture Party during Mardi Gras. Expect the return of old favourites such as Dino Wars (the nerf-gun dinosaur shooting gallery, of course), retro arcade games, Silent Disco, dance-offs, and live reptile encounters, and you can also roam the Alexander the Great: 2000 Years of Treasures exhibition. When it works, Jurassic Lounge is a trip to the other side. And at its worst, it's a very trendy singles night for over-educated under-30s frolicking amidst a Gondwanaland of dinosaur skeletons, fossils, and native maritime animals. Either way, it's pretty fun.
Head to any bar, and you're likely to find a margarita on the menu. The tequila-focused cocktail is a pillar in the drinks world, a staple of Friday nights and weekend celebrations. From sickly sweet pre-made mixes to a spicy marg that sets your mouth on fire, it can take a while to find a margarita that truly impresses. One of the most essential ingredients of the margarita, however, is the salt rim. Get it wrong, and your tipple can taste more Pacific Ocean than refreshing Mexican drink. Get it right, and your tastebuds can dance the perfect line between sweet and salty. Maldon Salt is one of the most reliable salts when it comes time to put that finishing touch on any dish, not just a drink, with flakes that taste refreshing, balanced and ooze flavour into whatever meal or drink they're paired with. These three Sydney venues use Maldon Salt as their secret cocktail ingredient to craft unique margaritas that value quality over quantity. The Boathouse, Rose Bay The Rose Bay Marina outpost of The Boathouse group keeps in tradition with the group's other venues — in that it's a nautical eatery with a view over an iconic Sydney waterfront. Focusing on classic Australian seafood fare and the freshest local produce, the restaurant also serves a margarita that'll surprise you. With pineapple-jalapeño-infused Olmeca Altos tequila, triple sec, lime and Maldon Salt, the Boathouse Margarita is one to put at the top of your cocktail wishlist. The Boathouse also offers the El Tropo – a coconut and mango-infused margarita featuring a Maldon charcoal salt rim for extra flavour, and the La Trajinera, a margarita crafted from mandarin liqueur, key lime, sugar syrup, and the classic Maldon sea salt rim. Pair your margarita with The Boathouse's Yellowfin Tuna Bruschetta, Crab Toast or Crispy Fried Eggplant, and your tastebuds will be thanking you in no time. Alegre Bar and Dining, Darling Harbour If you want the best margarita, head to a Mexican bar. Alegre Bar and Dining is Darling Harbour's premier Mexican restaurant with a menu inspired by Tulum cuisine. Alegre fuses native Mexican ingredients, including poblanos, pasillas chiles, varieties of corn like pozole and Mayan chocolate, with Australian ingredients like finger lime, saltbush, and pickled cumquat. Alegre Bar and Dining offers a number of classic and signature margaritas with tequila upgrades for any willing connoisseurs. The standout, however, has to be the Pepino Picante. It features muddled cucumber and mint, jalapeno-infused El Tequileño reposado, Domaine de Canton ginger liqueur, Cazcabel honey tequila, freshly squeezed lemon juice and a Maldon Salt rim. If you like to keep it simple, opt for the classic margarita with El Tequileno blanco, Cointreau, lime juice and Maldon Salt. The Depot, Bondi You may not look to a Bondi cafe as your first stop on a margarita tour, but The Depot may surprise you. It's open for lunch seven days a week and dinner on Thursday and Friday nights. The cafe's traditional margarita is the classic you know and love. But this time it's served with a Maldon Salt rim, creating a seaside-infused cocktail. Its spicy margarita features finger lime, cucumber, and spice, complemented by native lemon myrtle and Maldon salt for seasoning. The coastal-inspired menu features ceviche of kingfish with fried tortilla guacamole, coconut-crusted prawns with Tajin and Maldon Salt and Sydney rock oysters with smoked Maldon Salt and fresh lime — best enjoyed while taking in a classic Bondi sunset. View this post on Instagram A post shared by Mayers Fine Food | EST. 1957 (@fmayerimports) Find the art of the salt rim at Maldon Salt.
When Sydney's first Harry Potter-themed boozy brunches were announced, the city couldn't get on their broomsticks fast enough, with the first set of events selling out quickly. Now, another lot of event-organising HP diehards are bring back the magic for another themed feast — and this time it's for Christmas Expect things to get festive. A historic building in Western Sydney will become the Great Hall for a hearty Christmas spread. Expect a roast with all the trimmings — trimmings here being potato, peas and the requisite pumpkin pasties — wizardy bevs like pumpkin juice and magical cocktails. There'll also be games (hopefully quidditch) and activities (fingers crossed for a bit of divination) and prizes (a snitch, please). If you have been looking for an unconventional way to celebrate Christmas, well, this is it. Tickets are currently on sale for both the lunch and dinner sittings for 79 galleons a head. You better get your robes ready.
Australian playwright Van Badham is known for her political, sometimes violent plays. Now, after a relationship breakdown and drawing on inspiration from a relic of Ancient Greek pottery in the Ashmolean Museum, she has written a romantic comedy. Based on the Minotaur myth, The Bull, the Moon and the Coronet of Stars is the story of two museum staff whose romantic frisson gets them into a bit of a tangle. With a mix of wordplay, humour and romance, Badham believes she's found a feminist way into a traditionally fluffy genre. This co-production between Merrigong Theatre and Griffin has already received glowing reviews following its premiere in Wollongong and is set to woo Sydney audiences in early May. We chat to Van about feminism, classics and the Minotaur. So, you wrote a play! I wrote a play! Tell me a bit about it. So, about two years ago, in 2011, I was asked to write an audio play based on a piece of pottery held in the collection at the Ashmolean Museum. It was an extraordinary commission; it was funded by the Onassis foundation, which supports a program at Oxford that promotes classical Greek literature and drama. I got this piece of pottery that had a man and a bull and I thought 'wow, that's pretty interesting', because I was mad about Greek myth as a child and I decided I would write something about the Minotaur. So you pulled a whole play out of a shard? The hook with the story was the idea of a museum and what a museum represents, which is the bricolage and mess of the past, the discarded remnants. And it's the discarded remnants that tell you a lot more about a civilisation than its official history. I was in the dying days of a long-term relationship at the time so I was thinking about relationships a lot and it all coalesced into this story, about two people who work in a museum, one of whom is married, and the attraction between them conjures a monster. That is what the Minotaur represented to me, a symbol of misplaced desire and a transgression — a mythological exploration of the Minotaur. So can we talk a bit about myth and classics more generally? Obviously in your case you were commissioned to write a play about a Greek myth so there's a clear starting point, but I have a suspicion that playwrights use classics as a way of tacking on intellectual heft to their plays. No, it's not about intellectual heft. The reason why theatre makers do revert to classical drama and adaptations is that it's very fucking hard to write a play and it's hard to write a play structurally. It's very hard to get it right where you combine spoken verbal language that has semiotic heft as well as create that uncanny valley of interpretability for an actor in performance as well as hooks, mysteries, stories and climactic patterning. So using classics is fine then as a helping hand? Yeah, investing an original structure in any form of literature is very hard. That's the actual challenge. And there's that theory that says there are only nine stories and everything else is a variation. Okay, but shouldn't that be taken as read? That classics will inform all new original works, rather than explicitly basing dramas on classics? Yeah, but realistically, one of the reasons that adaptations are so popular is that they sell tickets. I think that's what Australian audiences adore, going to a show and going 'great, I'm getting cultural cache because one, it was entertaining and two, it ticked the intellectual box of being based on a classic.' Well, this is the thing. Now that I work in programming, I can really see that brand recognition is how people make buying choices and the theatre is not spared from that. I wonder if that makes Australian playwrights scared of doing a straight-out original work that could one day be a classic in its own right. I don't think that's the issue at all. I think it gets back to fact that it's really damn hard to write a very good play. I mean my job at the Malthouse is to read plays. And good writing, brilliant writing is rare. In the time that I was at the Finborough, of the two thousand plays I read I recommended three for production. Three! It's really hard to write a classic. So knowing how hard it is as a playwright, what drives you? You're known as a political playwright, but this play is a romantic comedy... Yes it's a romantic comedy but it's a feminist play. It's about a woman whose real journey is about surviving desire and I don't think I've let women down by writing a play about that. It fulfills all the genre obligations of a romantic comedy but at the same time, I hope, based on my rather extreme level of knowledge in terms of the number of plays I've read in the past few years, I'm pretty close to something that is original in form and content. Ariadne is the female romantic lead in your play and she's defined by her romantic relationship first with Theseus and then with Dionysus. How do you balance this identity with your feminist project? Do you know what's amazing? Is that feminists, some of them, have relationships with men! And they can be really complex. And if you look at the genre of a romantic comedy in a patriarchal paradigm, generally it works with a woman having to make herself more attractive to the masculine ideal of what women should be like. And you've found a way around that? Well, this is what I try to do. My feminist project is to attack that [patriarchal] narrative whilst at the same time working within genres that are associated with women and women's enjoyment. It's romantic and funny, there are some language games in it that are clever and funny that I'm really proud of. It's about the subjective experience of desire and of love and that is quite intoxicating. The Bull, the Moon and the Coronet of Stars is at Sydney's SBW Stables Theatre from May 2 to June 8. More information and tickets here.
If you think attending a film fest is just about sitting down with your popcorn in a theatre and watching movies on a big screen, think again. At this year's Byron Bay Film Festival, they're throwing an alternative way to consume films into the mix — they're going virtual. Rest assured, coast dwellers: going to the cinema to catch a few flicks is still well and truly part of BBFF's tenth year. But if you're looking for something a little less traditional — or you want to find out why everyone is talking about virtual reality headsets Oculus Rift and PlayStation VR — then prepare to enter the virtual realm. If Cannes, TriBeCa and Sundance can tackle this new technological frontier, so can Byron Bay. Given that the festival doesn't take place until October, the full details of their VR program, called Ncube8, are still being finalised — however, you can expect head-mounted displays to be a prominent feature. A handful of mainstream movies already have VR components, such as The Martian, The Hunger Games and Star Wars, but BBFF will be encouraging the creation of fresh content. Not only will the fest host virtual reality workshops, but they'll help eight creatives take the leap into this new kind of storytelling, and offer awards for interactive and immersive experiences. The artistic possibilities are endless. That's great news for filmmakers, and for audiences as well — it will be a whole new way to experience a film festival. And given that Festival Director J'aimee Skippon-Volke and Technical Director Osvaldo Alfaro are also the driving forces behind nearby production house Greenhouse FX 3D|VR, expect BBFF to remain active in embracing VR technology. The 2016 Byron Bay Film Festival runs from October 14 to 24. For more information, keep an eye on their website.
Imagine a world where totalitarian forces rule the United States, women are subjugated to the point of being deemed property, protestors rally in response and the authorities try to keep everyone in line. Okay, imagine a fictionalised version of the above dystopian society — or let The Handmaid's Tale help you. Margaret Atwood's book has been doing just that since 1985, but has had a resurgence in popularity since the Elisabeth Moss-starring Hulu series came out last year. Now, the second season is set to air on SBS tonight, and a group of red-clad ladies have been seen on the streets of Sydney to promote it — and it's freaking people out. The handmaids were seen around Park Street and the Sydney CBD and at Sydney University. It's a very similar promo to one that happened at SXSW last year before the first season premiered. As you may know, handmaids walk in pairs, don't say anything, and generally unnerve everyone around them. If you don't, you have some homework to do. If you're up for even more anxiety-inducing tension, cancel your plans — the first two episodes are released on SBS On Demand at 5pm.
If you've ever dreamed of being a muse or walking artwork, the 19th Biennale of Sydney might just be your chance. Artist Deborah Kelly is on the hunt for 19 life-sized nude portraits to come from the Sydney, Melbourne and Brisbane public. As part of an exhibition series entitled In All Our Glory, the portraits will be fashioned through a series of collage workshops through mid-October. The Aussie artist is known for politically motivated works that explore notions of power, and In All Our Glory should be no different. So, thankfully, you needn't be Miranda Kerr to fit the bill; Kelly is scouting portrait subjects of varying ages (18+), colours, sizes, genders and abilities. But there's still room for the camera shy to contribute: Kelly's also seeking donations of unwanted picture and reference books in any condition, in colour or black-and-white. So let the wind through your pubes and make the world take you in all your glory for the 19th Biennale of Sydney, themed You Imagine What You Desire for 2014. You'll be scoring the chance to catch yourself — an artwork — in the series from March 21 until June 9. To be the next Mona Lisa all you need to do is volunteer yourself as a portrait subject by shooting a pic of your face (just face) over to kellyproject@biennaleofsydney.com.au by Friday, 11 October 2013. Drop a line to the same email if you’d like to donate books, or join in on the collage workshops by contacting frances@biennaleofsydney.com.au.
This chat about Talk to Me was meant to be with both of Australia's now world-famous filmmaking twins. But amid a whirlwind past year that's taken Adelaide-born pair Danny and Michael Philippou from a hometown premiere to an international debut at Sundance, then saw their first-ever feature part of a bidding war won by A24, Michael might've accidentally slumbered through our planned rendezvous. The energetic, eager-to-natter Danny is apologetic, and also notes that Michael was a week late to Talk to Me's pre-production, after "he got COVID in Hawaii or something, so he was held back and he couldn't get on the plane". When it comes to getting some shuteye, Michael obviously hasn't watched his own movie lately. There's little snoozing done after seeing this deliciously creepy new Aussie horror standout that's rightly getting the globe's genre lovers buzzing. Now helming 2023's eeriest flick, the Philippous cross over from making viral YouTube videos like Harry Potter VS Star Wars and Driving the World's First Underwater Car as RackaRacka, achieving a dream they've had since they were nine and getting filming in the backyard with their mates. Initially, those aspirations were fed by Goosebumps books, then by getting taken to MA-rated horror flicks. "I remember Michael being really terrified and scared of the remake of Texas Chain Saw Massacre — like he ran out of the cinema, he was so scared," Danny shares. Talk to Me spins its terrors around a helluva concept: an embalmed hand passing dead-and-hating-it spirits into the living's bodies as long as they're giving each other some skin. The film's Aussie teens oblige, including 17-year-old Mia (Sophie Wilde, The Portable Door), her best friend Jade (Alexandra Jensen, Joe vs Carole) and the latter's 14-year-old brother Riley (Joe Bird, First Day). More than that, they get high on the experience, turning it into a party game. And, they're as savvy about internet eyeballs as their directors, also turning their possession party footage into social-media content. The movie's irresistible underlying idea initially came from a short film script by Daley Pearson, executive producer of Bluey and Content, although the hand wasn't initially a part of the story. Danny, who co-wrote the feature script with fellow first-timer Bill Hinzman, grasped onto the disturbing limb as a symbol of connection — and it's now impossible to imagine Talk to Me without its cursed appendage. As the film has hopped around the globe leading up to its theatrical release — the Berlin International Film Festival and fellow Germany festival Fantasy FilmFest also screened it, as did South by Southwest in Austin — the response has been anything but damned. Sitting in A24's catalogue alongside The Witch, Hereditary, Midsommar and In Fabric, plus X, Bodies Bodies Bodies, Pearl and Beau Is Afraid as well, is no minor feat, either. "The whole thing has just been so crazy and overwhelming, and feels so unbelievable. It's so odd. It just still feels like we're dreaming. It feels so surreal," Danny advises. With Talk to Me opening in cinemas Down Under on Thursday, July 27, Danny also chatted with Concrete Playground about wanting to direct movies since the twins were kids, crafting a film about connection, the concept of getting possessed to get high, making the leap from YouTube and crew gigs on The Babadook to the big screen, and whether there's more of Talk to Me's nightmares in horror fans' futures. ON THE ORIGINAL FILMMAKING DREAM — AND MAKING IT HAPPEN "It was always our goal from from nine years old, ever since we started making stuff — we always wanted to make films and television. That's always been our dream and our goal and, yeah, you always just picture it and envision it. But it's just happening on such a massive scale now that it still feels unbelievable. I remember we were making stuff all the way through our childhood, and we had this series that we were doing with our best friends. We just did that all the way through high school, like 13 to 18 years old, about ten seasons of this show — and we ended the last couple of seasons with these big movies. On the sixth and final film of this series that we're doing, everyone was losing interest and growing up, everyone was getting jobs, getting girlfriends, doing this, doing that. And then we were just still wanting to do this stuff, and we could only get together on the weekends — and everyone's like 'hey, we don't really want to do this anymore'. So we still needed to find a way to express ourselves creatively, and then we started the internet stuff. Within the first year of RackaRacka, we somehow we we got a million subscribers in the first year, and it just became our careers. But we got carried away doing that. It was so much fun because there's instant gratification of shooting, uploading, shooting, uploading. But we always wanted to return back to the film stuff, and it just happened. In 2018 or 19, we decided to sit down and actually focus on trying to get a film made." ON RECEIVING DALEY PEARSON'S SCRIPT, THEN COMING UP WITH THE HAND "He gave us a short film. It was a comedy-horror about these kids that were having fun with possession, and it was so cool. So I did a pass and made it a bit more serious, and then I inserted the characters that I really loved that I was working on for another project, which was Mia and Riley and Jade. Once I started writing, I couldn't stop — and it was like 80 pages within five days. I sent it over to my co-writer Bill Hinzman. He went through, we started like bouncing back and forth. Probably around the second draft, we found the hand as the device that they're using. Hands and the connections between people was always such a strong motif in the film already, and it fits thematically. I remember this story from when I was 16, and I was in a really bad car accident, and they thought I might have broken my spine. And I had this big cut on my face, I was bleeding everywhere — and I was in hospital, and I was shaking and shaking, and I couldn't stop shaking. And they're putting the heaters on. They're giving me all these blankets. But I just couldn't stop shaking. Then my sister came in to visit me, and she held my hand and the shaking just stopped. It wasn't because I was cold, with the shaking. It was because I was in shock and the touch of someone I loved brought me out of it. And so that always stuck with me, that experience — there was just something powerful to me about human connection. So that was just all the way through the script already, like I'd written so much of it in there. Then we just found that device, in that second pass. It just felt strong." ON THE CONCEPT OF GETTING POSSESSED TO GET HIGH, AND FILMING IT "Another big inspiring point for me was these neighbours we watched grow up. Then one of them, as he was getting older, was experimenting with drugs — and he was on the floor convulsing and having a really negative reaction. And the kids he was with were filming him and laughing at him. I remember seeing that footage, and it really freaking me out. I just tapped into that when I was writing — like, when I saw that footage, that was all the way through this film. And it just feels like what would actually happen. Everyone has such a morbid curiosity and obsession with true crime and the paranormal. People want haunted experiences. They want to do the Ouija board and film it — everything's recorded now. So it just makes sense to me." ON DIVING INTO BUSY HORROR TERRITORY, YET MAKING A MOVIE THAT STANDS OUT "I think that not being scared of the tropes is one thing. And not being ashamed that we're making a horror film — like embracing the horror of it, and embracing the tropes of certain elements and scenes. But also just writing a story that wasn't trying to be a big Hollywood movie, or trying to be like other films. It's writing something that's just personal to me, and to my experience, and my friends' experiences or family's experiences. It's tapping into stuff like my family's history of mental illness, and then exploring that. It was always about writing things that scared me personally. And so that was the way of expressing it, at the table with co-writer Bill Hinzman, it was just tapping at the things that scared us personally. It has to feel unique because it's your own story. And then it has to feel unique with the actors that we got because they were able to put themselves into their characters and completely embody it. It can't feel like anything else, because it's unlike anything else, because it's so personal." ON LEANING INTO SOME HORROR TROPES BUT AVOIDING OTHERS "Even things like their voices changing and and being in a body with someone else, I really love that in in horror. It's even small things like the animal — there's like a trope in horror of the dead animal on the side of the road, and I liked doing our Australian spin on it. And I also like that it just tied so well into the things that we're playing with already. So that's an example of a trope that we embraced. And a trope that we avoided — I didn't want it to get too big and crazy. I didn't want all the lights to go too crazy, be flashing and stuff, be flying around the room, and everyone's hair be blowing everywhere. I wanted the possessions to still be grounded in some sort of reality." ON RACKARACKA AND THE BABADOOK AS PREPARATION FOR MAKING A FEATURE "We had so much experience with so many things, even the makeup effects. Bec Buratto, who would help us with all of our Racka stuff for free, we got on to be the head of department in the film. So it was bringing those people with us as well. But each of those videos, and every project that you do, your experience grows and you learn from everything. So we just learned so much that when it was time to do the film, we'd done VFX before, we'd done special effects makeup, we'd worked with actors, we'd built sets. We know how to communicate what we want to do, and we'd developed our own style. So we weren't going in there not really knowing what we're doing — we'd worked on film sets before, and we'd worked on so many Racka productions that we had a clear voice. We used to do so much work experience and volunteer work on a bunch of different films just to be on set, because we were so obsessed with it. And so when Mike was 19, he'd done a whole bunch of jobs for free, and the producer, one of the line producers, was like 'I'm going to get you a paid job — you can't keep doing this for free'. So he got him his first paid job, which was The Babadook. It was the runner on there, so he drove around Essie Davis and Jennifer Kent. And he was able really able to be on set, and listen and learn, and just to see how sets are navigated and run. Then I was on set just helping out the lighting department. We both, Michael and I, could see how passionate Jen was. And it was one of the first directors, I think the first director that we saw, that cared so much. This wasn't just like a job or just making something to make something. She was making art. And she was putting her soul into it. So that was so inspiring to see someone so passionate, and to live and breathe their project. That rubbed off on us for sure." ON SPENDING MORE TIME IN TALK TO ME'S WORLD "It's so funny — we've written such an in-depth mythology bible about the backstory of the hand, the spirits that are possessing the kids, and there's just so many seeds that we planted. Even when we're writing the first film, I was writing scenes for a second film — and me and the other writer were always discussing it and talking about it. The idea of franchising or doing a sequel is so exciting to us. I'd love the opportunity to do that — that be so, so cool." Talk to Me opens in Australian and New Zealand cinemas on July 27. Read our review.
Though Sydney is filled with some awesome yoga studios, there are very few chances for city slickin' yogis to breathe in fresh air while trying out their best crane pose. Pocket City Farms is connecting mind and body to the actual earth with outdoor yoga classes that overlook their urban farm. From Saturday, July 9, the one-hour classes are open to all levels and will be run by Jivamukti Yoga Sydney. The studio's focus is on compassion for all beings and so it's an especially smart partnership for the farm, which is focused on bringing city dwellers closer to the natural world. For those worried about the winter chill, the practice will be held in a heated pavilion overlooking the market garden, with additional heaters and clear blinds also available for the cooler mornings. You can sign up for both weekday and weekend classes in advance here or just drop in on the day — they've got plenty of space in the great outdoors.
Here's one way to brighten up this supremely frosty winter: rug up indoors, get cosy on the couch and belt out a tune while watching your favourite Disney musicals. Earlier this year, the Mouse House announced that it was bringing sing-along versions of heap of its popular flicks to Disney+, starting with Encanto. If you're done singing about Bruno, you can now look forward to crooning along with The Lion King and Beauty and the Beast as well. The OG animated version of The Lion King — not the recent live-action version — is getting the at-home karaoke treatment, hitting the streaming platform on Friday, August 5. Yes, that's when you'll be able to feel the love (tonight), and celebrate the circle of life as well. It'll be joined by a sing-long version of The Lion King II: Simba's Pride, so there's your double feature sorted. Prefer to sing about being someone's guest or tales as old as time instead? Then make a music-filled date with Beauty and the Beast — both versions — on Friday, August 19. So, you can pick between the 1991 animated flick and the 2017 live-action movie, or give your lungs a workout to both back to back. Plus, if you're not done with Disney fairy tales, Tangled will also get the sing-along treatment on the same date. Gone are the days when you had to wait for special cinema screenings to do what everyone can't stop themselves from doing while watching these films anyway — which, depending on how well you can hold a tune or how confident you are singing in public, might be a blessing. If you're new to the whole sing-along setup, 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. Disney+ currently has sing-along versions of Moana and The Little Mermaid available as well — and, as also announced earlier this year, Frozen and Frozen 2 are on their way. The sing-along versions of The Lion King and The Lion King II: Simba's Pride will be available to stream via Disney+ from Friday, August 5 — and sing-along versions of both the animated and live-action versions of Beauty and the Beast, as well as Tangled, will hit on Friday, August 19.
Bingo. Rave. Two ends of the spectrum of fine holiday fun finally came together in Australia this year. Bongo's Bingo is a games night like you've never seen before. Part club, part rave, and, of course, part bingo night, this unlikely fusion event has been wildly popular in the UK since 2015. They took the show on the road, launching in Australia this June and coming back in August. And, it went so well, they're doing it all yet again. Patrons can expect all of the debauchery of the original British version of Bongo's Bingo, including rave intervals, dancing on tables and a loose kind of bingo that you definitely never played with your nan (well, maybe you have). The victorious players can win everything from big cash prizes to a Hills Hoist, with a range of some absolutely ridiculous surprises on offer. Bongo's Bingo comes to 215 Euston Road, Alexandria on October 20 and 21, before heading to the Rooty Hill RSL on October 27.
Anything humans can eat, dogs think that they can munch on as well. But as every responsible pet parent knows, that isn't actually the case. So, we've all weathered those adorable, yearning, pleading looks from our beloved pooches as we've tucked into something that they'd like to taste as well. And, we've all felt the heartbreak at letting our cute critters down — even though it's for their health. Does your doggo get a twinkle in their eye whenever there's a doughnut around? It wouldn't be the first — and, until Monday, September 18, it's in luck. For International Dog Day on Saturday, August 26, Krispy Kreme has announced the return of its limited-edition range of "doggie doughnuts". They're doughnut-inspired dog biscuits, actually, but they sure do look like the real thing. First introduced in 2021, the eye-catching bikkies are a collaboration with Sunshine Coast-based pet treats business Huds and Toke, and they come in six different varieties. If you love Krispy Kreme's original glazed doughnuts, perhaps your pupper will adore the dog biscuit version as well. Or, you could let then go barking mad over choc iced, choc cookie, choc cheesecake, choc sprinkles and strawberry sprinkles varieties. The biscuits aren't made from doughnuts or from chocolate, of course; instead, they use a hard-baked cookie base, as well as frosting made from ingredients like carob that's been designed specifically for dog jaws. The bikkies are also meant to be good for chewing and for dental cleaning — and they're designed to last longer than your usual dog treat. If these round delights will get your four-legged friend's tail wagging, you can buy them in six-packs (for $14.90) while stocks last at Krispy Kreme stores — including via drive-thru. And, they are just for pets. So, just like how Fido or Rover can't have your doughnut, you can't have their version either. Grab some on the weekend of Saturday, August 26–Sunday, August 27 and you'll also score a complimentary pup cup. Krispy Kreme's doggie doughnuts are now available from the chain's stores in Australia and New Zealand until Monday, September 18. Images: Michael Leckie / PinPep.
With graceful, repurposed trolleys and plays in your lounge room, Art & About is making us rethink the familiar. And what's more familiar than everyone's favourite leafy, cafe-on-every-corner suburb of Surry Hills? Mei Tsering's The Hungry Ghost Walk is an immersive theatre app that will open your eyes to a few things about the suburb that was more slum than style in the early 1900s. After downloading the free app on a smartphone and heading to start point Bourke Street Bakery, individual theatre adventurers are introduced to a sleep-deprived Eddie, who is curious to unearth a troubling family mystery. Eddie finds out more about his Chinese ancestry and tries to feed his Hungry Ghost, and with every step, rarely told stories are uncovered about the early Chinese community who called Surry Hills home. Relying on a gripping soundscape by Nick Wishart, The Hungry Ghost Walk app uses binaural technology, meaning you'll hear things from all directions, so a good set of headphones is a must. Post-play pins and needles from sitting still for two hours are likely to be avoided here, but sensible shoes would be, well, sensible. The app also features graphics by world-conquering Sydney artist Matt Huynh and the voice work of actors Charles Wu, Odile Le Clezio and Gabrielle Chan, directed by Susanna Dowling (Girl in Tan Boots). Leave behind the incessant whisperers and loud laughers who annoy you at the theatre, and prepare yourself for a sensory adventure solo. The Hungry Ghost Walk is now available for free download from the iTunes App Store or Google Play for Android. Art & About is on until October 12, though The Hungry Ghost Walk will live on after. Top image by Newtown grafitti via photopin cc.
Bringing a splash of greenery and some of the area's best eats to a Parramatta backstreet, Circa Espresso has carved out a name for itself as one of the best cafes in Western Sydney. Its new sibling venue Lucien Baked Goods continues the team's hot streak but with an increased focus on the sweeter side of life. Lucien brings Circa's passion for top-notch flavours to the world of baked goods, swapping crab fettucini for decadent cheesecake, and trading the train station for the Parramatta ferry terminal. Located down by the river on Phillip Street, the part-bakery part-cafe boasts a hefty sourdough sandwich menu and a range of snacky delights that are sure to satisfy your sweet tooth. If you head in on the hunt for the baked good of your choice, you can expect the likes of croissants, brownies, pistachio scrolls and Persian love cake. As for the sambos, there are seven to choose from including a loaded reuben, a smoked salmon and goats cheese combo, and a confit duck sandwich topped with pickled carrot, onion jam and salted zucchini — plus some classic breakfast faves like avocado toast and a bacon and egg roll. Head Pastry Chef Aeline Ribis and the Lucien team bake several times a day to ensure the goods are as fresh as possible. If you want to make sure you'll get your hands on something specific, including Lucien's range of next-level cakes, you can pre-order online. If you've got a birthday coming up and want to go above and beyond your standard Woolies mud cake, you'll find party-ready black forest cake, choux crown cake and huge share sizes of tiramisu, custard tart and passionfruit meringue tart. Rounding out the offerings is a robust range of drinks. Whether you're a flat white lover or a cold brew fanatic, you'll find Circa's signature in-house coffee, alongside a range of tea from Ms Cattea (the coconut truffle white tea sounds particularly alluring) and other miscellaneous drinks like smoked cola, lemon myrtle kombucha, Egyptian iced tea and iced chai. Lucien Baked Goods is located at 111 Phillip Street, Parramatta. It's open 6.30am–1.30pm Monday–Friday and 7.30am–midday Saturday–Sunday.
Escape the office in time for a game of sunset bowls at Clovelly Bowling Club. Perched right on the cliff overlooking the sea, the bowlo is the perfect place to soak up the last rays of afternoon sun and ogle a glorious summer sunset next to the ocean. Round up the workmates for a $15 (per person) game of barefoot bowls, which also includes a beginner's lesson if needed. Hot tip: stop by the supermarket on the way there to pick up some meaty treats. The club provides free barbecue facilities for bowls players.
Burnham Beeches, an Art Deco mansion and 22-hectare estate in the Dandenong Ranges is getting a major makeover by Six Senses. The international luxury resort group has famous properties in Oman and Bali, but this will be its very first Australian venture. It'll also come with all the lavish trimmings you can expect from Six Senses. This mansion, designed by Harry Norris in 1933, will first open with just 43 guest accommodations alongside a restaurant, library bar, large terrace and rooftop retreat covered in foliage — perfect for its forest location. Six Senses is also planning to have a separate two-bedroom cottage and some glamping sites scattered throughout the property. But this is all subject to planning applications that are still in the works. If the project plan makes it through, it will be one of the best ways to experience the Dandenong Ranges. These campsites will be set with the native forest and conveniently located next to a truffle farm. Design wise, new and old Art Deco features will reign supreme. And the flamboyant nature of this period will be ramped right up. Think of it as an Australian hotel of the Great Gatsby era, made for lavish champagne-filled parties. But there will be a strong sustainable ethos throughout as well. The restaurant will source much of its produce from the on-site farm which will also be used for education purposes around sustainable farming and practices The herb garden is even set to produce healing and aromatic plants for use in the Alchemy Bar workshops and Six Senses Spa treatments. [caption id="attachment_692634" align="aligncenter" width="1920"] Keppel Lookout, Mount Dandenong, Visit Victoria[/caption] Guests should also be able to explore the historical, ecological, cultural and indigenous stories from Burnham Beeches and the surrounding region. These lands originally belonged to the Wurundjeri and Kulin nations — and the Six Senses team plan to acknowledge this through the art, architecture, signage, and landscaping throughout the extensive grounds. The Six Senses is putting a uniquely Australian stamp on this property, which is slated to open sometime in 2025. We will be patiently waiting. Check out the Six Senses Instagram page for more updates. Now you can book your next dream holiday through Concrete Playground Trips, and discover inspiring deals on flights, stays and experiences.
Since September 2022, Enmore Road has been classified as a Special Entertainment Precinct under a trial from the New South Wales Government and Inner West Council. The classification grants businesses a range of special allowances to encourage live music, al fresco dining and nightlife. It's also the same classification that was first given to Enmore Theatre in 2021. While the trial has already been extended once, and was now set to end in July, the Inner West Council has just voted unanimously at its latest meeting on Tuesday, March 15 to make the precinct permanent. A report released by the council showed that 100 percent of Enmore Road businesses that completed its survey about the precinct classification were in favour of it coming on full-time, while 91.3 percent of visitors indicated support and 63 percent of local residents were in favour. [caption id="attachment_850746" align="alignnone" width="1920"] Ben Sanford[/caption] The biggest issue that residents had with the precinct, especially those on streets directly off Enmore Road, was its impact on street parking — one of a few speed bumps that the council addressed at the meeting. "As with any new pilot and any new idea, there are hiccups, there are things to be ironed out, and it's critically important that we are proactive in our response and continue to engage with affected members of the community to bring them along with us," said Inner West Councillor for the Stanmore-Damun Ward Chloe Smith. "If we want this to be a success, it's not just dependant on having the support of the local business community or having the support of visitors, but also having support of residents who live in and around the SEP [Special Entertainment Precinct]." If the precinct classification does become permanent, the Inner West Council is pushing for amendments and concessions that will address any issues with curbside and resident parking, noise, litter and accessibility. This includes a parking impact study that will be brought forward from 2026 to this year, encouragement of public transport use and the 'Good Neighbour' policy — a strategy that the council has previously implemented in scenarios like the recent noise complaints surrounding The Great Club. Under the program, venues that host at least 45 minutes of live music can extend their trading hours by 30 minutes on nights when the music occurs; all noise complaints are being handled by the Inner West Council, which is looking to make the process as streamlined as possible in order to minimise disruption to venues; and footpath dining is permitted until 11pm. "The extended live performance and trading hours is like a stamp of approval, which gave us confidence to keep our shows on for more people to enjoy later into the night," Jacquiline Cunningham, the owner of Secret Garden Bar, said when the precinct's extension until July was announced. "We hired more artists, and with great live bands, drag shows and comedies free of charge, our bar has been ever more popular among punters. This trial has been a win for all." Enmore Road has continued to hold its status as one of Sydney's most exciting streets across the program's early run. Alongside top-notch live music programs from stalwarts of the Inner West street like Enmore Theatre, The Midnight Special and The Duke of Enmore, the thoroughfare has also seen even more vibrant venues open across including Bar Planet, Enmore Country Club, Bar Lousie and Irene's. Find out more information about Enmore Road's Special Entertainment Precinct trial via the Inner West Council. Top image: Enmore Country Club, Angus Bell Young
Saint Cloche gallery on MacDonald Street in Paddington has consistently been a home for some of the most talented and collectible emerging artists in Australia. The latest exhibition from Sydney-based artist Leanne Xiu Williams continues the trend with a stunning collection of her still life paintings, titled 'Vessels'. The show, which runs at Saint Cloche from Wednesday 10 May until Sunday, 21 May, is — as the name of the show suggests — a focus on objects that can hold and contain something. It might sound a little dry but it represents much more. According to Williams's exhibition notes: "[vessels] are wonderful metaphors for the way in which objects in our everyday lives hold meaning. They contain layered histories and stories which are shaped by our engagement with them. Objects can also characterise a place or person - they reveal much about a person's interests and habits." Regardless of the metaphor, Leanne Xiu Williams's paintings are strikingly beautiful and she's a contemporary artist whose work won't date any time soon. [caption id="attachment_899246" align="alignnone" width="1920"] Candle and Match by Leanne Xiu Williams; the image has been edited for use online[/caption] Photography credit: Miki Mikka
Chapters close, but new ones begin, as the Bentley Restaurant Group has announced significant venue news. After 13 years and two hats, Monopole will close, serving its last dinner service on Sunday, September 6. Following eight bustling years as an award-winning wine bar in Potts Point, the restaurant made the move to the CBD in 2020, later reinventing itself as a fine French diner. With the venue's lease ending, owners Nick Hildebrandt and Brent Savage say the time was right to wind things up — at least for now. "We are extremely proud of what we've achieved at Monopole, both in the original Potts Point location and the CDB — an enormous amount of talent has graced both the kitchen and the floor. Monopole was a ground-breaking wine bar when we opened it and has always pushed the envelope, holding two hats for 10 years and winning multiple awards for its wine list, and while we're sad that the lease has finished, we will never say never for a Monopole in the future." [caption id="attachment_971050" align="alignnone" width="1920"] Monopole[/caption] Yet the duo aren't wasting any time before launching into their next venture. Monopole's closure is met with the opening of Watermans — an Eastern Mediterranean restaurant set to move into the recently completed One Sydney Harbour development in Barangaroo. Located just metres from Sydney Harbour, the pair has teamed up with respected chef Darryl Martin (Barzaari), who will lead the kitchen as executive chef. Open daily for lunch and dinner, guests can expect Levant-inspired cuisine produced from top-notch Australian produce. "I'm thrilled to welcome Darryl into The Bentley Group family," says Savage. "[Watermans] has a strong emphasis on vegetable-forward dishes, and it's been fun to collaborate with Darryl, whose cooking I've long admired, especially his work at Barzaari." [caption id="attachment_963691" align="alignnone" width="1920"] Monopole[/caption] With the full details still to be revealed, opening menu highlights span warm hummus with green zhoug; pickled watermelon and raw tuna salad with sumac; and pomegranate-glazed slow-cooked lamb shoulder with pickled radishes and black lime. Served within a 120-seat venue, an outdoor dining area will feature two inviting pergolas immersed in greenery, while the interior offers bespoke lighting and finishes alongside a custom-made woodfired grill and oven. Ahead of Watermans October opening, co-owner and sommelier Nick Hildebrandt reflects on a massive 12 months: "2025 has been a huge year for The Bentley Group. We started the year with the launch of Eleven Barrack and we're ending the year back in Barangaroo with Watermans, right in time for summer." [caption id="attachment_971051" align="alignnone" width="1920"] Monopole[/caption] Watermans is expected to open at One Sydney Harbour in October, while Monopole will close on Sunday, September 6. Head to the website for more information.
Another year has come and gone, and Sydney's cinema community is ramping up for the return of one of its biggest events: the beloved short film festival Flickerfest. If you're not impressed by the slate of Hollywood's full-length film lineup anymore, then you need an evening at this festival of short films, which happens to be Australia's only Academy® Qualifying International short film festival. Returning to Bondi Pavilion for the 34th year running, Flickerfest runs from Friday, January 17 to Sunday, January 26 in Sydney before it packs up to tour screens across Australia. The festival program is comprised of 200 top films (handpicked from over 3500 entries) that will delight audiences while vying for prestigious awards like the Flickerfest Award for Best International Short Film, the Yoram Gross Award for Best International Animation, the Panasonic Lumix for Best Australian Short Film and the Flickerfest Award for Best Documentary - all of which are Academy® qualifying. Flickerfest prides itself on promoting talented, diverse filmmakers of all ages and walks of life. Elements of the program like Rainbow Shorts celebrate the work of LGBTQI+ storytellers; FlickerKids gathers the best of the family-friendly program; FlickerUp showcases the work of young filmmakers and Short Laughs keeps the audience laughing with a focus on hilarious comedy titles. All this, as mentioned, takes place in the stunning Bondi Pavilion. A great location like this means you can enjoy a meal or a swim in Bondi before the show. Then grab a drink from the festivals bar before you take your seat in the comfy indoor air conditioned theatre or outdoors in the Pav's palm tree-lined courtyard and enjoy a night of films under the stars with a drink in hand. After wrapping up its Sydney stint, Flickerfest will embark on its annual nationwide tour, appearing in over 40 venues across the country throughout 2025. The 34th Flickerfest International Film Festival will run from Friday, January 17 to Sunday, January 26. Tickets and the full 2025 program are available now. For more information, head to the website.
In its entire concept, Sydney Opera House's All About Women has always pushed girls, ladies and women to the front. So, when the venue announced that the next version of its key feminist festival would feature riot grrrl pioneers Bikini Kill, it couldn't have been a more perfect way to start its lineup. That in-conversation event is just the beginning of the event's 2023 program, however, with the just-announced complete bill also going big on high-profile guests — such as child actor-turned-I'm Glad My Mom Died author Jennette McCurdy and human rights barrister Jennifer Robinson. Former iCarly star McCurdy will chat through her experiences, including growing up in the spotlight, finding her independence and the events that led to her New York Times best-selling memoir, in an Australian-exclusive conversation. After successfully representing Amber Heard in Johnny Depp's UK libel case, Robinson will feature in a panel called 'The War on Women', about fighting for both rights and lives, alongside Egyptian American journalist Mona Eltahawy, Pakistani author and journalist Fatima Bhutto, and Mununjali Yugambeh and South Sea Islander Professor Chelsea Watego. [caption id="attachment_885156" align="alignnone" width="1920"] Jennifer Robinson by Kate Peters[/caption] Running from Saturday, March 11—Monday, March 13, All About Women's 2023 festival marks its 11th, and sees the event held across three days for the first time ever — growing again after it only just expanded to two days in 2022, in fact. And, in another significant change for this year, the event's lineup is guided by four festival co-curators. Doing the honours: author, podcast presenter and gender equality advocate Jamila Rizvi; Gamilaroi academic and Tell Me Again author Dr Amy Thunig; feminist social commentator, novelist and writer Jane Caro AM; and Sydney Opera House's Head of Talks and Ideas Chip Rolley. Their full program includes 25 events featuring 60-plus international and Australian artists, thinkers, and storytellers, starting with an evening of storytelling, poetry, dance and music for the fest's Opening Night Gala, hosted by Clare Bowditch and featuring actor Eryn Jean Norvill (The Picture of Dorian Gray), "mother of African contemporary dance" Germaine Acogny, Iranian Australian singer and instrumentalist Gelareh Pour, and Fatima Bhutto. And, it also spans Cult Classic author Sloane Crosley chatting about modern dating with journalist Maddison Connaughton — and a romance and reality TV-focused discussion between Bachelorette Brooke Blurton, Just The Gist podcaster Rosie Waterland, and Gamilaroi and Torres Strait Islander writer and actor Nakkiah Lui. [caption id="attachment_885157" align="alignnone" width="1920"] Brooke Blurton by Jarrad Seng[/caption] In a session about neurodivergence in women and gender-diverse people, 2021 Australian of the Year Grace Tame, Heartbreak High's Chloe Hayden, and research psychologist and activist Dr Jac den Houting will talk with Thunig — and a panel examining trying to achieve justice in sexual abuse claims, and the trauma the process can bring, will feature sexual assault law reform advocate Saxon Mullins, criminal lawyer Katrina Marson, Yorta Yorta woman and survivor advocate Amanda Morgan, and lawyer and author Bri Lee. Or, attendees can look forward to Middle Eastern and Islamic Studies scholar Kylie Moore-Gilbert hosting a session on the women-led revolution in Iran, as joined by Pour, scholar and poet Dr Saba Vasefi, and author and journalist Shokoofeh Azar; plus a panel about the body positivity movement's struggles to be genuinely inclusive, featuring Wadjanbarra Yidinji, Jirrbal and African-American former model Sasha Kutabah Sarago, body love activist and podcaster April Hélène-Horton aka The Bodzilla, fashion editor and queer rights activist Deni Todorovič, disability rights campaigner Elly Desmarchelier, and comedian and broadcaster Tanya Hennessy. [caption id="attachment_844646" align="alignnone" width="1920"] Jacquie Manning[/caption] The list goes on, covering Clementine Ford exploring the history of demonising single women, a session on women's activism through a First Nations lens, diving into starting a family in a modern world, unpacking gendered emotions, and turning Eltahawy's FEMINIST GIANT newsletter into a panel. The Girlboss movement, making tough decisions, the shame often imposed on women and girls, leading movements, a Bikini Kill gig: they all get their time in focus, too. Just like in 2022, the festival will host its sessions in-person for Sydneysiders, and will also live-stream to viewers both around Australia and worldwide — which is ace news if you live outside of the Harbour City. [caption id="attachment_874299" align="alignnone" width="1920"] Debi Del Grande[/caption] All About Women 2023 will take place from Saturday, March 11—Monday, March 13 at the Sydney Opera House, with tickets on sale from 12pm AEDT on Thursday, January 19. Head to the festival's website for further details. Top image: Jennette McCurdy by Brian Kimskey.
