We're understandably sceptical about most tech things that are promised to us. Australians are always the last to get blockbuster films and critically-acclaimed television shows, we're geo-blocked from most great things online, and we pay depressingly more than the rest of the world for all our tech and entertainment goodies. It's a tough hand we've been dealt; one so bad we've taken to just skirting the system completely and either sneakily paying for overseas services like Netflix or becoming all-out pirates. But here's some good news: it looks as though the latest streaming service being shoved in our faces won't completely suck. Joining the iffy selection of commercial Australian streaming services like Quickflix and Foxtel's Presto, Fairfax and Channel Nine's new venture looks like a winner. Launching in February 2015, it's been announced the service will offer on demand viewing with no ads and no contract, it will have a fixed fee of about $10 per month, and it'll be exclusively airing the much-anticipated Breaking Bad spin-off, Better Call Saul at the same time as the US. High fives all 'round, people. This is all every sneaky Australian Netflix user has ever wanted. In fact, to put some icing on the already spectacularly delicious cake, this new platform will also have all five seasons of Breaking Bad in its catalogue and will be revealing one more awesome show every week 'til its launch next year. If there's one thing that's holding it back, it's the name. Though it was previously referred to as StreamCo, today it was announced that this new platform will officially be called Stan. That's right, your new favourite late-night best bud/ultimate time waster will share a name with a melodramatic late '90s rap collaboration from Eminem and Dido. "[We wanted a name] that consumers could actually associate with and actually have a character with," said CEO Mike Sneesby. "Stan is not going to be a character in itself but a brand that will build its own character in being truly Australian." Regardless of that ridiculous logic, this is still a service we can get behind. Though details of the Australian Netflix launch have not yet been announced, at $10 a month Stan would actually be competitive with the US version of Netflix which Australians currently (somewhat dubiously) access for around $9. These price points are also well below the $29.99 fee Quickflix users fork over monthly. So really, it's not so bad. It's not so bad.
Over a year ago, a new Asian food hub began to unfold on the third floor of Haymarket's Market City. Australia's second (and Sydney's first) Mr Meng Chongqing Gourmet outpost was the first venue to open in the 1909 Dining Precinct. The noodle franchise is known for its particularly spicy bowls and is run by the host of Chinese dating show If You Are the One, Meng Fei. A large chunk of the other venues opening in mid-April last year, with the second bout of openings including Korean barbecue joint Kogi, Chinese eatery The Eight, Yayoi Japanese Teishoku Restaurant, a CBD outpost of Ashfield's famed Beijing Impression, sushi train Fugetsu and popular Macau hot pot chain The Dolar Shop. Now, the precinct is finally complete, and is home to nine restaurants ranging from casual takeaway joints to theatrically designed dining rooms with custom-made rickshaw installations.. The latest spots to join the hub are sushi burger venture Gojima (by award-winning Sokyo chef Chase Kojima) and Nanyang Tea Club – a traditional Singaporean and Malay restaurant spearheaded by Kaisern Ching (Chef's Gallery) and Billy Chong (Ipoh Town). [caption id="attachment_715423" align="alignnone" width="1920"] Sushi burger from Gojima.[/caption] Nanyang Tea Club's 88-seater fit-out is reminiscent of colonial-era Singapore, featuring rattan furniture, antique finishings and a bespoke rickshaw installation. Food wise, the restaurants draws from both Chef's Gallery and Ipoh Town's culinary styles, boasting a menu of traditional dishes such as chilli crab, coconut chicken soup and the signature bak kut teh (pork rib broth). On the more casual end of the spectrum, Gojima's American-Japanese fusion menu is more compact, with nine sushi burgers — made with a sushi rice and nori bun — and a selection of sides, such as Japanese-style southern fried chicken. For dessert, frozen custards and chocolate miso, green tea or strawberries and cream thickshakes are also available. 1909 Dining Precinct is located on Market City's third floor. It's open seven days a week until late.
Early in Good Will Hunting, a maths professor (Stellan Skarsgård) tries to convince his therapist friend (Robin Williams) that a troubled janitor (Matt Damon) is actually a genius. To make his case, he mentions Srinivasa Ramanujan, a self-taught Indian prodigy who compiled thousands of theories at the beginning of the twentieth century. For many viewers, that's probably the only time they've heard his name — and they may not even remember it. Stepping through Ramanujan's story, The Man Who Knew Infinity endeavours to explain why he's held in such high esteem, and to bring the mathematical pioneer to wider attention. Given that Ramanujan taught himself complex equations, earned the intrigue of academics on another continent and then proved his prowess to even the most skeptical of onlookers, he's certainly worthy of acclaim and recognition. As played by Dev Patel, his tale is filled with extraordinary achievements, spanning his childhood in Madras, his acceptance into Cambridge and his bond with his mentor, G.H. Hardy (Jeremy Irons). Sadly, it's also blighted by the prejudice of his peers, as well as numerous physical, emotional and spiritual struggles along the way. There are only so many ways that a film can cycle through the life and times of people of note, with biopics often judged on three factors: how closely they stick to the usual formula, whether they're based around a convincing central portrayal, and if they manage to shine a spotlight on little-known facts or under-appreciated figures. While The Man Who Knew Infinity is guilty of the former in the most dutiful and conventional of ways, it's also boosted by Patel's measured yet moving performance, as well as the feature's earnest and noble attempt to pay tribute to Ramanujan. Just as the groundbreaking maths wiz benefited from his working relationship with Hardy, however, Patel is at his best when Irons is by his side. The Slumdog Millionaire star might be working with his most significant role since his breakthrough appearance, but it's his veteran co-star who threatens to steal the show. As Irons exudes a mix of world-weariness, tenacity and elegance in every scene, Patel rises to match him. Of course, they're not merely playing their tweed-suited, teacher and student parts. Here, art is clearly imitating multiple layers of life. Accordingly, as a showcase for its two key talents and as a celebration of its subject, The Man Who Knew Infinity never proves less than interesting — although writer-director Matt Brown doesn't always seem to realise that. In fact, in adapting the biographical book of the same name, the second-time filmmaker could've used a little of Ramanujan's dedication and enthusiasm, not to mention Patel's passion and Irons' charm. Preferring the slow, steady and sentimental approach, he makes all the obvious storytelling and stylistic choices, including keeping everything as polished as possible. Thankfully, the broader details win out over the overall method of delivery.
If you were looking to seriously impress a special someone this winter, here's a little giveaway just for you. Three seriously dramatic acts are joining forces for French Baroque, a show that promises to turn your preconceived notions of circus and baroque music inside-out, upside-down and back-to-front. The first is acclaimed acrobatic troupe Circa, who have been travelling the world with their take on circus as stunning, mobile contemporary art. The second is French soprano Claire Lefilliâtre, who has been starring on stages all over Europe. And the third is the five-time ARIA Award-winning Australian Brandenburg Orchestra, home to some of our nation’s best interpreters of 16th- and 17th-century music. With the music of French composers Rameau, Lully and Marais as inspiration, Circa’s artistic director, Yaron Lifschitz, describes the pasticcio of selected music as combining “the longing of the night with the playful side of French baroque”. He's choreographed a performance to meet this mood. “I have responded by creating a river of moonlight that divides the stage, reflecting singer and acrobat, musician and vocalist,” he says. “In the interplay between delight and desire, between pleasure and abandonment, we see a world created where bodies seamlessly meld into song, where lives and loves intermingle and where the simple magic of singing speaks clearly to the heart.” French Baroque will be performed at Sydney’s City Recital Hall from July 22 to August 8, and at Melbourne Recital Centre from July 25 to 26. Tickets range from $20 -166, but thanks to the Australian Brandenburg Orchestra, we have two A-reserve double passes for to give away to both the Sydney and Melbourne opening nights, on July 22 and July 25 respectively. If you can't make the opening night (which you really should), you can pick your date. To be in the running, subscribe to our mailing list and then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au
Getting a hunger on post 2am no longer has to default to a Macca's run. Dae Jang Kum has got Haymarket covered, serving up authentic Korean fare into the wee hours. The menu is a little overwhelming in how many options there are, which can be an issue if it's past your normal bed time. But who are we kidding? You're there for the Korean BBQ; this is DIY dining at its best. The almighty selection of meats, ranging from $30 to $79, are served up chilled and ready to be grilled on the in-built table BBQ. The restaurant is fully licensed making it a good go-to if your evening is just beginning or in wind-down mode. Images: Kitti Smallbone
There's never a bad time for a piece of cake, particularly when it's made by one of the best dessert chefs in Sydney. We're talking about Andy Bowdy, of course — and come November, the online operation run by the former Hartsyard pastry chef will be expanding his knee-weakening range, both in terms of the types of delicious morsels available and just where the hungry masses can get them. First things first: yes, Andrew Bowden is opening a cafe, called Saga, much to the delight of his ever-growing number of Instagram followers. As Good Food reports, expect to be flocking to Enmore as soon as the eatery's first wondrous creations come out of the oven. If you like decadent, delectable sweet treats like chocolate fudge cake with Milo mousse, Malteasers and torched meringue or banana cake with peanut butter, dulce de leche, passionfruit and caramelised popcorn, then you know it's a sugar coma waiting to happen. That's not the only exciting news, though. What's a pâtissier to do when he's mastered his art — and won over tastebuds all around town, including in collaboration with Gelato Messina? Start whipping up other sweet pastries, epic pies, American deli-style sandwiches, alcoholic thickshakes and brunch-appropriate cocktails as well, obviously. Basically, Bowden's new offering will be serving up amazing food fare for all occasions — and all times of the day too. Bowden and his partner — and current Hartsyard manager — Maddison Howes have dubbed this Saga, we're guessing because opening your own cafe is indeed that. Given how creative their cakes are, we're sure this saga will be a long and delightful one. Find Andy Bowdy's Saga at 178 Enmore Road, Enmore from February/March 2017. For more details, keep an eye on Facebook and Instagram. Via Good Food.
Bondi's Jewish deli Lox in the Box is serving up babka, cured fish, all the schmears and some of the best bagels our city has to offer. Owner Candy Berger even got her Polish and German grandmothers' ticks of approval for all her recipes — and an ever-growing fan base of Sydneysiders approve, to. Especially now that Lox in a Box is delivering its bagels directly to your doorstep. While the Bondi delicatessen is only open on weekends, you can order a box of bagels for delivery any day of the week. Choose from the signature bagel with pastrami-spiced lox (salt-cured salmon), capers, tomato and schmear; the hot salt beef with mustard and pickles; or the loaded 'salad bagel' with vintage cheddar, pickles, grated carrot, sliced beetroot, rocket and jalapeño schmear. Kimberley Low Each box comes with pickles, chips and drinks. You can also build-your-own box, with bagels, babka scrolls, schmear and even kombucha. And, on Fridays, the Shabboxes are up for grabs — they come with braided challah bread, lox, pickles, Pepe Saya butter and a range of dips, and serve between 4–14 people ($80–168). You'll want to grab extra of that tasty house schmear — it's cream cheese whipped with lemon, dill and shallots. The only catch is that there's a minimum of six bagels per order, and you need to get your order in by 2pm for next-day delivery. [caption id="attachment_763495" align="alignnone" width="2000"] Kimberley Low[/caption] In store, you'll also find the herb egg salad bagel with caramelised onions and sliced tomato, plus filtered coffees using Reuben Hills coffee, Minor Figures nitro cold brew and iced chai. But, the deli is only open Friday through Sunday from 8am until sold out — and you can bet they do sell out, so best get in early. Lox in a Box is located at 2/96 Glenayr Avenue, Bondi. Opening hours are 8am–sold out Friday–Sunday. You can order delivery daily through the website. Top images: Kimberley Low
Want to elevate your next lakeside hang — literally? Jetpack Adventures kits you out with a wetsuit and helmet before strapping you into a jetpack that pumps hundreds of litres of water downwards so you emerge, dolphin-like, to hover above the water at the Sydney International Regatta Centre in Penrith. Once in the air, your instructor will tutor you (via the radio in your helmet) in the smooth veering motions that steer the craft. You can go Marty McFly-style with a board connected to your feet or opt for the pack strapped to your back. Sessions start at $135 for half an hour, inclusive of training and at least five minutes of high-flying air time. Image: Destination NSW
Flickerfest 2026 is back this summer, bringing its 35th edition of short films to the Bondi Pavilion from Friday, January 23 to Sunday, February 1. Australia's largest short film competition (with Academy® Award and BAFTA qualifications) will transform Bondi Beach into a ten-day celebration of storytelling, new talent and world-class cinema under the stars. Flickerfest received over 3,700 submissions for the 2026 competition, with more than 200 short films hand-selected for the program. The lineup champions inventive storytelling and emerging talent that's designed to move, challenge and entertain through the very best short films Australia (and the world) has to offer. Beyond the new and emerging talent being showcased, Flickerfest 2026 also sees entries from established directors, actors and producers with names like Renée Zellweger, Spike Lee, Hugo Weaving, Susie Porter and Gary Sweet all making an appearance on the program. This year, there's a mix of curated showcases to cover the breadth of stories submitted. Rainbow Shorts presents LGBTQIA+ stories from around the world, and the First Nations Showcase includes a powerful Survival Day program that honours Indigenous voices. FlickerUp Youth champions young voices while FlickerKids helps to inspire kids and families through its lineup of shorts. Love Bites showcases the short films that tackle relationships in all their messy glory, while Short Laughs features the funniest short films of the festival. Flickerfest lets you enjoy cinema under the stars with palm-fringed alfresco cinema, comfy air-conditioned theatres, and beachside bars with delicious food and drinks to snack on in between screenings. You can hear firsthand from directors who will introduce their films and immerse yourself in the creative atmosphere of the festival, located just metres from Bondi Beach. The 35th International Short Film Festival remains the beating heart of Australian short filmmaking and creativity. With tickets starting from just $22, a curated program and ten days of screenings, Flickerfest is a launchpad for new talent and an unforgettable part of Sydney's summer calendar. Book your tickets now at the Flickerfest website. Image Credits: Supplied
Tucked away from the hustle of Oxford Street, semi-hidden laneway Foley Street is home to a number of Sydney makers and artists, including Naomi Taplin of Studio Enti. Moving into Foley Street was a thrill for the designer, who relishes the interaction it permits. "Ceramics are something people want to touch, pick up and hold in their hands before they invest in it. I feel really lucky to get to talk to people and have a real conversation about the process." Studio Enti's elegant porcelain tableware, lighting and accessories have garnered a loyal following. The ceramics are beautiful, but they are also sturdy, built from Australian porcelain and made to last. Having grown up with clay (her mother was a potter) before studying at the College of Fine Arts, UNSW, Taplin admires the sustainability of a classic design aesthetic. "Once something's fired, it's permanent," she says. "If it's something faddy, it's a waste of material." In her delicate space, Taplin looks to create "pieces that have the ability to tell a story and to enrich the tasks and the lives of the user". So make sure to ask the creator herself about the pieces when you take a stroll down Foley Street. Images: Steven Woodburn.
For the past two years, heading off on holiday has been a matter of 'if' rather than 'where'. If and when border restrictions and lockdowns have allowed it, we've all been travelling to wherever we've been allowed, whenever we've been allowed — across Australia and, when the trans-Tasman bubble was open, to New Zealand as well. With Sydney and Melbourne now free of their stay-at-home stints, Queensland and Tasmania announcing their domestic border reopening plans, and the Australian Government allowing vaccinated Aussies to leave the country purely for a getaway from Monday, November 1, simply heading to whichever few spots will have you will soon be a thing of the past. You'll have options, in other words. And, ahead of all of those border changes, Virgin has just dropped a sale that's serving up a heap of cheap domestic and international flights. Called 'Yay for Holidays', this sale has 1.7-million discounted fares up for grabs — but you'll need to get in quick. They went on sale today, Monday, October 25; however, they're only available until midnight AEST on Monday, November 1 or sold out, whichever comes first. All one-way fares, the discounted economy flights cover 28 different destinations, starting at $49. Some of the domestic specials on offer include Sydney to Byron Bay for $55, Sydney to the Sunshine Coast for $75, Melbourne to Launceston from $59, Melbourne to the Gold Coast from $89, Brisbane to Hamilton Island from $85, Brisbane to Cairns from $89, Adelaide to Melbourne from $79 and Perth to the Gold Coast from $259 (and vice versa in all cases, naturally). Internationally, options span routes to Fiji, Bali and New Zealand. So, you can head from Sydney, Melbourne or Brisbane to Nadi for $229–239, to Bali from all three cities for $279 and to Queenstown from the trio from $287–302. If you're wondering when you can travel — depending on border restrictions, of course — you can book flights for trips between November 2, 2021–June 23, 2022. Only some fares cover seat selection and checked baggage, however, with the airline announcing back in August that it is now splitting its economy flights into three types. Economy Lite doesn't include checking any baggage or picking your seat, but Economy Choice does — and Economy Flex gives you extra flexibility (hence the name) if you have to change your plans later. As we are still in the middle of a pandemic, flying is little different to normal. Virgin has introduced a range of safety measures, including hand sanitisation stations, contactless check-in and face masks provided to all passengers. Wearing masks on flights also became mandatory in Australia in January. Virgin's 'Yay for Holidays' sale runs from today, Monday, October 25–Monday, November 1 — or until sold out. Find out more about current Australian border restrictions via the Australian Government's Health Direct website and its Smart Traveller website.
Playing an Australian freshly arrived in Florida in Rough Night, Kate McKinnon bafflingly calls everyone's favourite Italian meal "pizzer". When she's hungry, she pulls a jar of Vegemite out of her bag. And for some unexplained reason, she asks for toilet tissue rather than toilet paper. These are three things likely to make Aussie audiences cringe. And yet despite this, they're actually attached to the best part of the film. Much as she was in Ghostbusters, Masterminds and Office Christmas Party, McKinnon is in Rough Night a downright comic delight, the best part of an ensemble cast that also includes Scarlett Johansson, Jillian Bell, Ilana Glazer and Zoe Kravitz. If only the material matched her skills. Unfortunately this unremarkable comedy proves to be little more than a blend of Very Bad Things, The Hangover and Weekend at Bernie's, with a few familiar, sentimental musings about female friendship thrown in. Indeed, writer-director Lucia Aniello and her co-scribe Paul W. Downs — both Broad City alum — are happy sticking to a formula. If their script simply read "women behave badly, then hug", we wouldn't be surprised. You already know exactly how this film is going to play out: aspiring state senator Jess (Johansson) and her pals Alice (Bell), Blair (Kravitz), Frankie (Glazer) and Pippa (McKinnon) converge on Miami for 55 hours of drinking, partying, penis-shaped paraphernalia and selfie-worthy raucousness. That's all well and good, until they hire a male stripper and then accidentally kill him. Following in the footsteps of Bridesmaids and Bad Moms, it's great that female-led comedies are finally hitting cinemas in increasing numbers, albeit slowly. It's also great that Rough Night is helmed and co-scripted by a woman and features five ace ladies in the lead roles. Still, we can't help but wish that the film delivered more than just by-the-book observations and stereotypical characters. Sensible, envious, posh, feisty, kooky Aussie: the women here have about as much dimension as members of a '90s girl band. Outside of McKinnon, the biggest chuckles stem from cutaways to Jess' fiance's bachelor party, which involves a civilised evening of wine tasting rather than knocking back shots and snorting drugs. Of course, the fact that more amusement stems from the men in the movie than the women is an enormous problem. With most of its great ladies sadly underused, Rough Night feels like a wasted opportunity. What the world wants is more smart, funny, female-led flicks. What the world didn't need is lazy gender-swapped hijinks packaged as girls-gone-wild fun. https://www.youtube.com/watch?v=jlDvkRYrIlU
Beer-loving Sydneysiders, here's some news to say cheers to, especially if you're fond of tipples from BrewDog. Before 2022 is out, the Scottish craft beer giant will open its first-ever Sydney beer bar, as part of its previously announced collaboration with hospitality group Australian Venue Co (AVC). Your new drinking spot: the old locomotive workshop in South Eveleigh. An exact opening date hasn't been revealed as yet, but works started in August. Also, the $3.2-million BrewDog South Eveleigh will huge, if the company's arrival in the Harbour City wasn't already big enough. Spanning a large indoor dining space, a bar and a beer garden, it'll seat 720 beer aficionados inside and 190 outside, and pour 40 brews through its taps. Those beverages will cover the brand's own beers, of course, as well as guest beer tap takeovers and collaborations with local breweries. Don't feel like a brew? Cider, wine, spirits and cocktails will also be on offer, alongside a range of non-alcoholic options. All of the above will help wash down a food menu that'll feature burgers and pizzas, and do all-you-can-eat wings once a week. BrewDog South Eveleigh is embracing vegetarian and vegan dishes in a sizeable way, too, dedicating half of its range to plant-based bites — including two-for-one vegan eats on Mondays. Given the location, the beer behemoth's first Sydney spot will pay respects to the site's history, with the architects at Studio Y designing the venue around the original workshop machinery collection. You'll be able to peer at it as you drink, in fact, truly turning your day, afternoon or evening sinking pints into a unique experience. BrewDog South Eveleigh will mark BrewDog's fourth Australian location. It launched its first Australian brewery and taproom in Brisbane in 2019, and has a second Brissie venue on the way this spring in Fortitude Valley. The brand also has its debut Victorian site on the way before summer hits, setting up shop in Melbourne's historic Pentridge Prison precinct. BrewDog's Sydney welcome comes via that new partnership with AVC, aka the group behind spots such as Cargo, Kingsleys and The Winery. It sees the world's largest craft beer bar operator join forces with one of Australia's big pub operators, and will span multiple sites — but exactly where and when any venues beyond South Eveleigh and Pentridge will open hasn't yet been revealed. BrewDog currently operates over 100 beer bars worldwide, having recently launched outposts in Mumbai and New Albany (USA), and with huge flagship bars coming soon to Las Vegas and Waterloo (London). BrewDog South Eveleigh will open in Bays 1 & 2, Locomotive Workshop, South Eveleigh, 2 Locomotive Street, Eveleigh, some time before 2022 is out — we'll update you with further details when they're announced.
If you love movies, then you likely miss video stores. You probably have fond memories of all that time time you used to spend scouring the shelves trying to decide what to watch, as well as your attempts to find gems — or just truly weird and wonderful flicks — beyond the big new releases. Scrolling through streaming services just isn't the same, even if it has been keeping us all occupied during lockdown. The folks at the Randwick Ritz clearly miss old-school video stores, too. So, during Sydney's ongoing lockdown, the cinema has set up its own lending library. If you live within the same Local Government Area, or within five kilometres of the venue, you can head by to borrow a DVD or VHS copy of a range of movies. You'll obviously need a player to pop them in at home, though. Set up in a tower of crates outside the cinema, the video store encourages folks to borrow, watch, then return their flicks of choice — all without paying a cent. And, if you have some old discs or tapes at home that you don't want, you can donate them to the cause to help out your fellow locked-down movie buffs. Head along from 1–4.30pm on Sunday, September 5 and you'll also be able to takeaway popcorn, choc-tops, beers, wine, gift cards and cinema merchandise as part of a Father's Day pop-up. If you nab something for yourself as well as your dad, that's completely fine as well.
It's funny, you might think the crossover between people who love geek stuff and people who love art stuff would be small, but not so. GRAPHIC Festival at the Sydney Opera House has been proving the crude stereotypers of the world wrong for four years now with its melange of comics, animation, illustration, music, multimedia and storytelling. Not only does the festival pull audiences, it puts on some of the most new and daring events in the country, which in past years have included Gotye's live animated album preview for Making Mirrors and Elefant Traks' Dr Seuss-inspired concert. The headliners are here in abundance in 2013, and they're mainly drawn (ha) from the world of comics. The man most credited with introducing comics as a 'serious' medium and Pulitzer Prize winner for Holocaust-themed Maus, Art Spiegelman, will present a hybrid of slides, talk and music in a performance specially commissioned for the festival. The event, called WORDLESS!, will see Spiegelman share his own history while expounding on the depth comics are capable of. Same room, same day: Grant Morrison — legendary writer of such titles as Batman: Arkham Asylum, The Invisibles, New X-Men and All-Star Superman — will be in conversation with Gerard Way (former My Chemical Romance frontman, now award-winning comic artist). Morrison's not the only Arkham Asylum alumnus either; there's idiosyncratic artist Dave McKean. Best known for his collaborations with Neil Gaiman, he also designed the beasts in two of the Harry Potter films and created more than 150 album covers. And he makes music — six songs of which appear with three stories and a stack of images and film in 9 Lives, his Australian premiere performance during GRAPHIC. Also in the mix are Seth Green (Oz! Scott Evil!) and Matt Senreich of Robot Chicken; Wolverine and Swamp Thing co-creator Len Wein leading a workshop; The Incredibly Short Film Festival (it's GIFs, of course); The Cinematic Orchestra in full flight; and Radio National's Radio with Pictures team-up of homegrown artists and storytellers. They don't say it on their promo material, but what you should understand is that GRAPHIC is like arty Comic-Con, and you don't need to be an uber-fan to feel part of the party. There are few events quite like it in the world. The festival runs from October 4-7 and tickets are on sale on Friday, August 2, at 9am from the Sydney Opera House website.
Thanks to the pandemic, and the restrictions and border closures that've come with it, travelling further than your own city hasn't been all that easy over the past 15 months or so. But Virgin Australia is about to give you some extra incentive to travel — and to get vaccinated against COVID-19. The airline has announced that it'll be launching a new competition called VA-X & Win, which will hand out free flights and a heap of frequent flyer points to Aussie who've had the jab. That's the catch, obviously. To enter, you'll need to roll up your sleeve first. "What the latest lockdown in Melbourne and the evolving situation in Sydney has taught us is the sooner we can all get vaccinated, the sooner we can get on with our lives, without the constant fear and uncertainty that come with lockdowns, restrictions and closed borders," said a Virgin Australia Group spokesperson in a statement. "Most importantly, the sooner all Australians are vaccinated, the sooner our most vulnerable members of society will be protected," the statement continues. "We are proud to have served the Australian community in so many ways over the past 20 years. The VA-X & Win competition is just the next instalment of our service, and is our way of helping boost vaccination numbers to protect the lives and livelihoods of all Australians." A few different prizes will be on offer, including millions of Velocity Frequent Flyer Points and dozens of free flights — in Business Class, too. Also, one person will become a Velocity Points millionaire, with the lucky winner then able to put those points to plenty of use. Most of the details are still quite vague — including how you'll prove you're eligible, how to enter and exactly what prizes will be on offer — given that the competition won't launch until COVID-19 vaccines are made available to all Australian adults. Exactly when that'll happen hasn't been made clear by the Federal Government during its delayed vaccination rollout. At present, adults aged between 16–39 still aren't eligible to get vaccinated unless they're are of Aboriginal and Torres Strait Islander descent; work in quarantine, border or healthcare roles; are an aged care or disability facility worker or resident; work in a critical and high-risk job such as defence, fire, police, emergency services and meat processing; have an underlying medical condition or significant disability; or participate in the NDIS, or care for someone who does. Virgin's VA-X & Win competition will launch once COVID-19 vaccines are made available to all Australian adults. For further details about the contest, head to the airline's website.
Humans aren't the only creatures feeling isolated in the time of COVID-19. At the Sumida Aquarium in Tokyo, spotted garden eels are too. And, like anyone trying to stave off loneliness, they're turning to video chats to stay connected to the world — with help from the venue's staff and, if you're keen, from you as well. From Sunday, May 3–Tuesday, May 5, the currently temporarily closed Japanese tourist attraction is encouraging lovers of marine life to make a video call to the site. Once connected, you'll be able to wave and talk to the tank of eels — more than 300 of them. It's all part of a 'face-showing festival', timed to coincide with Japan's Golden Week. Usually, it's a period of celebration, vacationing and travel, but with the country battling the coronavirus, the focus of this year's festivities is staying home. If you're wondering why eels might need to see humans waving at them via video chats — or why the aquarium has arranged the event, to be exact — it's all about health and wellbeing. Normally, the long, slender fish poke their heads out of the sand in their tank, saying hello to human visitors; however with the site out of action due to the coronavirus, and only the venue's staff in attendance, the aquatic creatures are becoming more than a little sensitive, wary and shy. Sumida Aquarium's garden eels inhabit one long tank, with attendees generally spying many, many thin bodies popping out of the sand. In person, it's quite the sight to behold. At present, though, the eels are burrowing instead — which makes it hard for staff to check on them to make sure they're okay. https://www.facebook.com/Sumida.aquarium.official/videos/3333965059986958/ The aquarium is also eager to ensure that the eels don't forget what it's like to be surrounded by humans, so they don't continue their reluctant ways once the venue re-opens. Although it has been shut since March 1, the Sumida Aquarium is typically rather busy, which isn't surprising given its location: beneath Tokyo Skytree, the towering 634-metre tower that's the second-tallest structure in the world. If you're eager to chat, you'll need to do so via iPhone or iPad — i.e. via FaceTime — with five email address set up so callers can connect. The aquarium is taking calls from 11am–3pm AEST (10am–2pm in Japan) across each of the three days, and asks participants to limit their calls to five minutes each. For further details about Sumida Aquarium's 'face-showing festival', which runs from 11am–3pm AEST (10am–2pm in Japan) between Sunday, May 3–Tuesday, May 5, visit the aquarium's website. Top image: Haya_BS via Flickr.
While horror has traditionally been the realm of the silver screen, The Walking Dead and newcomer Hannibal have brought all the magnificent gore, thrills and frights of the genre into our homes and onto our televisions. Part cop drama, part serial killer thriller, NBC's Hannibal is a somewhat-prequel to Silence of the Lambs starring Mads Mikkelsen and Hugh Dancy (you can guess which one's the conniving, cannibalistic title character). Recently renewed for a second season, it investigates the lives of Will Graham, an FBI agent, and Hannibal Lecter, forensic psychiatrist. The story is based loosely on the material of Thomas Harris's horrific novel Red Dragon but adds a few grotesque twists along the way. The A.V. Club's Todd VanDerWerff described the series as "an intricately twisted serial-killer thriller, but it's also a surprisingly deep series about psychiatry and the state of the human mind", adding that it "had every reason to be a cheap cash-in and has, instead, turned into one of TV's best shows." The Walking Dead, meanwhile, is more out-and-out horror — and, at this point, one of the most well-known and loved TV shows on the planet. Zombies, backstabbing, amputations: totally gross, and totally excellent. About to start its fourth season, it's packed with scream-out-loud scares, and brings a "film-quality drama series about zombies" to life on television. Season three picked up the story three months after season two ended, with both factions of the main characters attempting to keep their lives together whilst, of course, fighting off the infected zombies. Hannibal: Season One and The Walking Dead: Season Three are released on DVD in Australia on September 25. Thanks to Hopscotch Films, we've got 10 prize packs including copies of both series to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Before Wolf Man let out any howls on-screen, it went into production with a roaringly great idea: Leigh Whannell, fresh from his 2020 hit The Invisible Man, again taking on one of horror cinema's iconic monsters. But this update of 1941 classic The Wolf Man almost didn't happen, at least not like this. In the past decade, rumours first circulated that Dwayne Johnson (Red One) was set to bay at the moon, then a reimagining with Ryan Gosling (The Fall Guy) was simmering — the latter of which Whannell was linked to, then dropped out with Blue Valentine and The Place Beyond the Pines director Derek Cianfrance set to step in instead, then returned to but with Christopher Abbott (Poor Things) starring. Initially, Whannell declined the Wolf Man opportunity. Why did he change his mind? "I think it was hitting upon my way into the character," he tells Concrete Playground. "They were very smart in their inception of me — they said 'well, just as an exercise, what would you do? How would you approach this character if you were to do it — not saying you are, but what if you were?'. And so I started thinking about it, and once I hit upon this idea of perspective and using the camera to shift perspective, that's when I was hooked. Once I have an idea that is keeping me awake at night and I can't stop thinking about it, it's almost like you have to make that film to get that idea out of your system. If something's obsessing you, then you've got to exorcise it. You've got to get it out. And that was it." Co-written by Whannell with his wife Corbett Tuck — an alum of the Whannell-co-created Insidious franchise as an actor, including featuring in his directorial debut Insidious: Chapter 3 — this Wolf Man delivers what it promises, of course. It's a werewolf film, with Abbott's character of Blake Lovell destined for an unwanted transformation. But as anyone that saw The Invisible Man and experienced how it found an inventive way into its well-known horror figure knows, and everyone who watched Whannell's body-horror Upgrade before that and spotted its riff on Frankenstein as well, the Australian filmmaker isn't interested in straightforward or obvious do-overs. He's modernising movie monsters and grounding them in resonant emotion. As The Invisible Man's lead, Elisabeth Moss (The Veil) wasn't in the titular role but rather played the transparent force's target, aka his ex-girlfriend, for instance, in a picture about domestic abuse, coercive control and gaslighting. This time, while again examining the loss of agency as he keeps doing cross his career, Whannell spins an exploration of trauma, plus the transformation and grief that it can spark — and of a marriage and a family tested by it, and also of the breakdown of communication in a relationship, and the mourning over losing someone slowly before your very eyes — around cinema's werewolf archetype. It's a hauntingly effective way in, and a shrewd and engaging one. Again, feeling the impact on those closest to the movie's namesake is essential. As Blake's wife Charlotte, enter Ozark Emmy-winner Julia Garner, starring with Abbott for the third time following Martha Marcy May Marlene (the feature debut for both) and an episode of Girls. She's also currently on a four-film streak where tension and unease is the prevailing mood. The latter and discomfort were equally crucial in her turn in quickly bingeable, ripped-from-the-headlines streaming series Inventing Anna. "There's not just one family member," Garner advises, explaining why it was so pivotal to her that what Charlotte goes through is just as key to the narrative as what Blake faces. Wolf Man uproots the couple and their eight-year-old daughter Ginger (Matilda Firth, Coma) from their San Francisco existence — where Charlotte is an investigative journalist and loving it, Blake is a doting dad but adrift in his surroundings otherwise, and strain already stresses the pair's marriage. While it takes some convincing, soon they're in rural Oregon, where Blake grew up and where the film opens. As a child (feature first-timer Zac Chandler) in the 90s in an area where a strange virus has been linked to wildlife, his survivalist father (Sam Jaeger, The Handmaid's Tale) isolated the family from the rest of the world. Blake has now inherited the property, sparking his comeback decades later, as well as the use of impressive practical effects by Whannell's team to make good on the movie's moniker. First coming to fame at home as the film critic on beloved 90s Saturday-morning TV show Recovery on the ABC, and with acting credits in The Matrix Reloaded, Death Sentence, Dying Breed, The Mule and more to his name, Whannell did indeed wish when he was starting out to be where he is now. His path that also spans bringing both the Saw and Insidious franchises, two of the biggest sagas in horror of the 21st century, to audiences with fellow Australian James Wan (Aquaman and the Lost Kingdom) — and starring in them. But he steadfastly appreciates his journey and, as he notes, "that luck plays a massive part in film-industry success". While he's been doing big things as Aussie filmmaker, Garner keeps working with Down Under talents. See also: Kitty Green's The Assistant and The Royal Hotel, plus Rosemary's Baby prequel Apartment 7A from Relic's Natalie Erika James. We chatted with Whannell and Garner about their routes to Wolf Man, how the film continues trends in each of their careers, casting and the movie's fresh interpretation of the Wolf Man story. The figure is no stranger to the screen, after all, with 2010's The Wolfman also going the remake route, and focusing on werewolves at the heart of films as varied as 1935's Werewolf of London; the 80s trio of An American Werewolf in London, The Howling and Teen Wolf; and Wolf in the 90s (and others). Part of our interview, too: Whannell's recurring themes, Garner's reunion with Abbott and more. On Whether Whannell Ever Dreamed That He'd Be Modernising Iconic Movie Monsters Back When He Was a Film Critic on 90s ABC Series Recovery Leigh: "I think I did dream. I mean, 'dream' is the right word, because they were very much daydreams. I don't think I took it past the daydreams. Once you start actualising a daydream, where you're drawing up plans and charts, and thinking about the chess moves that you're going to make to get there — I was just wishing for it. So I think that the fact that I actually am doing it is a literal dream come true, but it's also surprising to me. Because I think if I hadn't met the right people at the right time — and it's a very particular path I had to walk. One wrong move and this all goes in a different direction. On Garner Engaging with a New Way Into a Horror Classic in Wolf Man Immediately After Rosemary's Baby Prequel Apartment 7A — and If That's a Daunting Task Julia: "With this one, I feel like a lot of it is just that's what people want to see now. I feel like most of the movies that come out in this day and age are horror in a way, so I think that's what's popular now. And I'm just an actor that that needs to work — what can I say? No. But that's what's popular. The thing with Wolf Man that's interesting is that I actually didn't watch any — I've watched the previous Wolf Mans before, even before I was attached to this movie, but I didn't rewatch any of the previous Wolf Mans because I always felt like it felt very different and it wasn't connected to the previous Wolf Mans at all. So I wasn't going to take that as reference, movie reference. I found other places that were more beneficial for this Wolf Man than the previous Wolf Mans." On What Motivates Whannell to Make New Versions of All-Time Horror Greats Leigh: "I think they're iconic characters that people know. They're known around the world. The Wolf Man, Invisible Man, Dracula, Frankenstein — these characters are truly global, and people have a firm idea in their head. You say 'Frankenstein' to somebody and they have a picture in their head, probably the classic Boris Karloff image of the square green head with the bolts in the neck. There's that, but having said that, they're not locked in. People have done many things with these different characters. You can take the Wolf Man and plug it into a teen comedy. They did with Michael J Fox in the 80s. You can take a werewolf and plug it into a children's film. My kids watch animated movies with the Wolf Man running around, and Adam Sandler's doing the voice of Dracula. They're very malleable. They're so entrenched in pop culture that they don't even have to sit in one lane anymore. [caption id="attachment_788088" align="alignnone" width="1920"] The Invisible Man[/caption] That's what's exciting to me, because getting people into movie theatres these days is difficult. If you can take a really known character like that and create essentially an original film inside of it — like with The Invisible Man, I was essentially creating my own story. I wasn't adapting a novel. I was creating this character of Cecilia, her inner world. So it's a way of having my cake and eating it. I get to write an original movie that's based on an iconic character, and the fact that it's so well-known means that studio has a way in. They can sell it to people. It's an equation you have to think about, I think, when making movies these days, because getting people into theatres is tough." On Why Whannell's Approach to Horror Monsters Appealed to Garner, and What She Was Excited to Dig Into Julia: "That it felt very real and very grounded. I thought that was a super-interesting combination, with the supernatural element of a monster movie, like Wolf Man. So, that contradiction — well, any contradiction always interests me. I think playing a mother, but not only playing a mother, playing a working mother — a mother that is struggling with what her identity is. I interviewed a lot of working mothers separately, and they all had similar responses, in a way. And the pressure of being a woman in this in this day and age — there was different pressure being a woman in the past, but there's now this different pressure of this day and age, and they all had similar responses. But then to add on top, something that was also just interesting was the sense of acting, how I approached it, too, was the seven stages of grief taking place in one night. And I think that was a really interesting challenge as an actor, because playing anything that takes place in one day is very challenging, let alone having the stages of grief — that's very challenging as well." On Wolf Man Combining Its Monster-Movie Setup with Musing on a Marriage Breakdown, a Family Strained by It, and Grief and Loss Leigh: "I think it is a balancing act, but it's one of the things I love about screenwriting is calibrating it. You're shaping something. You're making this sculpture. And to me, there's something very musical about writing a film, because there is a rhythm to it — and it's a rhythm that you just feel, you kind of feel it in your bones. You're just like 'okay, I need a chord change here. It's time for a big moment, and then I'll pull back'. I love doing that. I love being the god of my own little world. So much of life is out of our control — but when you write a screenplay, you create these people and you can treat them badly, you can treat them well, you can give them victories, you can rip the rug out from underneath them. There's something very cathartic about that, about controlling the fate of these imaginary people. And so I do enjoy that calibration. I do enjoy deciding — and so I'll give them a moment of connection, and I'll give them an emotional moment, and then I'll be vicious to them. You really are putting these characters through the wringer and you just have to use yourself as the barometer of 'when do I get emotional and when do I write things up a little bit?'. On Elements of Horror, Tension, Unease and Discomfort Simmering in Garner's Last Four Films in a Row — Including The Royal Hotel and The Assistant Julia: "I think it's funny. I look at those two movies, I don't look at them as horror movies so much, Royal and The Assistant. I look at them more as movies that have a lot of tension, and movies that have more of a grey area — and that's what feels like horror, a grey area is sometimes scarier because it feels more real. But this movie is different from anything that I've done, because this is actually the most of an action movie from out of anything that I've done, so that was one of the things that I also wanted to do. There was a lot of physical just running and all the things that I'm doing this movie. It was like an action horror movie it felt like, this film." On Why Whannell Keeps Telling On-Screen Tales About the Loss of Control and Agency Leigh: "That's interesting. A lot of times I treat interviews like free therapy, where I'm discovering in real time what the hell it is I do with my life. The old saying 'a fish cannot describe water' applies — I'm so inside of my films and so close to them that I'm not always the best person to tell you what they're about. Someone like you, who's coming in with a fresh set of eyes, you have a better Google Maps-view of this thing that I've done, and you maybe can pick up things. So I'm surprised a lot of times. Hearing you say that, I'm like 'okay' — and thinking about it, I'm like 'yeah, you're right'. There is this throughline through Upgrade and The Invisible Man and Wolf Man, and a lot of stuff I've done. I think that — just unpacking this in real-time here for you — I think that feeling like being out of control is something I'm afraid of in my own life. I'm somebody who wants to know what the plan is. I'm trying to keep a lid on the chaos of life. Some people are better at going with the flow. I definitely need that and I've always been like that. So maybe it's a fear of mine that's coming out. But also I think it just makes for good drama when you have someone who is being stripped of their agency and who they are. That's just great drama, especially when the person doesn't deserve it, when they're a sympathetic character. They say the key to screenwriting is to put your main character up a tree and throw rocks at them. I guess I enjoy torturing these fictional people because that makes for a good screenplay." On the Importance of Key Surroundings in Garner's Recent Films, Such as Wolf Man's Oregon Farm Setting Julia: "Surroundings in general, I think, is — and this is actually not on the actor, but I think if a director is not using the surroundings, that is not good for the film because it's a character on its own. So you're not getting to know another character in the film." On How Whannell Knew That Abbott and Garner Were His Wolf Man Leads Leigh: "I knew both of their work and knew how talented they both were. With Chris, the final straw was seeing him do a play in New York where he was just so great. And he was just ball of energy on stage, just raging — and then I went and saw him backstage and he's just chilling out with a glass of wine. And I was like 'okay, this guy, this guy is amazing that he could do that and then this'. I could see that he could switch it on and off. And with Julia, I already knew what she was capable of. So a lot of times with actors, unless you're a Christopher Nolan or Steven Spielberg, you really are just fishing for a yes. You don't always get that. I've written plenty of impassioned letters to different actors trying to sell them on a film I'm writing and gotten the rejection. Even directors can get rejected. Actors face a lot of rejection, but directors do too. So I'm just so happy that these particular two people responded. I was waiting for Julia. I was like 'uhhh, I haven't heard anything for a couple of days'. I'm reading into it. 'I guess she's going to pass'. And then she texted me a little wolf emoji. And I was like 'all right'. It was just one of those happy times when two people you know can do it both said yes." On Garner Working with Christopher Abbott for the Third Time — and How They Drew Energy From Each Other in Their Wolf Man Performances Julia: Well, it definitely didn't feel like the first time I met him. So that was easy. And Chris is such a great actor, so I was very excited to attach myself to this. Chris met me when I was 16 years old, which is crazy — there is history. Just being real, I think is so important. Being real and being open, because if you have just open behaviour, then that makes your scene partner hopefully more open. So that openness is contagious, and then you get a real response. On What Whannell Makes of His Journey From Australian TV to Co-Creating the Saw and Insidious Franchise, Then Upgrade, The Invisible Man and Wolf Man Leigh: "A lot of it's been surprising. So much of the movie industry is gambling, and you the old saying 'nobody knows anything' applies, I think. Certainly in Hollywood, where you've got these big studios spending lots of money and it's a profit-driven industry. Unlike Australia, it's not a a government-supported art form. It's a deluge of capitalism, and you stand or fall on that box office. And there are detours you can take, i.e. spend less — well, then you're not on the hook as much; the less money you spend, the less you're expected to make. So anyone who manages to scrape out a career, it's kind of a surprise — because when James Wan and I did that first Saw movie, we never expected that people would actually go to see it, and never expected to turn into this huge franchise. And it was a total bonus prize. So it's surprising more than anything. And I think when luck is involved, it can keep you humble — or it should. If you start believing that you're there because of destiny, that you were chosen by the hands of fate, that's when you're in trouble. That's when your ego's talking. But if you have a healthy awareness that luck plays a massive part in film-industry success, it does keep you god-fearing. It keeps you humble in the face of that luck. Here I am again talking to you, I'm rolling the dice again. I've made a film. I'm hoping it does well. But I have no idea how it's going to connect with audiences. That part isn't up to me. There's nothing I can do or say to make this film connect with people. It either will or it won't. So yeah, I'm just very well-aware of that." [caption id="attachment_927986" align="alignnone" width="1920"] The Royal Hotel[/caption] On How Garner's Run of Working with Australian Directors Came to Be Julia: "I don't know. Well, Kitty is one of my closest friends, so I will do anything with her. I literally was just like 'I need to call her'. I love Australians. I think you guys are awesome. And you guys have great, great directors and art coming out of there, so I'm always intrigued by what an Australian has to say." Wolf Man opened in cinemas Down Under on Thursday, January 16, 2025. Leigh Whannell will chat about the film at the 2025 AACTA Festival, which runs from Wednesday, February 5–Sunday, February 9, 2025 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise, Gold Coast.
The mornings have lost their icy chill. The weekends are getting sunnier. And — if you're like us — you might be feeling a little sluggish from all that raclette and cheese-wheel pasta and binge-watching Stranger Things 2. So, now's the perfect time to dust off your runners, get outside and start training. Keen to conquer your first fun run? Determined to beat those City2Surf hills that took the wind out of you this winter? Upping the stakes from a half- to a full-marathon? We've teamed up with Hahn to track down the most picturesque running locations in your city. Whether it's a waterside run in the CBD or a rainforest trail a short drive away, we've found it. And because we all need a little motivation to get those hearts pounding and those legs moving, we've also picked the best pub nearby to cooldown with a post-run beer. Balance is key. SYDNEY CBD: MRS MACQUARIE'S CHAIR THEN OPERA BAR Smack bang in the centre of the CBD is one of Sydney's most picturesque runs. Start in the Domain, jog up to Mrs Macquarie's Chair and continue around the sparkling harbour to the Sydney Opera House. Stop to take a photo (because how else can you prove you've been for a run if you don't document it on social media?) and continue around Circular Quay to The Rocks. If you're feeling extra active, we suggest running across the Harbour Bridge — the views alone make it worth the extra kilometre. When you're done, head back to Opera Bar for a cold pint. The best part? You can easily fit this run into your lunch break. SYDNEY FURTHER AFIELD: SPIT BRIDGE TO MANLY THEN HOTEL STEYNE If you, like many Sydneysiders, have jogged the Bondi to Bronte path a few (hundred) times, you're probably looking for somewhere less populated, but equally photogenic to visit. Look no further than the Spit Bridge to Manly trail. The 10-kilometre trek takes runners through the Sydney Harbour National Park, past small beaches and inlets and up high with elevated views over the city. If you stray off the track, you may run into Crater Cove's historic (and hidden) 80-year-old cabins. A word of warning: it's a hilly run (with more than a few steps) so we suggest packing plenty of water, a camera and your credit card, and heading toward the waterside Hotel Steyne for a cooldown dip and icy pint when you finish. MELBOURNE CBD: YARRA TRAILS THEN FORESTER'S The Main Yarra Trail, which runs from the northeast suburb of Eltham to Southbank, is a cool 33 kilometres. If you're up to this stage in your training, great — tie up those laces, slap on that Garmin and start jogging — but, if the thought of running that far fills you with dizzying, nauseating dread (we feel it), fret not. The Yarra Trails encompass a range of different length runs for different levels of fitness. Head to the lush Yarra Bend Park, a short ten-minute drive from the CBD, and pick your distance. You can head off on a quick one-kilometre jog around the oval or a seven-kilometre loop past Dight Falls. When you've finished, walk (or run) across to Forester's Beer & Music Hall for a pint and a parma (hot tip: the pub offers $5 parmas every night from 5–10pm). MELBOURNE FURTHER AFIELD: BLACK ROCK TO BRIGHTON THEN HALF MOON Black Rock may only be a 30-minute drive from the city, but its isolated location and stunning views over Port Philip Bay make it feel much further away. It's also the perfect place to go for an early morning run. Start the ten-kilometre track at the Black Rock Yacht Club, pass the Red Bluff Lookout, do some sand sprints on Hampton Beach and end at Brighton Beach's 82 colourful bathing boxes. If you're looking to extend your run, continue up the coast to Elwood beach or even further to St Kilda Pier. Once you're done, head back to Half Moon in Brighton. The rustic pub boasts six different dining areas where you can unwind with a pint. [caption id="attachment_593141" align="alignnone" width="1280"] Emily Davies.[/caption] BRISBANE CBD: THE RIVER LOOP THEN THE CHARMING SQUIRE A waterside jog isn't a bad way to spend a lunch break, especially when it's right in the middle of the CBD. How far you want to run is up to you, but we recommend kicking off on the southern side of Goodwill Bridge. After something short and sweet? Jog down to Victoria Bridge, over and back for a 3.5-kilometre loop. Something a bit longer? Head the opposite way to Story Bridge for a 6.5-kilometre loop. Getting close to completing a marathon? Look to the 35-kilometre Brisbane River Loop. It follows the river from South Bank all the way to Indooroopilly and back. When you're done The Charming Squire is serving up brews and views, waterside. BRISBANE FURTHER AFIELD: MOUNT COOT-THA THEN SUMMIT RESTAURANT & BAR Half-an-hour drive from Brisbane's CBD is Mount Coot-tha Forest — 1500 hectares of lush eucalypt forest. Inside this reservation, you'll find a heap of different running tracks. While the Brisbane City Council gives a full rundown of all your options here, these are a couple of our favourites. The Summit Track, a four-kilometre round loop, takes you from JC Slaughter Falls picnic area to Mount Coot-tha Lookout. It's a steep run up, but you'll be rewarded with an easy jog downhill on the way back. If you're more ambitious, there's a ten-kilometre loop that starts at the Sir Thomas Brisbane Planetarium, heads across to the lookout, then follows Sir Samuel Griffith Drive, through the trees and back to the starting point. Since you survived, you deserve a beer and Summit Restaurant & Bar (next to the lookout) has some chilled for you. Top image: Brooke James Get outside and on a run now — there's an ice cold Hahn waiting for you at the end.
Sydney is now home to a dedicated Harry Potter-themed store. Harry Potter and the Cursed Child is set to return to Melbourne's stage this year. It looks like a new HP-related TV show is in the works, and Japan is due to score a theme park dedicated to the titular wizard. Yes, if you're a fan of the wizarding franchise, there are plenty of ways to keep indulging your love. Another one is coming, too, thanks to Harry Potter: The Exhibition. If the name sounds familiar, that's because it has existed since 2009 — and came to Sydney in 2012. Come 2022, however, a huge new version will start making its way around the planet, in a partnership between Warner Bros Consumer Products and Imagine Exhibitions. This time, Harry Potter: The Exhibition will cover all things Fantastic Beasts-related, too, if that's how you've been getting your magical fix over the past few years. In total, the big HP showcase will span between 929–1858 square metres, and feature everything from props and costumes from the ten movies to-date to installations that recreate the world of the books and films. While exact details of what'll be on display haven't been revealed as yet, the exhibition is set to "present beautifully crafted environments that honour the beloved characters, settings and beasts seen in the films while exploring the filmmaking magic that brought them to life" according to Imagine Exhibitions' statement announcing the new tour. The company also advises that Harry Potter: The Exhibition will "celebrate the most iconic moments of the films and stories of Harry Potter, Fantastic Beasts and the expanded Wizarding World". Just where it'll be heading hasn't been announced so far either, but the showcase will tour to multiple regions, including cities in North America, Latin America, Europe, the Middle East, Africa and the Asia-Pacific region. So, you can start crossing your fingers that a visit Down Under will be among its stops — or saying "accio exhibition" as often as you like. For now, Australian fans can stream the eight original films as they've just hit Binge. And, for a refresher on how the movies wrapped up, you can also check out the trailer for Harry Potter and the Deathly Hallows — Part 2 below: https://www.youtube.com/watch?v=mObK5XD8udk&utm_keyword=referral_bustle Harry Potter: The Exhibition will start its world tour from sometime in 2022 — we'll update you with further details when they're announced. Image: Warner Bros.
When season five of Stranger Things arrives, it'll bring with it a big ending, wrapping up the Netflix hit for good after the next batch of episodes. Yes, everything from Succession to Barry is also saying farewell these days, but Stranger Things won't be completely dropping off the radar — it has spinoffs to slip into your streaming queue, including a just-announced new animated series. Back in 2022 when Stranger Things creators Matt and Ross Duffer revealed that their sci-fi show was working towards its endgame, they also said that they had more stories to tell in this fictional — and sometimes Upside Down — realm. Instantly, we all knew what that meant. Netflix doesn't like letting go of its hits easily, after all, so the quest to find a way to keep wandering through this franchise was about as surprising as Jim Hopper's (David Harbour, Violent Night) usual gruff mood. "Seven years ago, we planned out the complete story arc for Stranger Things. At the time, we predicted the story would last four to five seasons. It proved too large to tell in four, but — as you'll soon see for yourselves — we are now hurtling towards our finale. Season four will be the penultimate season; season five will be the last," the Duffers said at the time. "There are still many more exciting stories to tell within the world of Stranger Things; new mysteries, new adventures and unexpected heroes," the Duffers continued. Cue the upcoming Stranger Things cartoon, which doesn't yet have a name, but will boast the Duffer brothers as executive producers. Obviously, it's headed to Netflix. "We've always dreamed of an animated Stranger Things in the vein of the Saturday morning cartoons that we grew up loving, and to see this dream realised has been absolutely thrilling," the siblings said, announcing the new show. There's no word yet on when the animated series will arrive, what it'll focus on and who'll be among its voices. If you're devoted to the OG cast, start crossing your fingers that some or all of Harbour, Millie Bobby Brown (Enola Holmes 2), Finn Wolfhard (Guillermo del Toro's Pinocchio), Noah Schnapp (Waiting for Anya), Winona Ryder (The Plot Against America), Charlie Heaton (The Souvenir: Part II), Joe Keery (Free Guy), Gaten Matarazzo (The Angry Birds Movie 2), Caleb McLaughlin (Concrete Cowboy), Sadie Sink (The Whale), Natalia Dyer (Things Seen & Heard) and Maya Hawke (Do Revenge) are involved. Netflix did just reveal that it's getting the Scott Pilgrim vs the World cast back together to voice an anime continuation of that beloved flick, after all. There's no sneak peek at the animated Stranger Things series as yet, either, but you can check out the trailer for season four below: The Stranger Things animated series doesn't yet have a release date, but we'll update you when one is announced. You can the OG series via Netflix. Read our review of season four. Images: courtesy of Netflix.
Food festivals have always been a great excuse to make weekend plans, with big-ticket events like the Bastille Day markets and the Good Food and Wine Show regularly drawing hungry crowds. But what about options for members of Australia's constantly growing vegan community? One of the most popular alternative food festivals around Sydney has to be Alive Plant Based Festival, running for one day only on Saturday, March 8. Organised by Vegan NSW and supported for the first time in 2025 by the Central Coast Council, this year's edition is set to be bigger than ever. Ideal for a family day out or a scrumptious solo feast alike, you'll be able to browse the tastiest vegan and plant-based treats around, from hot and fresh desserts to artisanal goodies. You can also look forward to live music, yoga sessions and speakers, and the entire (free-entry) festival is kid and dog-friendly.
Everyone deserves a hefty dose of Steve Buscemi in their lives and, across five seasons and 56 episodes, Boardwalk Empire delivers just that. The beloved actor plays Enoch 'Nucky' Thompson, a corrupt politician who is also a gangster kingpin in Atlantic City during America's prohibition era. The character is fictional, but it's based on non-fiction book Boardwalk Empire: The Birth, High Times and Corruption of Atlantic City, which focuses on comparable real-life figure Enoch L. Johnson. Created by The Sopranos alum and The Wolf of Wall Street screenwriter Terrence Winter — and executive produced by Martin Scorsese, with the iconic filmmaker also directing its pilot — Boardwalk Empire charts Nucky's ups and downs, including the government investigation into his activities. While Buscemi is the obvious star of the show, both Michael Shannon and Kelly Macdonald are top-notch, as is this weighty drama all-round.
Reward yourself for making it to the end of another working week by stuffing yourself silly at Cairo Takeaway in Enmore. This unassuming Egyptian delight is not your average kebab shop; the ingredients are fresh, food is made to order and the menu is a truly authentic one. The standout here are the falafels — theirs are made with fava beans — that are then lovingly stuffed into a sesame-crusted warm pita and topped with an array of pickled veg. Even better? Their beer hails from Inner West craft beer barons Wayward Brewing and Young Henrys. You can also BYO your favourite vino if beer's not your thing. Round out the night by laughing away the week's stresses with some comedy at Factory Theatre. Presented by Laugh-Masters Academy, the Night Shift show is guaranteed to get you chortling away courtesy of Sydney's best up-and-coming improv and comedy talent.
Aussie writers have long been obsessed with the fact that, in Australia, it's all too easy to vanish. There's just so much empty space. The latest to have taken on this concept is playwright Angela Betzien, Patrick White Playwrights' Fellow, at the Sydney Theatre Company. She's created a super-tense crime thriller titled The Hanging, focused on the disappearance of two Melbourne girls from a privileged private school. The only two characters to know anything about what happened are their 14-year-old best friend and her English teacher. But neither of them is too keen on talking. As the mystery gets deeper, the girls' respected families must face darker and darker truths. At the production's helm is STC resident, Sarah Goodes (Disgraced), who's put together a cracking cast, featuring Luke Carroll (Battle of Waterloo), Ashleigh Cummings (Channel Ten's Puberty Blues) and Genevieve Lemon (Hay Fever).
The past month of wet weather — it rained 23 out of 31 days in March — has been a real buzzkill (nay, disaster) for outdoor events in Sydney. But we've got a good feeling about April, and so do the folks at Luna Park as they prepare to launch their brand new rooftop cinema. Launching an outdoor cinema in April is ambitious, but it's sure to be one worth braving questionable weather for; from the rooftop of Luna Park you'll have an unobstructed view of a lit-up Sydney Harbour. Plus, they'll provide blankets to keep you cosy and noise-cancelling headphones so you can hear the film over the clamour of the Wild Mouse. Over the course of three weeks (which coincides with school holidays), the cinema will show a mix of new releases, family-friendly films and the requisite Dirty Dancing. Full program is below. LUNA PARK ROOFTOP CINEMA 2017 PROGRAM Friday, April 7 — Fantastic Beasts (2016) Saturday, April 8 — Passengers (2016) Monday, April 10 — Trolls (2016) Tuesday, April 11 — The Edge of Seventeen (2017) Wednesday, April 12 — Dirty Dancing (1987) Thursday, April 13 — Hidden Figures (2016) Friday, April 14 — Mad Max: Fury Road (2015) Saturday, April 15 — Independence Day: Resurgence (2016) Monday, April 17 — Sing (2016) Tuesday, April 18 — The Space Between Us (2017) Wednesday, April 19 — The Notebook (2004) Thursday, April 20 — Logan (2017) Friday, April 21 — Resident Evil: The Final Chapter (2016) Saturday, April 22 — Ghostbusters (2016) Monday, April 24 — Smurfs: The Lost Village (2017) Tuesday, April 25 — Dance Academy (2017) Wednesday, April 26 — TBC Thursday, April 27 — La La Land (2016)
What's better than hosting a big arts festival in one location? Spreading the love across two different cities on consecutive weekends. That's the format that worked for Mona Foma, the Museum of Old and New Art's (MONA) key summer event, when it was last held in 2021 — so that's exactly what'll happen again in 2022. Come January, arts and music fans will be able to soak in the fest's eclectic sights and sounds in two places: in Hobart and in Launceston. Although Mona Foma was originally held in Hobart, where MONA is located, the event made the move to Launceston in 2019. So there's plenty of reasons behind splitting its program between both Tasmanian cities. Launceston will be up first, from Friday, January 21–Sunday, January 23, with Hobart getting the nod the next week from Friday, January 28–Sunday, January 30. Just what'll be on the bill hasn't been announced as yet, and won't be until Friday, December 3 — but you can start marking your calendars now anyway. Tasmania is also reopening its borders to double-jabbed visitors from Wednesday, December 15, which is great news if you now know what you'd like to do — and which huge arts fest you'd like to hit up — this summer. The border reopening applies to double-vaxxed travellers from both interstate and overseas, too, which could have some influence on Mona Foma's lineup. [caption id="attachment_784489" align="alignnone" width="1920"] The Flaming Lips, Mona, Hobart, Mona Foma 2016. Photo Credit: MONA/Rémi Chauvin. Image Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.[/caption] "Delivering a festival in two cities in January 2021 felt like nothing less than a miracle," said Mona Foma curator Brian Ritchie. "Come January 2022 we'll do it again and promise another festive burst of euphoria and unforgettable moments." In terms of what's in store, Ritchie advised that the MONA team "is working on strange new venues, indefatigable creativity, cultivation of powerful talent and the unpredictable." Mona Foma will take place from January 21–23, 2022 in Launceston, and from January 28–39, 2022 in Hobart. We'll update you when the full program is announced on Friday, December 3 — but head to the festival website in the interim for further details. Top image: Faux Mo, Mona Foma 2021. Mona/Remi Chauvin. Image courtesy of the artist and Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
Professional boxers aren’t typically renowned for their eloquence. Pre-fight press conferences tend to centre around the two combatants standing silently and mashing their foreheads together, while the post-fight ones rarely escalate beyond monosyllabic grunts and the flaunting of novelty-sized belts. Maybe it’s the boxers' traditionally low socio-economic backgrounds at play, maybe it’s the almost guaranteed head trauma, or perhaps they’re simply still trying to figure out why a square arena is called a ‘ring’ and why anybody thought ‘light heavyweight’ wouldn’t sound ridiculous as a fighting category. In Southpaw, Jake Gyllenhaal plays one such professional ‘boxymoron', and he takes the inarticulacy to the extreme — presenting his character Billy Hope as a man who drools in the place of dialogue. It’s a bold choice for the accomplished actor, whose commitment to both it and the role’s physicality can't be overstated. One glance at the posters for Southpaw is enough to see that Gyllenhaal got jacked for this film, with muscles so enormous they should almost receive separate billing. He looks like a boxer, moves like a boxer and absolutely sounds like a boxer, meaning — in Southpaw — we totally believe him as a boxer. It’s a phenomenal performance, and without it the movie would be a complete write-off. Director Antoine Fuqua is fast establishing himself as the go-to action director in Hollywood, much like John Woo was in the '90s. With recent offerings including Olympus Has Fallen and The Equalizer, he’s continued to deliver slick, high-octane pictures without ever quite managing to repeat the success of his breakthrough film Training Day. The problem isn’t with the direction so much as the scripts, whose stories and dialogue languish in a mire of cliches. Southpaw is another example of this, failing to offer anything new despite coming tantalisingly close at its preface. The film’s early scenes touch upon compelling themes of administrative oversight, bureaucratic corruption, capricious management and the threat of ‘punch drunkenness’ courtesy of Hope’s particular fighting style in which he shirks defence and absorbs countless blows from his opponent until it makes him angry enough to retaliate. All of this largely falls by the wayside, however, as soon as family tragedy strikes and Hope finds himself bankrupt and alone. Redemption, then, becomes the order of the day, but the problem is we neither feel particular involved in it nor satisfied when it inevitably comes. This isn’t so much a tale of personal growth as it is one of reinstitution, where the only thing Hope really learns by the end is how not to get punched. Eminem was originally slated to play Gyllenhaal's role, but in his absence the roles of ‘singers trying to act’ were taken up by 50 Cent and Rita Ora, both delivering adequate performances as line delivery systems. Rachel McAdams pops in as a caricature of a boxer’s WAG and Oona Laurence does a decent job as Hope’s young daughter despite often unspeakably bad lines to work with. The only real other performance of note is from Forest Whitaker as Hope’s eventual trainer, whose brief screen time nonetheless reminds us why he’s one of the most gifted actors of his generation. He seems to find things in scripts that not even the writer could see, and injects some much needed humanity into Southpaw’s later stages, when neither the boxing nor the family troubles prove capable of sustaining the drama.
The latest project of multidisciplinary artist-run initiative Alaska Projects, this cinematheque is a series of ten films curated by Dr Alex Munt of UTS. It’s an eclectic and often provocative selection, offering a range of cinematic visions of Manhattan. The club kicks off with Spike Lee’s incendiary Do the Right Thing, about a Brooklyn community straining at the seams of racial tensions as a heatwave simmers. It builds up to an explosive climax which is still hotly debated in film schools everywhere today. Offering a much more genteel view of the city that never sleeps is the wonderful Hannah and Her Sisters, one of Woody Allen’s very best works, and writer-director Whit Stillman's 1992 debut, Metropolitan. The latter is a mannered, impeccable look at the indolent younger generation of the “urban haute bourgeoisie”. There’s also two of the most controversial films about the big Apple ever made, the brutal satire of American Psycho, based on Bret Easton Ellis’s infamous, career-making novel and the Larry Clark-directed sex and drugs dirge Kids. Based on a screenplay by a then teenaged Harmony Korine, the impact of Kids was sensational and divisive — many wanted it banned, but it had its strong supporters, including Rolling Stone critic Peter Travers, who championed the film as “daringly original, touching and alive”. Each film will be introduced a guest speaker and the first screening sees Alex Munt in conversation with Alaska Projects curator Sebastian Goldspink. Films screen at Alaska Projects, barring May 6 and November 6, which are both at UTS in the Bon Marche Studio. Here's the schedule: May 6: Do the Right Thing (1989) @ UTS May 18: David Holzman's Diary (1967) @ Alaska June 15: Hannah and Her Sisters (1986) @ Alaska July 6: Ms 45 (1981) @ Alaska August 10: The Warriors (1979) @ Alaska September 14: Liquid Sky (1982) @ Alaska November 6: Metropolitan (1990) @ UTS November 16: Desperately Seeking Susan (1985) @ Alaska December 14: American Psycho (2000) @ Alaska
Just Not Australian is an exhibition bringing together the work of 19 Australian artists — of varying ages, cultural backgrounds and mediums — to creatively challenge the concept of Australian nationhood. It's been on tour around the country and has just arrived at its final stop in the Museum of Sydney. From Saturday, March 11, till Sunday, June 4, Just Not Australian will question what is meant by the term 'un-Australian', using insights from a multitude of cultural lenses. It's an adjective that's been sharpened into a vocal weapon by both sides of an endless political duel, but the free entry CBD gallery aims to blunt that weapon and break it back down into words. [caption id="attachment_891838" align="aligncenter" width="1920"] Liam Benson, 'Participatory community embroidery, You and Me'[/caption] Expect to ponder subjects of race, place and belonging in Australia through paintings, sculptures and other immersive works. No component of the Australian national identity is in the safe zone here — larrikin humour, mateship, multiculturalism (or lack thereof) and colonial biases are all fair game. Curated by Artspace and developed in partnership with Sydney Festival and Museums and Galleries of NSW, the nationally-touring exhibit features works by Abdul Abdullah, Hoda Afshar, Tony Albert, Cigdem Aydemir, Liam Benson, Eric Bridgeman, Jon Campbell, Karla Dickens, Fiona Foley, Gordon Hookey, Richard Lewer, Archie Moore, Vincent Namatjira, Nell, Raquel Ormella, Ryan Presley, Joan Ross, Tony Schwensen and Soda Jerk. For more information and to plan your visit, head to the website. Top image: Top image: ©️ James Horan for Museums of History NSW (first), Hoda Afshar, 'Dog's Breakfast (second).
Prepare to party like it's 1945 at Bopp & Tone on Carrington Street. The first CBD venture from hospitality group Applejack (Della Hyde, The Butler, Endeavour Tap Rooms), the bar and eatery takes both name and inspiration from the founders' grandfathers — Keith 'Bopp' Evans and Anthony 'Tone' Adams — revisiting the era of optimism and opulence enjoyed by post-WWII Australia. Without the food rationing, we hope. Inside, award-winning design firm Luchetti Krelle (responsible for a tonne of restaurants, including Manly Greenhouse, ACME and Matinee Coffee) helped to create a welcoming old-world space that nods stylishly to the past, combining marble, panelled timber, velvet booths and hanging light fittings, as we've come to expect from most Applejack venues. It looks similar to the CBD's other post-WWII bar, Kittyhawk. In a plus, it also has a sizeable terrace filled with greenery for al fresco dinners and drinks. From the kitchen comes a contemporary Australian menu, prepared by chef Sa Va'afusuaga (The Botanist), with influences from across the Mediterranean. The woodfired grill and charcoal oven get a thorough workout, and are used to deliver dishes like free-range spatchcock and chargrilled whole calamari from the Hawkesbury River. The cocktail offering works to the same Oz-Mediterranean brief, featuring classics reimagined with Aussie ingredients while the wine list champions sustainably produced drops from both overseas and closer to home.
No longer just a disused container terminal hogging a prime harbourside spot, Barangaroo has morphed into many things. At Barangaroo South, it's a retail, commercial and residential precinct. Thanks to Barangaroo Reserve, it boasts six hectares filled with trails, walks, coves and picnic spots. And, when Central Barangaroo kicks into gear, it'll feature even more of the above. Two key things in the works: a two-hectare waterfront park, plus a new cultural and lifestyle precinct. Aqualand, the developer tasked with bringing Central Barangaroo to fruition by the New South Wales Government — under a signed Project Development Agreement to deliver the final piece in the Barangaroo puzzle — has just unveiled its plans for the area, with adding more public space to Sydney a big feature. Indeed, when that aforementioned park opens, it'll see more than half of Barangaroo filled with accessible public areas. The new lifestyle and cultural precinct will pop up at Nawi Cove, to enliven the Barangaroo Cutaway, and also connect with Millers Point, Walsh Bay and The Rocks. Exactly what that'll entail hasn't been revealed, but the aim is to turn Central Barangaroo into a mixed-use spot with plenty to do by day or at night, including cultural experiences. Also on the agenda: campus-style offices by the waterfront park, residential apartments with killer views of the Harbour Bridge and Opera House, and a retail offering overseen by Scentre Group that spans fashion, dining, entertainment, leisure and technology. Again, the plans are short on specifics, but they paint a picture of a one-stop locale for shopping, eating, working, living and hanging out, all by Sydney's western harbour foreshore. "Our goal is to create a truly exceptional precinct that is beautiful, welcoming to all, with a variety of well-designed indoor and outdoor public spaces that can be enjoyed at all times of the year," explained Aqualand Project Director Rod McCoy. That mission also spans adding a new metro station to make the area more accessible to folks from all around Greater Sydney, plus new ferry wharves and new pedestrian links — again linking to Millers Point, Walsh Bay and The Rocks, as well as through Wynyard Walk and Gas Lane. Doing the honours, design-wise: Aussie architects Durbach Block Jaggers, Smart Design Studio and John Wardle Architects, alongside David Chipperfield Architects from London. As for the ground-level and lower-ground retail space, that's all via Scentre Group. Exactly when Sydneysiders can expect the most of Central Barangaroo hasn't been revealed as yet; however, Aqualand expects the NSW Department of Planning and Environment to put the planning application public exhibition in the near future. For more information about the area, head to the Barangaroo website.
It's hard to believe, but it's four years now that Goodgod Small Club first started bringing its much-needed, eccentric, eclectic good times to the CBD. In the past twelve months alone, they've proved to be the favourite Sydney stage of the likes of Erykah Badu, Courtney Barnett and DMAs; started serving up killer feasts at recently-closed favourite, The Dip, and their new on-site Jonkanoo Canteen; and transformed the Opera House Studio into a psychedelic version of Tin Pan Alley. So, to celebrate their fourth birthday, they're putting on an epic shindig — as only Goodgod know how. That means, of course, a venue-consuming, all-night-long, convention-obliterating party — this time around themed 'Taking Care of Business'. At the centre of the action will be the Goodgod 'house band' presented by Siberia Records, and Alex Cameron (one-half of Seekae). You can also expect a parade of special guests including Ariane, Astral DJs, Champain Lyf, Drongo, Mike Who, Nacho Pop, Power Suit, Shantan Wantan Ichiban and Tyson Koh. And the dress code? Under the suave 'Taking Care of Business' theme, Goodgod wants to see you looking your public holiday schmickest, so they're asking for suits. Yep, suits. Sharpen up. Tickets only available on the door. Need some tie-straightening tunes to get you ready to take care of business ahead of Goodgod's suited-up birthday? The Goodgod All-Stars made you a special playlist right here.
Usually, IKEA's food game is as unmistakably Scandinavian as its furniture names — headlined, of course, by those iconic Swedish meatballs. But for one January night each in Tempe, Marsden Park and Rhodes, the retailer is shaking things up and taking a jaunt to the other side of the globe, dishing up an Asian-inspired feast in celebration of the Lunar New Year. The dinner is set to run from 5pm and 7pm on Thursday, January 19 at the Tempe and Rhodes stores, and from 5.30pm on Friday, January 20 at Marsden Park — and arriving hungry is recommended. On the menu, you'll find classic dishes like pork and chive dumplings, spring rolls and vegetable gyoza. There's both tofu and vegetarian hot pot, Cantonese-style chicken wings and Singapore noodles, and even sweet offerings like fruit plates and matcha panna cotta. Adult tickets to the buffet feast are $30, though IKEA Family members can nab theirs for just $25. And, you could even squeeze in a spot of pre- or post-dinner flatpack shopping while you're there. IKEA has a new range of Lunar New Year wares, too, such as LED lanterns, red serving containers, rabbit cushions and more. [caption id="attachment_757260" align="aligncenter" width="1920"] Maksym Kozlenko via Wikimedia Commons[/caption] Images: Maksym Kozlenko via Wikimedia Commons.
UPDATE, MARCH 1 2018: At present, Pitch Black will no longer be coming to Sydney in 2018. If you eat a meal but don't upload a photo of it to Instagram, did it really happen? That might be the culinary question of the last decade; however one trend has been making food snaps irrelevant for a while now. Sorry, cuisine-loving shutterbugs — you can't take a picture when you're dining in the dark. Indeed, light — from bulbs above, from flickering candles in the middle of tables, and particularly from your iPhone's flash — isn't part of the dark dining equation. Rather, on the menu is a sensory experience designed to heighten the taste, smell, texture and sound of sitting down for dinner. After kicking off in Europe in the late '90s, the concept has been doing the rounds in various forms ever since, and it's coming back to Sydney in January 2018. At the aptly named Pitch Black, 50 guests will first enter a warmly lit space — but it won't stay that way for long. After everyone has had some time to get comfortable in their surroundings, they'll sit down to a three-course meal without the lights on. If the silverware is gleaming, you won't be able to see it (but you will be directing your attention towards flavour, aroma and mouthfeel). Patrons will attend in 90-minute blocks, with the waiting list for tickets now open before they go on sale within the next two weeks. Prices, dates and venues will be revealed at the same time. This isn't the first time grabbing a bite sans illumination has popped up in Australia, or even in Sydney; The Dark Side of Hyde Park previously operated in the CBD, aiming to raise awareness of what it feels like to be blind, while Melbourne played host to a restaurant called Black Out, and Brisbane boasted Dining in the Dark. And then there's the spate of pop-up events that have graced most Aussie cities, often using blindfolds to ensure no one takes a sneak peek. For more information about Pitch Black, head to the event website.
UPDATE: July 13, 2020: Animals is available to stream via Binge, Foxtel Now, Google Play, YouTube and iTunes. In the space between ignored dreams and shirked responsibilities, that's where Animals' Laura (Holliday Grainger) and Tyler (Alia Shawkat) largely live. Devoted friends to the point of codependency, and just as dedicated to their Dublin routine of drinking, debauchery and doing the bare minimum at their barista gigs, they've seen no reason to change their ways for the past decade. But, as Laura suddenly realises, they're not getting any younger. The pair's thirties are here. The book that Laura has supposedly been penning since the two first met remains little more than an idea. And, her younger sister (Amy Molloy) has traded partying for pregnancy on purpose. Tyler is near-aggressively happy with the status quo, however Laura's epiphany hits like the wine and MDMA the duo are so fond of — and leaves an unshakeable hangover. Directed by Australian filmmaker Sophie Hyde (52 Tuesdays), and scripted by British writer Emma Jane Unsworth based on her own book, Animals finds its joined-at-the-hip protagonists at a crossroads. Glued together by choice for so long, they're now coming unstuck. Forget romantic turmoil; this is a tale of platonic heartbreak and existential malaise spiralling into an inescapable whirlpool. Animals isn't the first film to understand that drifting away from a friend is just as painful as ending a love affair, but it joins a relatively sparse dramatic subgenre. Indeed, there's a refreshing forthrightness to the story, taking Laura and Tyler's pseudo-couple status as a given. While jokes are made about wives, marriages and separations, particularly once Laura starts seeing more of her new musician boyfriend Jim (Fra Fee) and spending less time with her increasingly petulant bestie, they're hardly necessary — just how crucial the pair have been to each other for a third of their lives is constantly written across their faces. Girl meets girl, sparks fly, they live wildly and become each other's ride-or-dies — that's not a scenario that often gets such thoughtful big-screen attention. The importance of depth and detail in this situation, especially in leapfrogging any and all female friendship cliches, really can't be underestimated. Whether or not Hyde and Unsworth have overtly drawn upon their own respective experiences, the end result resonates with a lived-in air. Authenticity isn't just something their characters are searching for; it seeps from the movie. Frolicking or fighting, embracing firmly or steadfastly ignoring each other, the dynamic between Laura and Tyler feels like it could've moseyed out of any shared flat filled with retro furniture, piles of clothes and too many empty bottles (and, thanks to stellar production design and costuming work, it looks that way too). That said, Animals does come with a caveat, or a strength that could initially be seen as a flaw. Played to perfection by the two leads, the movie's main characters seem as genuine as the circumstances they're navigating, as well as the relatable emotions they're displaying. Unsurprisingly, that means they're not always wholly pleasant to spend time with. They needn't be, of course. They shouldn't be, in fact. No mere mortal is bearable every second of every day. Again, this warts-and-all approach is refreshing, not to mention teeming with meaning. Shawkat's Tyler can come across as abrasive and performative, and Grainger's Laura as uncertain and unfocused, with the picture calling out, sifting through and challenging common millennial stereotypes through these traits. There's no judgement here, but rather a commitment to seeing things like they are — even if the film styles its frames in a somewhat dreamlike way at the same time. As steeped in truth as Animals proves, bleak, stark reality isn't the name of its game — visually, at least. When you're caught in the hustle and bustle of life, it can be surreal. When you're reflecting on past choices, agonising over future paths and wondering if your most important relationship to date will survive the present, the right answer rarely stares you plainly in the face. With all of that in mind, Hyde gives her movie a flavour of hectic exuberance, with ample assistance from editor and cinematographer Bryan Mason. That mood couldn't be more influential, including when Animals leans into its more obvious developments and sentiments. In the easy, hard, routine and thorny moments alike, questioning everything you know and navigating a quarter-life crisis should feel energetic, jittery and a little uncanny, after all. https://www.youtube.com/watch?v=_FN_zr4rQzY
UPDATE: MAY 3, 2019 — While Freda's new licence allows trading till 4am, no new patrons will be allowed inside the venue from 3am. Revellers inside the venue will be able to continue partying till 4am and continue using the outdoor smoking Two years ago, Sydney bar-goers rejoiced when Chippendale favourite Freda's got the approval to stay open until 2am on Friday and Saturday nights. Now, seemingly against all odds — with pro-lockout law NSW Premier Gladys Berejiklian reelected just this March — Freda's has just received the go-ahead for a 4am close on weekends. Plus, its hours from Sunday through Thursday will be extended until 2am. It's a huge win. And not just for Freda's and its punters, but for Sydney's live music scene in general. In the four years since the lockout laws were introduced to curb alcohol-fuelled violence, a reported 176 venues have closed. A year-long parliamentary inquiry into the state of Sydney's music and nightlife economy also found that the industry was in "peril" due to the NSW Government's history of neglect, and lack of funding. Hopefully, we're about to see this (slowly) reversed. Freda's opened nine years ago — long before the lockouts and Sydney's subsequent cultural crisis. Envisioned by owner David Abram, the bar came about from Abram's desire to create a diverse, safe and cultured space where likeminded folk could get together. Since then, it's opened underground Down Under exhibition space and hosted a slew of bands and DJs, and countless events. While Chippendale isn't in the lockout zone, its bars have still been impacted by the State Government's strict late-night and live music policies. [caption id="attachment_652651" align="alignnone" width="1920"] Kitti Gould[/caption] So, although the Berejiklian Government remains, could this grant mean more than just Freda's future? "We have seen Sydney's nightlife go through a sad and painful decline over the last 6 years. However, this is an important turning point in Sydney reaching its immense potential as a late-night city," said Freda's owner David Abram in a statement. Since the introduction of the lockout laws, there has been some relaxing of restrictions. More than 20 venues have been granted half-an-hour live entertainment extensions, and Oxford Street, and the surrounding area, has gone lockout-free for Mardi Gras the past two years. And now, the Liquor & Gaming NSW — which comes under State Government jurisdiction — has approved Freda's new two-hour extension, which means it can further its already stellar showcasing of some of Sydney's best and emerging creative talent. It's a serious cultural win. Despite this being a singular victory, it looks like the government's vice-like grip could be loosening. Freda's new licence comes into effect immediately so, if you want to celebrate, we suspect the place will be a hubbub of celebration this weekend, with the official 'launch' party next Friday, May 10. We'll keep you updated with what that'll entail. Freda's hours will be extended until 4am on Fridays and Saturdays and until 2am Sunday through Thursday, effective immediately. To celebrate, Freda's is hosting an official launch party next Friday, May 10.
While many deem February 14 a day of corporate conspiracy, grossly over-the-top displays of affection and just all-round evil, there are still some of us out there who look forward to this, the international day of lurrrve. But there are some ways to kick it a little cooler this Valentine's Day — we're talking a little more culture, a lot less PDA. So ditch the overpriced candy and heart-cradling teddy bears, or the multiple episodes of Girls and several glasses of wine alone in bed (wait, is that just me?). Whether you've met the love of your life or not, whether you're on a date or with friends, get out there and enjoy all that Sydney has on offer this Valentine's Day. For couples Stargazing at Sydney Observatory They say the stars align when you're in love. Well now you can test out the theory — with the Valentine's Day Stellar Indulgence Sessions at Sydney Observatory. The Lunar session will see couples enjoying a glass of sparkling, live music and themed cupcakes, before checking out the almost-full Moon and planets through professional Observatory telescopes. Alternatively, the Jupiter session offers a sunset experience in the stunning Observatory marquee — with all the sparkling and music, as well as Jupiter-inspired hors d’oeuvres, before a viewing of Jupiter. In the case of wet weather, guests will be treated to a cosy planetarium session and stellar lunar projections. Lunar Lovers Session (9.30–11pm) & Jupiter Delight Session (7–8.30pm): February 14; Sydney Observatory, Watson Road, The Rocks; Adults $44.50, Powerhouse Members $38.50. Bookings essential. Snow date at In2Ski Sydney has pretty much got everything you could ever want, all year round. But the one thing we know we’ll never have is snow. The answer? In2Ski — Sydney's first and only indoor snow sports centre, now open in Alexandria. Bringing snow to the city, this state-of-the-art centre allows visitors to sharpen their ski and snowboard skillz, on what are effectively three very large, snow treadmills. In what is guaranteed to be a unique Valentine’s Day date, this one is for the thrill-seeking romantics. Oh, and the snow conditions for February 14? Perfect. Open from 11am-9pm on Friday, February 14; $75 for 1 hour group session, $265 for 1 hour private session (up to 4 people); 160 Bourke Road, Alexandria. Arabian Nights at Zeta Bar Fancy yourself a bit of Aladdin and Jasmine action this Valentine's Day? Zeta Bar at Sydney's Hilton has got you covered. Launching its new 'Arabian Nights' concept on February 14, Zeta is set to transform into an exotic palace, offering an experience both luxurious and flavoursome. Gorge the senses with an array of Arabian-inspired cocktails, a spice market bar and hookah pipes aplenty (just ask the sheesha sommelier about your smoking options). There's a loved-up couples package on offer for the evening (get four cocktails, along with a middle eastern tasting plate for $150), as well as singles deals for those boldly living up their singledom. Every Friday from February 14 to March 21 at 6pm; Zeta Bar, 4/488 George Street, Sydney. For Singles Craft Singles at Work-Shop Looking like you’ll be riding solo this Valentine’s Day? Work-Shop is a centre aimed at broadening your creativity and potential. And Craft Singles is by far some of their best work. Exactly 14 boys and 14 girls will attend, with seven crafty challenges set throughout the night, ranging from mixtape felt badges to heart-shaped garlands. Pair up, get crafty and when the bell rings move on to the next challenge, and the next equally eligible bachelor/ette. The night’s end brings a vote, and the private unveiling of your matches. Speed dating with a seriously cool twist, this is an opportunity to get creative, flirt outrageously, and enjoy the fact that you are single and mingling. February 14 at 8pm; tickets $60; register at learn@work-shop.com.au. For everyone Queer ACT/IONS With Valentine’s Day on the approach, it is important to remember that all love is the same. And with this comes QUEER ACT/IONS, presented by The Q, MKA: Theatre of New Writing and PACT Theatre. In association with the Sydney Gay and Lesbian Mardi Gras Festival, QUEER ACT/IONS is a guaranteed celebration of love and the arts. First off: A Boy & A Bean, written and performed by Nick Atkins (February 12-15). Atkins dives into the very vital debate of marriage equality in an honest and tender performance that sees a boy called Jack stray between love, legislation and folklore. Unsex Me — a performance of whispered confessions and hilarious self-mockery from Mark Wilson — will then run from February 19-22. Tickets to A BOY & A BEAN and UNSEX ME are on sale now; PACT Theatre: 107 Railway Parade, Erskineville. Breakfast at Tiffany's at Moonlight Cinema It wouldn't be Sydney in summer without a plethora of open-air cinemas. And Moonlight Cinema in particular has become a cultural mainstay, offering a range of films in the idyllic ambience of Centennial Park. And what movie is more classically romantic than Breakfast at Tiffany's? From the award-winning novel by Truman Capote comes the story of a frivolous young socialite living in 1960s New York. Audrey Hepburn shines as Holly Golightly (no matter how many times you've seen it) and whether you're with your very own Paul Varjak, or a group of lonely, cynical girlfriends, this delightful cult classic will have everyone feeling unavoidably loveable. Darrrling. Breakfast at Tiffany's: Friday February 14; Belvedere Amphitheatre, Centennial Park (on the corner of Loch Avenue and Broome Avenue) Paddington. Cinema gates and box office open at 7pm and screenings start at sundown. The Notebook also shows on Thursday 13. Tix on sale now. Kite String Tangle at Oxford Art Factory Looking for a slightly more chilled way to impress someone on February 14? The Kite String Tangle is the project of Brisbane-bred alternative electronic artist and producer Danny Harley. After being unearthed by Triple J last year and generating some serious buzz at Falls Festival, he is continuing strong into 2014 with a national tour scheduled for February. Inspired by the dreamy and atmospheric soundscapes of artists like Active Child, The Kite String Tangle offers a combination of ethereal pop and ambient electronica that's sure to have you, and that special someone, in a Valentine's Day trance. Oxford Art Factory; Wednesday February 12 and Friday, February 14 at 8pm; 38-46 Oxford Street, Darlinghurst; Tix $20.
There's the parade, yes. But before that, nearly a month of cultural and celebratory events of all stripes makes up the festival of Sydney Mardi Gras, and there's something for everybody, even Straighty McStraight-Straight. Who relates absolutely and 100 percent to the social expectations of their gender and sexuality? Nobody, probably. And that's something to love, savour, and take away from this most iconic of Sydney events. This year, there's a sports festival, art you can dance to, DIY monster workshops and the next stage in the life of Strictly Ballroom, among all the parties between February 7 and March 2. With gay marriage rights firmly on the agenda again this year, 2014's Mardi Gras will definitely be one that's remembered. Here are our picks of the ten best events. MARDI GRAS FAIR DAY Fair Day is as much of an establishment as Mardi Gras itself, uniting tens of thousands of Sydneysiders each year and marking the beginning of festival season. Get amongst an absolutely monstrous day, complete with live acts (the likes of Sandy Bottom and the uber saucy Bertie Page Clinic), community stalls, workshops and fabulous food vendors. 2014 will bring with it all the old favourites — an afternoon TUG-o-WAR and 'Doggywood', celebrating the most precious of Sydney pooches. New highlights include a very special Fair Day project: the first Australian NOH8 campaign, a silent photographic protest in response to the passing of Proposition 8 in California. Sunday, February 9; 10am-7.30pm; free entry; Victoria Park, City Road, Camperdown. DAY FOR NIGHT Feel like experiencing live performance on your own terms? Day for Night is a durational work boasting a killer lineup of Australia's most intrepid queer artists and put on by Performance Space. Then, at sunset on February 15, Day for Night will transform into an electrifying dance party. Set against a score produced by leading electronic musicians Stereogamous (Paul Mac and Jonny Seymour), audiences will experience each work in an inspired new context. Part performance, part exhibition, part dance partay, Day for Night is a fusion of dance, sweat and sound, and one of the key cultural events of this years Mardi Gras Festival. Exhibition February 13-15; 10am-6pm; free; Carriageworks, 245 Wilson Street, Eveleigh. Party February 15; 8pm; $35. MARDI GRAS FILM FESTIVAL The Film Festival has always been an important part of Mardi Gras, providing a platform for films that might otherwise fly under the radar. This year is no different, and the festival will show off Marta Cunningham’s directorial debut, Valentine Road, about the tragic murder of gay 15-yea- old Larry King, and Free Fall, the story of two German cops who take the term ‘partners’ to a whole new level. Also included are celebratory screenings of Australian classics The Adventures of Priscilla, Queen of the Desert and Muriel’s Wedding. February 13 – 23; Event Cinemas George Street; $16 - $25. MAKE PLAY WORKSHOPS In celebration of the Mardi Gras season, Object Gallery are gearing up to run a series of Make Play workshops, aimed at unveiling creative potential in unknowing Sydneysiders. Unleash your very own out-of-this-world being with Justin Shoulder's Fantastic Creatures Workshop; let Sydney glamourpuss Matt Format help you create your own faaaaabulous lashes in the Bespoke Eyelashes Workshop; put that frustrated costume designer to work in Angela Sinnett's Costume Design 101 or get yo' Mardi Gras bling on with the Bling Your Runners Workshop (again with Sinnett). Then learn how to shoot, cut and upload the entire festival experience, with Gareth Tillson's indispensible iPhone/iFilm Workshop. February 6–27; 7-9pm; $15-$25; Object Gallery, Level 1, 417 Bourke Street, Surry Hills. WALKLEY MEDIA TALK: A QUEER THING HAPPENED ON THE WAY TO THE NEWSROOM In recent times, the mainstream media trend has been to closely follow the debate surrounding same sex marriage laws. However, what is happening in the rest of the LGBTQI community? The Walkley Media Talk features a panel of award-winning media personnel — including Monique Schafter (ABC 7.30/Hungry Beast), Sethorun Raj (Sydney Law School) and Elias Jahshan (Star Observer) — and will look at why some issues crack the mainstream while others (bullying, suicide, STIs, etc) remain on the outer. An absolute must for the media savvy and socially aware. February 27; 6pm; The State Library of NSW; FREE but bookings essential. MARDI GRAS FOOTBALL TOURNAMENT The tournament turns six this year and is set up to be better than ever. It goes down on February 22 at the newly resurfaced Bat and Ball Park in Moore Park and kicks off at 9.30am for a day of community and family fun. Hosted by the Sydney Rangers FC, Sydney’s first football club for gay men, and the Flying Bats FC, the world’s largest lesbian football club, the event will have qualified referees, a men's and ladies' tournament, a field set up for the kids and a good ol’ BBQ. The tournament forms part of the slew of sporting events teed up for this year’s Mardi Gras Sports Festival, including the Rainbow Run in Sydney Park on February 8, and the City Hoops 3 on 3 basketball tournament at Prince Alfred Park on February 9. February 22, 9.30am; $15-20; Registration closes February 16. QUEER ACT/IONS Celebrate love and the arts with QUEER ACT/IONS, presented by The Q, young turks MKA: Theatre of New Writing and nurturers of experimentation PACT Theatre in association with the Sydney Gay and Lesbian Mardi Gras Festival. First off: A Boy & A Bean, written and performed by Nick Atkins (from 12-15 February). Atkins dives into the very vital debate of marriage equality in an honest and tender performance that sees a boy called Jack stray between love, legislation and folklore. Unsex Me, Mark Wilson's performance of whispered confessions and hilarious self-mockery, will then run from February 19-22. February 12-22; $10-$25; PACT Theatre,107 Railway Parade, Erskineville. Tickets to A BOY & A BEAN and UNSEX ME are on sale now. STRICTLY BALLROOM THE MUSICAL Everyone has to start somewhere, and for legendary Australian writer/director Baz Luhrmann, that somewhere was Strictly Ballroom. Initially a piece he wrote whilst studying at NIDA, it became a smash hit among global audiences, and now has become a musical extravaganza, just in time for Mardi Gras. From March 25, the Lyric Theatre is set to explode in a flurry of kitsch and camp as this Australian classic takes to the stage. March 25 to April 12; $55-145; Lyric Theatre, The Star, Pyrmont. TOY WITH ME Ever thought that your childhood toys defined who you've become as an adult? Photographer Richard Hedger's Toy With Me is a new body of work exploring the intricacies of that notion. In a series of intriguing portraits, Hedger portrays people from all walks of life — such as Tom Ballard, Brendan Maclean and Alex Greenwich — through the toys of their past. It's an invitation for audiences to visually match each toy with its significant other, while reflecting on the debate around the increasingly gendered presentation of toys. February 16 to March 3; 6–9pm; The Beresford Hotel, 354 Bourke Street, Surry Hills. MARDI GRAS PARADE The time has come again to celebrate the world’s largest LGBTQI celebration, the 36th Sydney Gay and Lesbian Mardi Gras Parade. The march up Oxford and Flinders Streets in Darlinghurst commemorates the 1978 demonstration of a few hundred people standing up against discrimination and has become a celebration that draws tens of thousands onto the street. Get up to Oxford Street early on in the afternoon to take in the visual extravaganza of costumes, floats and fabulous fun. Then squish into your favourite bar early — believe it or not, this is the first weekend the new 1.30am lockouts and 3am last drinks will be in effect in the area. Saturday March 1; 7.45pm; FREE. By Mairead Armstrong, James Whitton and Rima Sabina Aouf.
Did you know that over 1300 native plants are threatened or at risk of extinction? 1800 Tequila is highlighting this trend at The Greenhouse Bar by 1800 Tequila – The Bar Devoted to Biodiversity. The part bar, greenhouse and art installation is popping up in Sydney for one weekend only — from Friday, October 20, until Sunday, October 22. Guests will enjoy bespoke cocktails made with Aussie botanicals, a cheese platter and a small gift. This is a celebration of Australian botanicals — their diversity and fragility, as well as their place in cocktails. It is the latest conservation-focused event from the tequila brand after The Bar Saved From Landfill in 2022. Botanicals are integral to crafting distinctive flavours and aromas. Without them, many of the cocktails we know and love would not exist. We are fortunate to have access to some of the world's most unique botanicals in our native plants. Research from 1800 Tequila says that three in five Aussies are unaware Australia is facing a significant biodiversity decline. It's up to us to educate ourselves on how to conserve these precious native plants. Guests will receive four cocktails made with native botanicals — sip on a margarita spritz with lemon myrtle, garnished with saltbush air (sounds mysterious!). There's also an iced vovo punch with strawberry gum, an 1800 negroni with wattleseed bitter and lilly pilly vermouth, garnished with yellow kangaroo paw; and smoked bee pollen old fashioned, smoked with paper bark. Tickets to each session cost $25. 1800 Tequila will donate 100% of bar ticket sales to its charity partner, Botanic Gardens of Sydney and its Rainforest Seed Conservation Project. The Greenhouse Bar is taking place at The Elston Room, Carriageworks, from 20–22 October, with pre-booked sessions from 2.30pm until the last seating of the day at 7pm. Tickets are available to book now via the website.
Lawrence Greenwood aka Whitley's last album, Go Forth, Find Mammoth, was a breezy, lightweight yet layered and complex example of why Australia is at the top of the list when it comes to folk singer-songwriters. After the success of the album, Whitley went on an indefinite hiatus that left fans wondering if they'd ever hear a new note from him again. Well, after some time away, Whitley has returned with a bunch of new songs in the form of his new album, Even the Stars Are a Mess. For this record, Whitley travelled to Mexico, Cuba, The Netherlands, Peru and Italy for inspiration. To celebrate his own return to the stage, Whitley is heading on a massive tour that will see him play most major cities and mega-festival, Splendour in the Grass. https://youtube.com/watch?v=7BOzH7EVV4s
Island hopping is the done thing in Thailand, Fiji and, of course, The Whitsundays. In Sydney, however, its potential passes us by. Sure, we might pop over to Cockatoo Island for the odd spot of glamping, especially when the Biennale rolls around, or crowd onto Clark Island for New Year's Eve. But catch a ferry or paddle a kayak to one of our isles during the workday week, and you may well find yourself as lonesome as Robinson Crusoe. It's time to pack your desert island wish list and start mapping out your adventure. CLARK ISLAND Clark Island boasts the urinal with the best view in the entire city. It's an en plein air affair, carved into the natural rock and facing Darling Point's multi-million dollar mansions. The island's other claims to fame lie in agriculture: it's the only place in the Sydney Basin where rare rainforest tree celery wood grows, and back in the 18th century, it hosted one of the colony's first vegetable gardens. There are no ferry services, but you can catch a water taxi, travel by private boat or paddle. It's a good idea to book ahead by calling the Sydney Harbour National Park Information Centre on (02) 9253 0880. SHARK ISLAND Less marked by human interference than other islands, this one really does deliver on the Defoe-esque front. Its sandy beaches, ample grassy areas, picnic shelters, romantic gazebo and intimate size (just 1.5 hectares) make it incredibly picturesque. And don't let the name deter you: it's a reflection of shape, rather than finned residential population. Shark Island, located one kilometre from Rose Bay, is the easternmost of the Harbour islands, and is reachable by privately-owned ferry from Circular Quay and Darling Harbour. If you'd like the place to yourself for a day, hire it exclusively for a cool $3300. RODD ISLAND Located in Iron Cove's calm and protected waters, right near Birkenhead Point, Rodd Island is one of Sydney's cosiest and cheeriest islands. It was the first public recreation reserve to be established in Sydney Harbour, and has also served as a science centre. In 1888, Louis Pasteur sent his nephew Dr Adrien Loir to Rodd to develop a microbe to fight the rabbit plague, and, in 1891, he turned it into a quarantine zone, allowing French actor Sarah Bernhardt to house her dogs while she toured. In the 20th century, an old-school dance hall was built, which remains today. To get there, grab a water taxi, take your own boat or get your paddle power on. Let the Sydney Harbour National Park Information Centre know you're going by calling (02) 9253 0880. COCKATOO ISLAND Whether you want to camp at the world's first urban waterfront campground, play a casual tennis match back dropped by million dollar views, lose yourself in epic disused industrial spaces or find out more about convict prison horror, it's all in a day's work at the UNESCO-listed Cockatoo, Sydney Harbour's biggest island. Pack a picnic or sit down for a meal at the Island Bar, Societe Overboard or the Airstream Cafe. Drop by August 1-2, 2015, to find out what happens when the Underbelly Arts Festival takes over. Cockatoo Island lies at the junction of the Parramatta and Lane Cove Rivers and is a ten-minute ferry ride from Circular Quay. GOAT ISLAND Fans of Aussie television series Water Rats should know Goat Island well — most of the action took place there. In more recent years, it has served as secret concert venue of choice for the likes of the Kings of Leon and Foo Fighters. The island became part of Sydney Harbour National Park in 1995, and the best way to visit is via guided tour, leaving from Circular Quay. You'll see the rock where convict Charles Anderson was tied up for two years; discover the Queen's Magazine, where insane amounts of explosives were stored in the 19th century; and visit the site where the Harbour's first ever water police station was set up. Goat Island is found just off Balmain and you'll need to carry your own food. FORT DENISON In the late 18th century, locals referred to Fort Denison as Pinchgut, mainly because a prisoner by the name of Thomas Hill had spent a week languishing there, trapped in irons and fed on bread and water. These days, it's one of Sydney's swankier dining locations and a New Year's Eve hotspot. Talk about gentrification. If your budget doesn't allow for a high-end experience, however, you can jump on a privately-operated ferry at Circular Quay. Try to be there at 1pm for the daily cannon firing and leave time to explore the museum, as well as the winding staircase found inside Australia's only Martello tower. Fort Denison is located smack bang in the middle of the Harbour, just east of the Bridge. SCOTLAND ISLAND Just over 600 people live on the wonderfully-named Scotland Island, and they're proud defenders of their artsy community. You'll find it in Pittwater, not far from Church Point. Access is via ferry and you can circumnavigate in one fell swoop, jump on and off as you please or stay the night. Day-trippers should be prepared for a bush-style experience. Public toilets are only available at sporadic hours and there are no shops or eateries. There is, however, a beautiful 6.8 hectare reserve and a walking trail all the way around the island, albeit on the rough and rocky side. BARE ISLAND Bare Island is one of the most popular scuba sites in all of New South Wales — as well as being the site of the villain's lair in Mission Impossible 2, for those who paid cash money to see it. Head out to Bare Island on an average weekend and you're likely to see at least a couple of hundred divers splashing about. Find it at the mouth of Botany Bay, just off La Perouse and travel there on foot if you like — via wooden bridge. Visitors are welcome to wander around freely, but to get inside the fort, which was built back in 1885 to defend Sydney against possible sea attack, a guided tour is a must. WEDDING CAKE ISLAND Even if you don't know where Wedding Cake Island is, you've probably heard Midnight Oil or The Break jamming about it. Frontman Peter Garrett and guitarist Martin Rotsey were living in the Eastern Suburbs back in the '70s when they wrote an instrumental surf rock hit in honour of the island, which is found about a kilometre off Coogee Beach. The only ways to get there are by swimming or captaining your own boat. Above water, you'll find nothing more than a rock platform, but below the surface, the scuba diving is spectacular. Every ANZAC Day, Wedding Cake Island becomes a site of community commemoration, with local surfers paddling out to spend the day, their boards loaded up with food and slabs of beer. TOP SECRET ISLANDS: SPECTACLE AND GARDEN These Sydney islands are so secret that we regular, non-arms bearing types aren't allowed to visit them. They're both dedicated to naval activities. Spectacle, which lies just west of Cockatoo Island, is the oldest continuously operating naval facility in Australia, and home to an immense collection of artefacts, representing every maritime operation that the Navy has so much has dipped a toe into. Garden, found just off Potts Point, was open to tour groups before 20 September, 2014, when security on defence facilities took a step up from 'Safe Base Bravo' to 'Safe Base Charlie'. Prefer to stay ashore? Try Sydney's Ten Best Harbour Beaches.
Australia's biggest cities certainly hold their own when it comes to the world's best food capitals. But if there's one type of cuisine that lacks the same plethora of options compared to, say, Italian, Vietnamese or Greek, people tend to agree it's Mexican. While access to essential ingredients has steadily improved over the years — think nixtamalised corn tortillas, specialty chillies and Oaxaca cheese — satisfying your culinary cravings isn't always easy. However, lovers of Mexican cuisine can soon experience one of the best from the country itself, as CDMX-based taqueria El Vilsito is bringing its incredible food halfway across the world to our shores. Descending on Howard Smith Wharves in Brisbane and Manly Wharf in Sydney for two-weekend-long residencies this March, the tour is all part of an authentic takeover of La Mexicana — a Mexican food festival running alongside the tequila-soaked Margarita Week. For the occasion, two chefs from El Vilsito are making the long trip to Australia, working alongside a local culinary team to ensure the taqueria's crowd-pleasing tacos hit in precisely the same way as when served from their Mexico City mechanic's workshop. For the uninitiated, the eatery is especially admired for its tacos al pastor, where marinated pork cooked on a vertical spit is thinly sliced and served in corn tortillas. "El Vilsito was one of those places that stays with you," says Howard Smith Wharves Brand Director Katie Moubarak, who experienced the taqueria during a research trip to Mexico. "From the moment I stepped inside, the energy, the generosity and the food felt completely alive. Being able to bring their chefs and their way of cooking to Australia felt like a natural next step after experiencing it firsthand." Given the widespread international recognition El Vilsito has received over the years, its arrival in Australia is significant. Not only has the taqueria been recommended by the Michelin Guide, but it's also featured in The New York Times' 36 Hours in Mexico City Guide and in Netflix's Taco Chronicles. To make the experience even more special, Sandra Blanco, daughter of El Vilsito owner Juan Carlos Blanco, is also travelling to Australia. "We've welcomed so many Australians to El Vilsito over the years, and their love for our tacos has always stayed with us," says Sandra Blanco. "Our family has been making food here for nearly forty years, so being able to bring our chefs and recipes to Australia and cook them in the same way we do at home feels incredibly special." The El Vilsito pop-up is happening at La Mexicana from Thursday, March 5–Sunday, March 8 and Thursday, March 12–Sunday, March 15 at Howard Smith Wharves in Brisbane. Then, in Sydney at Manly Wharf from Thursday, March 19–Sunday, March 22 and Thursday, March 26–Sunday, March 29. Images: Andrea Tejeda K.
If you have lived in Sydney for frankly any time at all, you should be familiar with King Street Wharf mainstay Cargo. Its fairly central location means that on any given night you're likely to find an eclectic mix of groups on the after-work wind-down (or wind-up), hen parties, travellers and general party-starters. It's the place that you inevitably end up when, already a few drinks down, someone in the group (occasionally you) suggests finding a dance floor to tear up. But the appeal of Cargo stretches beyond after-dark dancing. A recent overhaul has brought a funky metropolitan buzz to the venue with a new palette of concrete, glass blocks and pops of royal blue. Combined with its prime real estate overlooking Darling Harbour and this pretty appealing package, Cargo is also a good spot to get your day drink on. On the subject of drinks, Cargo has a handful of appealing offers including $6 happy hour every weekday between 4-7pm on all drinks and then $12 cocktails from 7-9pm in the upstairs bar from Wednesday through Sunday. A perusal of the food menu reveals a selection of communal eats from pizzas to seafood platters, but if you're not the sharing type, there's also burgers, pasta and schnitzels to feast on. Images: Anna Kucera and Trent van der Jagt.
Adrenaline junkies, meet your new action sports go-to: a massive three-level skateboarding, BMX, snowboarding, skiing, rock climbing and bouldering facility that'll also mark an Australian-first. Come late 2024, American chain Woodward is making its Aussie debut, and also opening its first-ever international site, with a 3650-square-metre venue in Castle Hill in Sydney. If it gets your blood pumping, odds are that there'll be a space for it at Woodward Sydney, which'll set up shop adjacent as part of Castle Towers Shopping Centre. Think: climbing and bouldering walls, a skate park, mini ramps and a mega ramp, foam pits, a pump track, a spring floor, trampolines and a gym. And, whether you're a professional, an Olympian, aspiring to make action sports more than just a pastime or a complete beginner, the purpose-built centre promises to cater to all ages and abilities. That includes hosting individual classes, programs that span for multiple weeks, competitions, birthday parties and events — and having casual-access passes for folks who just want to give it a go. Plus, for winding down after getting sweaty, there'll be an onsite cafe and bar. "Sydney is the ideal city for our first expansion overseas given its history as a destination that embraces sports and commitment to the action sports lifestyle," said Woodward President Chris 'Gunny' Gunnarson, announcing the Castle Hill venue. "Woodward Sydney will be our most innovative concept to date — and a model for future Urban Centres. Woodward has historically been known as the place to go if you are an aspirational professional athlete, and we want all Woodward locations to be focused on empowering athletes of all abilities and ages to safely progress on a clear path at their own pace using our unique blend of innovative environments, dynamic programming, and passionate staff. Woodward Sydney will epitomise that mission." Also set to be a big focus: encouraging women to get more involved and feel more empowered in action sports, one of the brand's key missions. Woodward started out in 1970 in central Pennsylvania, and now boasts eight venues across the US, including in California, Colorado, Utah, Oregon and Vermont. The New South Wales Government is putting $1.8 million towards the company's first Australian action sports centre, via a grant from the Greater Sydney Sports Facility Fund, with an aim to both increase opportunities for Sydneysiders to get active and support athletes. "Investing in new and existing facilities to improve the quality and quantity of sports infrastructure across Greater Sydney was a priority for the NSW Government," said Minister for Sport Alister Henskens. "The NSW Government recognises the critical role sports infrastructure plays in keeping communities healthy and active. Woodward Sydney will provide an indoor action sports facility which will improve participation and pathway opportunities for emerging and elite athletes." Woodward Sydney will open at Castle Towers Shopping Centre, 22 Showground Road, Castle Hill, in late 2024. Keep an eye on the Woodward website for further details.
By this point, everyone knows buying cage eggs is a first-world form of pure evil. Hens are crammed into tiny metal boxes and left to descend into madness. The eggs they produce are understandably sub-par, and their quality of life is next to nil. You don't need to have seen a Jamie Oliver doco or Four Corners special to get the gist of it. But these days, even avid free-range buyers can get duped. Happy chickens are printed on every egg carton in your local supermarket, and dodgy phrasing like 'cage-free' and 'barn-laid' can trick you into buying something that falls way out of whack with your morals. Now something's finally being done about it. This week, state and territory governments have been tasked with creating a set of national guidelines to determine what exactly counts as 'free-range' and what these producers can legally lay a claim to on their cartons. Surprisingly, this will be the first national legal definition of the term 'free-range'. At present, the ACT and Queensland are the only states where restrictions apply to the term, and they differ wildly. In the ACT, farmers can have a maximum of 1,500 birds per hectare to qualify for the term, but in Queensland this number instead sits at 10,000. The latter is also the standard employed by Coles free-range brand. Though there is a voluntary industry code that allows up to 20,000 hens per hectare under the term, an investigation carried out by New South Wales Fair Trading concluded that consumers really have no idea what they're getting. It's estimated that around 40 percent of people now buy free-range, but they have an extremely limited understanding of what the term really means. The investigation was in fact instigated by a super complaint from consumer rights organisation Choice last year. "At the moment, consumers have no confidence they’re not being ripped off and that’s a ridiculous situation," campaign manager Matt Levey told SMH. "People want to make ethical decisions but can’t." Though any decided national standard will not take effect 'til 2015, it's understandably a step in the right direction. We should start openly talking about what's on our plate and put up a solid framework for the ethical treatment of animals. Next up: getting those happy rainbow hens off the cartons of cage eggs. If that's not false advertising, we don't know what is. PS. We'd like to sincerely thank you for clicking on this article despite the title's awful pun. Via ABC and The Sydney Morning Herald. Photo credits: madelinetosh and p1ndar0 via photopin cc.
