There's almost nothing that's bold about Haunted Mansion, but making the Disney family-friendly horror-comedy about moving on from the past is downright audacious. What the film preaches, the company behind it isn't practising — with this specific movie or in general. This flick isn't the first that's based on the Mouse House's The Haunted Mansion theme-park attraction, thanks to a 2003 Eddie Murphy (You People)-starring feature. In 2021, the entertainment behemoth also combined the Disneyland, Walt Disney World and Tokyo Disneyland highlight with The Muppets in streaming special Muppets Haunted Mansion. And, no matter how Haunted Mansion circa 2023 fares at the box office, there's no doubting that the idea will get another spin down the line. Nearly everything Disney does; this is the corporation that keeps remaking its animated hits as live-action pictures (see: The Little Mermaid), revelling in sequels even decades later (see: Indiana Jones and the Dial of Destiny), and getting franchises sprawling as films and TV shows alike (see: Marvel and Star Wars). Disney also adores stretching its well-known properties across as many parts of its business as possible, sometimes taking its movies and brands into its amusement parks — Star Wars, Marvel and Pixar have all received that treatment — and, of course, repeatedly doing the reverse. Pirates of the Caribbean, Jungle Cruise, Tomorrowland, Tower of Terror, Mission to Mars, The Country Bears: they've all charted the path that Haunted Mansion has three times now. Accordingly, while grappling with and learning how to move forward from grief isn't an amusing topic, that letting go sits at the latest Haunted Mansion's centre is the funniest thing about the new film. The first word in the picture's moniker couldn't be more spot on — not just due to the ghosts that terrorise the titular home, but via the unnerving reality that this is another by-the-numbers entry in a long line of attempts to hero existing name recognition first, foremost and forever. When Dear White People and Bad Hair filmmaker Justin Simien begins his Haunted Mansion, it's with backstory that explains why astrophysicist Ben Matthias (LaKeith Stanfield, Atlanta) is himself so unwilling to embrace the future. He meets Alyssa (Charity Jordan, They Cloned Tyrone), falls in love, then understandably falls apart when he's suddenly a widower — and, once he's consumed by mourning he's committed to staying that way. Then priest and exorcist Father Kent (Owen Wilson, Loki) ropes him into a gig at the movie's central abode, enlisting not just his help but the use of his specially developed camera that photographs dark matter and, ideally, spectres. The gadget was a labour of love for Alyssa, who worked as a ghost tour guide around New Orleans, a job that Ben has swapped science and the lab for after her passing. There's a difference between truly believing in the supernatural and wanting to feel connected to the person you love, however; Ben is in the second category. So, when he gets snapping to help Gracey Manor's new inhabitant Gabbie (Rosario Dawson, Ahsoka), a doctor who has just relocated with her son Travis (Chase W Dillon, The Harder They Fall), he's as sceptical as he can be and just in it for the hefty payday. Then, two things eventuate: he connects with the shy and introverted boy, who is treated like an outcast at school; and, no matter how much he tries, he can't leave the home's spirits behind. Cue a notion straight from Disney's IRL playbook: being unable to cut ties. In Ben's case, the only solution is taking the haunted mansion's eeriness seriously, discovering what's going on, and calling in psychic Harriet (Tiffany Haddish, The Afterparty) and college historian Bruce Davis (Danny DeVito, It's Always Sunny in Philadelphia) to also lend a hand. Haunted Mansion's unspoken motto: if you're going to make a movie based on a theme-park favourite, you might as well make a theme park-style movie. So, something chaotic pops up around every corner, be it more nods to the feature's origins, more otherworldly bumps and jumps, more famous faces or more weak attempts at laughs. There's a bigger sense of experience to an amusement-park attraction, though, rather than just something happening, then something else, then another thing and so on as occurs here. Screenwriter Katie Dippold has one of the best-written — and best overall — sitcoms of the 21st century on her resume in Parks and Recreation, and also penned 2016's smart and funny female-led Ghostbusters, and yet her current script largely sticks to the rails. While there's emotional depth to Ben's journey, as well as to his bond with Travis, Haunted Mansion is rarely eager to veer there, preferring formulaic cursed-dwelling hijinks to sincerity everywhere it can. Still, viewers should be grateful for the film's casting — especially Stanfield. The Judas and the Black Messiah Academy Award-nominee brings his roaming, restless Atlanta energy, melancholy and charm to Ben, aiding the film in conjuring up what little weight it has. It's through him, in fact, that it's possible to see the shadows of a better movie that Haunted Mansion sadly isn't. Around Stanfield, the bulk of his colleagues appear to be having enough fun with each other, including Dan Levy (Schitt's Creek) and 2023 Oscar-winner Jamie Lee Curtis (Halloween Ends). That's another of Haunted Mansion's theme park-esque strategies: filling its frames with folks who look like they're enjoying themselves, even among an onslaught of stock-standard special effects that lengthen hallways, get people disappearing through walls and the like, in the hope that the vibe will be contagious. Alas, it sorely isn't. It's easy to want to spend time with Stanfield and co: Wilson could've just skipped through time from 1999's The Haunting, but makes it work; Haddish amps up the mood whenever it's needed; and playing a figure that everyone is trying to flee perfectly suits Jared Leto (Morbius), who gets malicious as The Hatbox Ghost. A few spooks and scares hit the mark as well, but too few in an over-long-and-feels-it 123-minute movie. There's another presence lingering over Haunted Mansion, however: the ghost of genuinely excellent all-ages efforts, some with chills and others more with thrills, that are still beloved from years gone by. When this lacklustre effort is the newest entry in the field, no one is quickly moving past prior classics that still hold up wonderfully, such as Gremlins and The Goonies in the 80s; The Addams Family and Addams Family Values in the 90s; The Witches in that same decade; and the animated efforts of Coraline, ParaNorman and Frankenweenie.
If you've been pining for Cafe Paci since the Darlinghurst restaurant closed in 2015, then here's some good news. Chef Pasi Petänen will again team up with Dennis Roman, Zoltan Magyar for a second pop-up at Mecca's Alexandria roastery and cafe, where they'll be hosting 12 feasts involving wine and collaborations. Taking place over four weeks, the dinners find their inspiration in the colours of the season. Each week's menu is dedicated to a particular shade. So, in week one, look out for red ingredients, from red prawns, radicchio and red cabbage to duck, beef and paprika. In week two, yellow will take over, bringing with it saffron, ginger, honey, yellow-tail kingfish and yellow wine, among other sun-coloured delights. Then, in week three, it's white's turn, which means crab meat and calamari in savoury dishes and popcorn and white chocolate for sweet teeth. Finally, green, with its endless possibilities, will be wrapping up proceedings in week four. Think green-lipped abalone, seaweed, avocado, coriander and honeydew melon. Some specific dishes have been rumoured, including white salad, strawberries with smoked capsicum, corn with butter and cabbage with parsley and anchovies. For each offering, there'll be a matching wine available by the glass or bottle. Dennis and Zoltan put together the drinks list from a handpicked selection of local and international producers. The feasts will take place on Thursday, Friday and Saturday each week, kicking off on Friday, October 12 and finishing on Sunday, November 4. Tickets are $85 for a five-course, set menu. Match the entire banquet with glasses of wine for $65 or buy drinks individually.
Can I ask you to do something? As you read this sentence would you mind imagining the sound of 43 third generation Rajasthani musicians singing and playing the following instruments: the dholak (a double-headed hand-drum), the kartal (a wooden block and copper plate instrument literally meaning ‘rhythm of the hand’), a kamancha (an ancient violin), the sarangi (a short necked lute that resembles the sound of the human voice), the morchang (a percussive instrument held in place by the teeth of the player with the sound altered by movements of the tongue and throat), and the algoza (a collection of flutes that produces rapid swinging sound through breath and skillful finger movements). If your imagination is at all stimulated by this you will most likely enjoy The Manganiyar Seduction, an all-male ensemble of musicians who have combined their musicality acquired through a history of hereditary education (known as Gharânâ) with a spectacular and colourful stage show. While The Manganiyars would have traditionally performed for the kings of Rajasthan, director Roysten Abel has added ‘seduction’, stage cues, and a touch of Bollywood glamour to the formula, arranging the musicians in compartments (or ‘magical boxes’) that are framed by lights reminiscent of a celebrity’s bathroom mirror or that 1970s game show Hollywood Squares. The performance begins with a solo musician until the other Manganiyars are theatrically revealed. As this process continues and as each member of the group contributes to the overall sound the music gains momentum to such a point that we are thumped by a community of resonance and song. Or as the Irish Independent has exclaimed: "The effect is like that of a gospel Mass or a slow-building rave: a joyous, communal experience of the seductive power of music." And unlike an average band you might see lazily moaning about the metaphorical throws of a relationship gone wrong, the musicians from Rajasthan have a repertoire covering, well, life itself. Singing on subjects as varied as birth, marriage, weather, feasts, Sufi songs written by mystics, ballads about kings, Allah, and the origins of the Supreme Being Krishna, there really is something for everyone. Catch a free half hour preview performance at the Sydney Festival's Festival First Night on January 9.
Luna Park is undergoing a whopping $30 million makeover next year, which will see nine new permanent rides land at the Sydney attraction once complete. So, if you were looking to get a dose of kidult thrills this summer, you'll have to head to the fun-filled harbourfront venue before it closes in late January. As if answering your prayers, Luna Park will run a one-month Countdown Carnivale, so you can do just that. Running from December 26 till January 26, the event will let you race around on rollercoasters, bump about on dodgem cars and soar sky-high on the ferris wheel before the park's temporary closure until July. Plus, it'll be your last chance to take a spin on rides like the Power Surge, Round Up and Body Rock. And, on top of all the hair-raising rides, there'll be a Carnivale-inspired parade. Tickets cost $50, which gets you into the park and unlimited rides. The catch? You have to pre-book your spot online. Luna Park will be open daily, with sessions running from 10.30am–4pm. On Fridays and Saturdays, as well as on Monday, January 25, evening sessions will run from 5–10.30pm. Book your tickets to Luna Park's Countdown Carnivale here.
When someone asks where the party at, Motorik answer. The Sydney-based dance collective and record label are known around the traps for throwing the most outrageous of raves in secret locations. After three years of warm-ups and killer releases, they're ready to get epic for their third birthday this Saturday. With the 15th release coming up for the label — a casual facemelter of an EP from The Presets' K.I.M — and their own show on the brand new FBi Click, Motorik have a bunch of reasons to get messy. They've also released the next instalment of their 'Under the Influences' mixtape series with K.I.M, streaming over here. But you came here to find out what makes the crew tick huh? Andrew Santamaria from Motorik took us through his top five tracks, set to gear you up for Motorik's epic birthday bash this Saturday. https://youtube.com/watch?v=KJm1MHBFoFQ CSMNT61 — KEEP HOLDING ON "The first ever release on Motorik Records. It got the ball rolling for everyone. Still one of our proudest moments as a label or party." https://youtube.com/watch?v=ippnJFRMpeM WORDLIFE — VISION "We love the Wordlife bros, have done for years before they became Wordlife and will do for ever more. This is their first release on our label and if I'm not mistaken our most successful one. They're going form strength to strength, with their new live set one not to be missed. They are, of course, playing the birthday party. I'll be front and centre... high-fiving you." https://youtube.com/watch?v=AiuDNGYQdTg JENSEN INTERCEPTOR — SYSTEM ADDICT (SCNTST REMIX) "This is the new one from our main man and label stalwart, Jensen Interceptor. He's been bringing the bangers to the table since day one. Today is no different." https://youtube.com/watch?v=fulX7PEQeXU THE FINGER PRINCE — YOUR FACE "The final piece in our four-fingered puzzle of artists that inspired Motorik to evolve from putting on raves to creating a recorded history of our times. Also a personal favourite." https://youtube.com/watch?v=wORSreFpLIw ERIK & FIEDEL — DONNA "Pretty much every time I'm asked about a top ten or five or even one, this track is in there. It was one of the first techno records I ever heard. It didn't make much sense to me for ages, all I knew was that it was wildly different to anything else I was listening to. It still stands out as both an inspiration and conundrum. I. LOVE. IT." Motorik's 3rd Birthday is happening this Saturday, July 19 at a 'secret base location'. Tickets available here and third release ($55 +bf) are selling fast so click those heels.
Loving Fleetwood Mac is the right thing to do, even if their lyrics try to tell us otherwise. This new gig at the State Theatre clearly agrees, with a 24-piece orchestra playing the band's hits over one big evening. How else can you bask in the glory of a band that has sold over 120 million records, was inducted into the Rock and Roll Hall of Fame and still remains popular almost 55 years after they first formed? Guest vocalists Tania Doko (Bachelor Girl), Karise Eden, Prinnie Stevens and Mark Williams (Dragon) will also help offer a new spin on the Mac's classic tracks come Thursday, March 11, and you can listen along and pretend it's the 70s. Expect Seven Wonders: The Music of Fleetwood Mac Orchestrated to tackle the likes of 'Landslide', 'Tusk', 'The Chain', 'Dreams', 'Rhiannon', 'Little Lies', 'Go Your Own Way', 'Seven Wonders' and more — aka some of the biggest singles of the last half-century. With a night of reimagined hits to look forward to, you won't stop thinking about tomorrow — with tickets costing $99.90–149.90, and going on sale from 12pm AEDT on Monday, January 18. https://www.youtube.com/watch?v=ATMR5ettHz8
We’ve got a pretty decent skyline down in Sydney, so it’s nice that the folks at St George are continuing to make proper use of it even when the sun has gone down. The St George Open Air Cinema will be returning to Mrs Macquarie’s Point this summer, screening major new releases and some of the year’s best art-house films. Obscuring just the right amount of the killer harbour view will be a three story high screen hydraulically raised from the water, on which all 36 of the scheduled films will come to life with the help of state-of-the-art Dolby Digital surround sound. This season’s line up includes Steven Spielberg and Peter Jackson’s rendition of The Adventures of Tintin, Spanish maestro Almodóvar’s unique tale of psychological obsession and sexual perversity The Skin I Live In, and the high-action heist movie Contraband. You can’t BYO food or booze to this outdoor cinema, but why would you want to eat sandwiches when you can wash down a hand-made chili king prawn pizza from the on-site bar and restaurant with some Cloudy Bay sauv that hasn’t been warming up in your bag for the last hour? Advance sales commence at 9am on 15 December and can be purchased through the official website or from Ticketmaster retail outlets.
"Siri — write my Her review". "[da-dup]…I'm not sure I understand". Yeah, okay. So, it's not perfect, but the fact is, I just had a conversation with my phone. What's more, I didn't feel weird about it, and — most crucially — neither did the people around me. It's for this reason that Spike Jonze's new movie Her feels eerily and uncomfortably plausible. Familiar, even. In fact, inevitable. Set in the almost certainly near future, Joaquin Phoenix plays Theodore Twombly — a gentle, retiring man who works at BeautifulHandwrittenLetters.com penning heartfelt correspondence between people he's never met. In his personal life, his wife (Rooney Mara) has left him and now communicates exclusively via their lawyers. In short, nobody really talks anymore. Then one day he buys and installs a new operating system called 'OS1' — an artificially intelligent construct that names herself, or rather itself, 'Samantha' (voiced to perfection by Scarlett Johansson). At first Samantha simply streamlines Theodore's life, triaging his emails and encouraging him to get out more, but gradually, as she evolves and learns more from their interactions, they begin to fall in love. It seems ridiculous, yes, but thanks to Jonze's masterful script and direction, it never really feels it, and that's what makes HER the first must-see film of 2014. "Is it a real relationship?" Theodore asks his best friend (a game designer played by Amy Adams), to which she replies: "Well… what is real?" It sounds like hack freshman philosophy but actually cuts to the core of the film, because — in essence — Theodore's relationship is largely indistinguishable from every real-world, long-distance one. In this increasingly international age where overseas employment and study opportunities beckon with greater frequency and ease, it often feels like the number one obstacle for couples to overcome is mere geography. Hence, nobody bats an eyelid when two people attempt to sustain a relationship exclusively and indefinitely via phone calls, meaning — to the outside world — Theodore's interactions with Samantha are just as commonplace and unremarkable. And ultimately, who's to say they're not? Look around you right now. How many people are on their phones — talking, listening, scrolling, reading or playing? The loneliness and isolation of an increasingly interconnected world is a pervasive and fascinating phenomenon, but few have yet explored how humanity's growing fusion with technology might lead to actual relationships with it. Well, except maybe for the Japanese. To say much more is to risk giving away precious moments and quiet surprises (of which there are many), though it's worth noting Her pleasantly avoids a lot of tech in-jokes and future gags that could easily have rendered it a far more pedestrian affair. Ultimately, it is a beautiful, imaginative and provocative offering by Jonze that asks some fascinating questions about the direction love is taking in the technological age. Could we love an operating system, and — more importantly — could it love us back? "Siri - do you love me?" "[da-dup] Look…a puppy!" Man, love is hard. https://youtube.com/watch?v=ne6p6MfLBxc
Summer is all about balance. So if you're feeling a bit flat after your Christmas indulgences, equalise that with a few spins around a mammoth inflatable obstacle course. Popping up at Nolan Reserve in Manly from January 4–6 and then Centennial Park from January 18–20, Tuff Nutterz takes the adventure bouncing castle concept to a whole new level, clocking in at 270 metres long and boasting over 30 different obstacles. Organisers are calling it the largest inflatable obstacle course in the world, although it seems pretty similar in size to this one that popped up in Melbourne in early 2018. You'll get to bounce off walls, weave through cones and battle over giant wheels in a mad dash to the finish line. Each lap takes around 30 minutes to complete and you'll score two goes with your $45 ticket. Sure, it's meant for kids — but the website says that anyone over eight years old can participate. So if you're not taking children along with you, just be mindful that there will be lots of little people on the course, so you'll have to look out for them. There'll be plenty of food trucks on site, slinging a tasty lineup of burgers, hot dogs, ice cream and coffee to ensure you've got enough energy to tackle all those crazy obstacles.
April 25th is nearly upon us again, and after 2020's ANZAC Day was severally dampened by COVID-19, 2021 is set to offer something a bit more familiar. That includes at Petersham's Public House, which is hosting its annual day of two-up and tunes. Make sure to have a few $10 bills at hand as the inner west pub will be running two-up from midday until sundown. Accompanying the ANZAC Day tradition will be live sets from exciting young Sydney bands Rosa Maria and Megafauna, as well as DJ sets from FBi Radio's Deepa and Barkaa collaborator Fly Waves. Dancing will be permitted inside and outside, so make sure you're ready for a boogie. Beer stalls will be set up in the car park, or you can head inside to the courtyard for a drink and a feed. Those who choose to partake in a cold jug of Reschs on the day will also be helping raise money for Legacy Australia, an organisation that supports the families of veterans.
Sydney can't get enough of zombies at the moment. Fresh off the news that the undead obstacle course Run For Your Lives is headed our way, now it's time to look drop dead gorgeous and graduate at every(dead)body's favourite high school dance: Zombie Prom 1986. After selling out the last three years at The Vanguard, the team behind The Empire Strips Back has teamed up with Oz Comic-Con to move the Shermer High School end of year dance down the road to the much bigger Factory Theatre and take it to the next level. Think zombie dancers, a zombie house band and zombie DJs pumping out the best '80s hits all night long. The best part about it is that dressing up is pretty much mandatory. The dress code is '80s prom night, but zombies, so when 'Thriller' comes on you just know it's going to look incredible. Zombie Prom King and Queen will be crowned, so come dressed as your best cheerleader, quarterback or geek and have the best night of your undead life.
Another summer, another excuse to round up the crew for a boozy brunch. This year, bringing the good times in spades is Pelicano with a month-long brunch series, so you can get your catch-up in before the year is out. Every Saturday in December, the Double Bay bar is hosting a decadent feast. Just book a table from 1pm, preferably on the dreamy outdoor terrace, and you and your friends will be treated to a four-course Mediterranean-inspired meal for $55 a head. Better yet, Pelicano has teamed up with Absolut Vodka to celebrate the launch of Grapefruit Absolut, so expect plenty of summery cocktails, too. You'll score your drink of choice for no extra cost. It may be a classic vodka and tonic, made with Absolut Grapefruit, or the Grapefruit Glamour — a concoction of Absolut Grapefruit, mandarin, lime and coconut. Either way, it'll be made in front of your eyes on a roving cocktail trolley. Plus, being made with the tangy and refreshing spirit, it'll be great for kicking back in the sun with mates. Want to take things up a notch? You can keep the fun times going and opt for bottomless Mumm Petit Cordon sparkling for just $30 per person. To book your spot, head to the Pelicano website.
If the word ‘organ’ makes you think of dreary church services and scary old-lady piano teachers, head to the Opera House on November 12. And let rockstar organist Cameron Carpenter help you rethink your thoughts. He’s a 34-year-old from the good ol’ US of A, who’s travelling the world, singlehandedly changing the instrument’s musty, dusty image. Rather than sticking with traditional repertoire, he busts out into all kinds of grooves — from pop tunes to originals. He’s even learning Percy Grainger’s ‘Colonial Song’ specifically for his Aussie gig. “I tend to change the program at the last minute… that’s part of the fun,” says Carpenter, describing Grainger as his “very favourite composer in the world”. Also on the program is the Australian premiere of Carpenter’s composition Music for an Imaginary Film. Rather than playing the Opera House’s in-house organ, he’ll be bringing his unique ‘International Touring Organ’ along. Massachusetts-based makers Marshall and Ogletree built it with pipe samples from all kinds of instruments — from cathedral organs to Wurlitzers. The concert is the last in the 2015 Utzon series.
Later this year, the Museum of Contemporary Art Australia will turn into an otherworldly space, all thanks to large-scale sculptures and architectural installations made out of brightly coloured fabric by South Korean artist Do Ho Suh. But that description also applies to its current exhibition Ultra Unreal, which is taking over the cultural institution from Friday, July 22–Sunday, October 2 — complete with hyper-real artworks that blend myth and reality into visions of the possible future. The free showcase has taken up residence on The Rocks venue's first level, heroing work by six artists and collectives: Club Ate from Sydney; Korakrit Arunanondchai and Alex Gvojic, who work across Bangkok and New York; London-based Lawrence Lek; Shanghai's Lu Yang; and Saeborg from Tokyo. And while using the traditional tales that humanity has long told itself as a way to explore what might come is an approach obviously loaded with potential both visually and thematically, Ultra Unreal's roster of talent are all concerned with worldbuilding and nightlife ecosystems. Accordingly, when you walk through the exhibition, you'll be peering at multi-sensory works that reflect upon the kinds of worlds we have, do and want to inhabit — and what goes into them, and the tales that spring up around them. That examination covers everything from religion, neuroscience and ecology through to artificial intelligence, gaming and queer club cultures, too, as created by artists who are drawing upon their own experiences and politics. In pieces by Club Ate and Saeborg, for instance, the politics of the dance floor are pushed to the fore. Club Ate has crafted a video, sound and textile installation called Ang Idol Ko / You are My Idol, which finds inspiration in Filipinx mythologies and club cultures — while Saeborg's installation Slaughterhouse unsurprisingly gets dark, using a brightly coloured rural world filled with livestock that first began as a series of costumes and performances for Tokyo nightclub Department H, all to explore gender-based power and control. [caption id="attachment_862174" align="alignnone" width="1920"] Saeborg, Slaughterhouse, 2020–22, installation view, Ultra Unreal, Museum of Contemporary Art Australia, Sydney, 2022, latex, wallpaper, synthetic polymer paint, sound, image courtesy and © the artist, photograph: Anna Kučera.[/caption] Also featuring: Saeborg's Pootopia, which has been dubbed a "dung beetle paradise"; Yang's new series of works, which are set in digital worlds filled with genderless avatars and include his latest avatar DOKU; Arunanondchai and Gvojic's immersive installation No history in a room filled with people with funny names 5, which comes to Australia for the first time; and Lek's Nepenthe series, including an augmented reality project that lets visitors enter new worlds on each of the MCA's levels. Ultra Unreal is kicking off with a weekend of artists events, too, including a night of club-inspired performances, music and screenings on Friday, July 22. [caption id="attachment_862178" align="alignnone" width="1920"] Club Ate (Justin Shoulder, Bhenji Ra, and collaborators), ANG IDOL KO / YOU ARE MY IDOL (detail), 2022, installation view, Ultra Unreal, Museum of Contemporary Art Australia, Sydney, 2022, 2-channel video, HD, colour, sound, fabric, image courtesy and © the artists, photograph: Anna Kučera[/caption] Top image: Lu Yang, installation view, Ultra Unreal, Museum of Contemporary Art Australia, Sydney, 2022, image courtesy and © the artist, photograph: Anna Kučera.
If you haven't been Gelato Messina's eight-seat degustation bar since it opened last April, this July is the perfect time to do so — because they're adding truffles to all their dishes. In conjunction with Madame Truffles, Messina's Creative Department is crafting a special seven-course gelato-meets-gourmet mushrooms degustation for just two weeks. So what kind of truffle-gelato goodness have the masterminds come up with? There's a pine and eucalyptus gelato that's a mix of 67 percent chocolate and black truffle cremeux, salted caramel, Jerusalem artichoke crisp and caramelised honey served with a ginger and lemon myrtle infusion. Using ingredients from the Dominican Republic, Japan, Tonga and NSW, Messina will take your tastebuds on a sweet and savoury journey. There are also two kinds of sorbet on the special Truffle Week menu: apple and nasturtium sorbet, and black truffle oil and vanilla oil sorbet. Sorbets are paired with a finger lime tonic and a spiced chai latte. Tickets are $130 per person and, with just eight seats available at each of the three sittings each night, you can book for groups of two, four, six or eight of your gelato-loving mates. And based off how quick these things sell out, you'll want to grab your tickets ASAP. Head to the Messina Creative Department page to nab a seat. If you miss out, a limited editing truffle flavour will be available to buy at the Surry Hills store. Seats at the truffle takeover are now sold out, but, look at that — you can win a double pass by completing our reader survey.
UPDATE, AUGUST 13, 2020: Inception's tenth anniversary season has now undergone so date changes, it almost feels like something out of the movie's twisty plot. It'll now kick off on Thursday, August 13. We've updated this article to reflect that change. With Sydney's cinemas shutting down for months due to the COVID-19 pandemic — and beginning to reopen at the start of July — the idea of watching a movie in a darkened theatre in 2020 currently feels a bit surreal. From Thursday, August 13, that'll just be the first level of your dream-like film-going experience. Expect at least four others, with the dreams within dreams (within dreams within dreams) of Christopher Nolan's Inception returning to the big screen. Ten years after it first hit cinemas, the acclaimed mind-bender is back — to mark that anniversary; to help get everyone in the mood for Nolan's new movie, Tenet; and to give film-lovers something else to watch as Aussie picture palaces slowly relaunch. It's actually popping up just a fortnight before Tenet, which has had its Australian release pushed back a few times now. So, has the re-release of this twisty Nolan action-thriller, but now it's locked into the calendar. As written and directed by Nolan, Inception became a fast favourite a decade ago for plenty of reasons, including its dream-hijacking premise, its eye-popping visuals and its fantastic cast. In case you've forgotten the setup, it follows professional thief Dom Cobb (Leonardo DiCaprio), who steals secret information from his targets' subconscious while they slumber — with help from the likes of Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Tom Hardy, Dileep Rao, Cillian Murphy, Tom Berenger and Michael Caine. https://www.youtube.com/watch?v=tFNwbQXGMu4 Inception's tenth anniversary season is screening at various cinemas from Thursday, August 13, with exact dates and times differing depending on the venue — check out your local picture palace for details.
Buy the ticket, take the ride, strap in for an onslaught of frenetic locomotive-bound fights: that's high-octane action-comedy Bullet Train on- and off-screen. Set on a shinkansen hurtling from Tokyo to Kyoto, in as stylised a vision of Japan that anyone not named Quentin Tarantino has ever thought of, this neon-lit adaptation of Kōtarō Isaka's 2010 page-turner Maria Beetle couldn't be more onboard with its central concept. That premise isn't snakes on a plane, but rather assassins on a train — plus one snake, one of nature's hitmen, actually. Cramming all those killers onto a single engine sparks mayhem, banter and bodies, not to mention chaotic frays in the quiet car and almost every other space. And when it works, with John Wick and Atomic Blonde's David Leitch steering the show, Tarantino and Guy Ritchie alum Brad Pitt as his main passenger, and a lifetime's worth of references to Thomas the Tank Engine slotted in, Bullet Train is as OTT and entertaining as it overtly wants to be. It doesn't always completely work, however; every journey, zipping along on a high-speed train or not, has its dips. Still, there are plenty of moving parts trying to keep the movie in motion — and plenty of plot, for better and for worse in both instances. In his second 2022 action-comedy after The Lost City, Pitt plays Ladybug, who is back riding the hired-gun rails after a zen break packed with new-age self-help platitudes. That's what he spouts to his handler (Sandra Bullock, The Unforgivable) by phone, in-between rueing his bad luck, as he tries to carry out what's supposed to be an easy job. All that Ladybug needs to do is take a briefcase, then disembark at the next station. But that piece of luggage is being transported by British assassin double-act Tangerine (Aaron Taylor-Johnson, The King's Man) and Lemon (Brian Tyree Henry, Atlanta), as they escort a Russian mobster's son (Logan Lerman, Hunters) home. To up the hitman ante, the shinkansen is also carrying The Prince (Joey King, The Princess) and Kimura (Andrew Koji, Snake Eyes: GI Joe Origins), who have their own beef, as well as the revenge-seeking Wolf (Benito A Martínez Ocasio aka Bad Bunny, Fast and Furious 9). As is always the case whenever anyone asks "are we there yet?" IRL, there's more: more twists and turns to the narrative, more bickering, more familiar names facing each other down, and a mass of flashbacks to events minutes, hours, days and months earlier, most of which make the leap from the page via Zak Olkewicz's (Fear Street: Part Two — 1978) screenplay. Wondering if the scribe and Leitch have seen Kill Bill, or the Pitt-starring Snatch, or the 90s attention-grabbers that were Reservoir Dogs, Pulp Fiction and Lock, Stock and Two Smoking Barrels as they bring Isaka's novel to the screen is thoroughly pointless. But, after The Gray Man, Bullet Train is the second big, star-studded, midyear action flick that's pieced together from familiar components, only to boast the cast and visual spectacle to carry it off more often than not. What a treat Pitt is, and has been for more than three decades — because that's how long it's been since Thelma & Louise thrust him to fame. Bullet Train draws upon his Ocean's Eleven brand of chattering, casual, happy-go-lucky charisma, even with Ladybug grappling with an existential crisis over his chosen profession. Pitt is comic, but never reaches Burn After Reading's goofiness. Amid the navel-gazing and bromides, he's still calm, collected and supremely capable at holding his own, but never to a Once Upon a Time in Hollywood extent. Although Leitch doesn't give Pitt his own John Wick or Atomic Blonde, it's as crucial a piece of casting. Neither of those two flicks would be the gems they are without their specific stars, and Bullet Train similarly wouldn't have hit the marks it does without its bucket hat-wearing biggest name and his detailed performance. While they fill their scenes trading words and blows, the best of Pitt's co-stars inspire the same reaction — including Hiroyuki Sanada (Mortal Kombat) as a veteran yakuza, Michael Shannon (Nine Perfect Strangers) as a pivotal powerbroker, and Taylor-Johnson and Henry particularly. A visually mismatched pair who quip and sling crosstalk with every breath, the latter duo have cookie-cutter comedic-relief supporting roles on paper, yet bring flair, scene-stealing commitment, and a genuine rapport and weight to their characters. It's thanks to Henry as the blonde-topped Lemon that popular culture's most famous train among pre-schoolers not only plays such a sizeable part, but becomes a life-guiding creed. That's a bit taken directly from the source material and, yes, it could've proven both clunky and cringey on-screen. Bullet Train isn't concise at 126 minutes, and giving its Thomas gags a bit too much steam is just one of its repetitive touches, but that whole gambit would've derailed fast in other hands. Leitch knows banter, and how to direct it; see also: Deadpool 2. While he also knows how to overdo a winking, nodding, smirking vibe that overflows with references to entertainment elsewhere — see also: Deadpool 2 — Bullet Train never feels like it's merely and smugly laughing at its own jokes. And, although not every gag lands, or even the tone from station to station, it's gleeful about how silly it can skew, as its impressively choreographed and inescapably ridiculous action scenes show. Leitch also knows stunts, given that's where he famously started out. In Fight Club, Spy Game, Ocean's Eleven, Troy and Mr and Mrs Smith, he was Pitt's double. It's little wonder that the dynamic confrontations — which involve everything from that key briefcase, laptops and water bottles through to knives, guns, swords and the snake — bounce across their train-bound setting, and the screen, as vividly lensed by Leitch's regular cinematographer Jonathan Sela (Fast & Furious Presents: Hobbs & Shaw). Bullet Train's highlights gleam and flow, just like the film's sleek look and feel, but even when you're happily strapped in, bumps can bubble through. There's never a moment where it isn't a lot, which it's well aware, although luckily — the audience's, and Ladybug's — it's never having less than a hyperactive, cartoonish blast with everything it throws at the screen. Henry's Atlanta co-star Zazie Beetz, playing another of the feature's killers, deserves a better, more fleshed-out character, and more screentime. The ideas of family, trauma and fate at the story's core are often just scaffolding around the repartee and setpieces. Spotting the picture's influences is as plain to see as Tokyo's twinkling lights, and as blatant as the Japanese covers of 'Stayin' Alive' and 'Holding Out for a Hero' on the soundtrack. Buy the ticket, take the ride, settle into the movie's rhythm, let Pitt be your guide: that's still Bullet Train, though, too.
Now that the weather has become slightly chillier and you've accepted that you might have to pop a jacket on when you head out for the day, what's the best way to keep feeling as invigorated as one does while sipping a G&T on a summer's day at the park? Green Park Hotel's latest Thursday night event, Gin in the Park, obviously. The kind folks at the Darlinghurst public house have all sorts of juniper-heavy evenings planned to keep us all feeling upbeat and refreshed during the dreaded post-summer blues. PICNIC AT THE PUB Now that it's cooler, there's no need to brave the great outdoors because Green Park is serving picnics at the pub. To snack on while sipping $10 G&Ts, these adorably retro picnic hampers contain all the classic goods that some might think of as simple fare but are undeniably moreish — cubed cheese, Jatz crackers, pickled onions, dips and cucumber sandwiches are all on the menu. It's called a 'povo picnic', but it sounds pretty priceless to us. DON'T BOTHER WITH THE BOWLO If, in addition to your delightful picnic, you feel like a spot of lawn games, you're in luck. The Greeny ups the ante on Thursdays with, what they refer to as, "silly" versions of lawn game classics. Ring toss, skittles and Jenga will all be on offer, so you can let your competitive side come alive without having to take yourself too seriously — gin in hand, all the while, of course. There'll also be plenty of martinis if you wish to shake things up from your usual G&T. Disclaimer: the pub doesn't have an actual lawn — it's more of an astroturf-covered pool table situation. But hey, when you can play with martinis on the pour, does it really matter? [caption id="attachment_714426" align="alignnone" width="1920"] Sean Foster.[/caption] MEDITATIVE EXPERIENCES Have you ever meditated with a cocktail in hand? We wouldn't question if you had, you gin fiend, but we promise you've certainly never done it like this. The Green Park is spiking its Thursdays with unconventional gin events in collaboration with Hendricks, such as this immersive meditative martini experience. It'll elevate your love of gin to whole new sensory plains, with blindfolds and noise-cancelling headphones all part of the adventure. You can take part on these gin-credible (we had to) Hendricks Meditative Martini Experiences once a month (and of course on Thursdays) — April 18, May 16, and June 6 — but make sure you sign up, as places are limited. BOOGIE TO THE SOUNDS OF LOCAL DJs Gin in the Park certainly wouldn't be complete without a heavenly soundtrack that distils the night into one to be remembered. At Green Park, there'll be a rotation of local DJs hellbent on making your Thursday as enjoyable as possible — just like a cruisy Sunday arvo with mates at the local park. Who can you expect to be dishing out your pre-weekend boogie? The beloved resident DJs Kate Monroe, Hamo and Dom de Sousa. Gin in The Park takes place every Thursday from 5pm at Green Park Hotel. Visit the pub's website for more information.
Sydney Dance Company's first show of the season presents its dancers at their most open, honest and mindblowingly athletic yet. In the words of choreographer Rafael Bonachela, ab [intra], which is Latin for "from within", is an exploration of our "primal instincts, our impulses and our visceral responses". Rather than beginning with a script, Bonachela worked backwards. While improvising and experimenting in the studio, he asked dancers to anonymously write down their emotions, ideas and questions on hundreds of yellow Post-It notes and created a narrative from them. Throughout the piece, dancers shift from portraits of intense intimacy to explosions of dynamic interaction and moments of stillness. Costumes are minimal, exposing an unsettling mix of vulnerability and power, and the original score, composed by Nick Wales, combines both classical and electronic influences. ab [intra] is Bonachela's first full-length work since 2012, when 2 One Another and a collaboration with the Australian Chamber Orchestra called Project Rameau both took the stage. This is his tenth year as artistic director of the Sydney Dance Company. https://youtu.be/CQVMpxo5UaQ Images: Pedro Greig
The Lady Hampshire is making a huge comeback. After scoring another transformation, this Camperdown staple is now ready to welcome newcomers and regulars alike with back-to-back weekends of partying. To kick off its return, the revamped dedicated live music venue is hosting a month-long celebration of music from Friday, April 14 until Saturday, May 20. The venue's weekly live music takeovers are shining a spotlight on both local and international artists from Wednesday to Sunday night. So grab a beer, take a seat, and dance the night away. The space has been taken over by PUBLIC hospitality group, which aims to prioritise keeping the heritage of the place intact, with a focus on community and experience. Keeping the locals and live music in mind, the venue's massive upcoming weekend gigs are set to be The Lady Hampshire's reintroduction into Sydney's ever-growing scene of live music in pubs. If you head over early, or need a quieter place for a breather, head on up to the 100% recycled urban beer garden. As a bonus, you can sip your way through the night next to Aussie icons like Kath & Kim, Steve Irwin, Cathy Freeman and Adam Goodes with Scott Marsh's gorgeous mural adorning the wall. The likes of Bootleg Rascal, Abby Bella May, Close Encounters, These New South Whales and Radicals are all on the bill, so make plans to hit up the live music venue on Friday and Saturday nights, in particular, to catch these artists on stage. You can stay up to date with the gig guide over at the pub's Instagram page. You'll also be able to get into a heap of these gigs for free — just be sure to RSVP via the event link beforehand.
How does a show featuring some of Australia’s most experimental, unusual and innovative music sound to you? If a whole evening focused on some of the most eclectic purveyors of rock and electronic music from around the country sounds like your thing, then Unpopular Music 2011 has got you covered. The event sees four of Australia’s leading underground music advocates – New Weird Australia, Octopus Pi, Sound Series and Refraction – join forces to put on two separate shows this Saturday evening. The first, starting at 6pm at Enmore’s Hardware Gallery, features Sydneysiders Thomas William and Scissor Lock premiering material from their debut collaboration Jewelz. Other artists in tow include Melburnians Monolith, Und and Anna Chase. This is due to wrap up some time before 9pm, but then things are going to get really interesting — there will be a ‘magical audio tour’ leaving Hardware at 8:45pm and arriving at Dirty Shirlows in Marrickville in time for the second 9pm show. How exciting! The second show features Brisbane psychedelic outfit Strange Forces, with other groups including Sydney’s Zeahorse, Brisbane’s Secret Birds and veteran Sydney punk group Scattered Order. Tickets for the two shows are $12 all up, and $2 from each ticket goes towards the upkeep of Sydney’s FBi radio station!
Sydney winters mightn't be known for their ice and snow; however, that doesn't mean you can't slide across a frozen surface in the centre of the city. From June 23 to July 16, St Mary's Cathedral forecourt will become a winter wonderland thanks to the return of the Skating At Sydney Festival. Return, you say? It's a case of same event, new name for the event that was previously known as the Winter Festival. Don't worry, all of the frosty fabulousness Sydneysiders know, love and won't find anywhere else in the CBD is back: ice skating, ice sliding, and eating German sausages included. It's the next best thing to heading to Europe when it's oh-so-cool, just without the bone-chilling, teeth-chattering cold. And, did we mention that there's gluhwein (aka warm, mulled, spiced wine, aka your new favourite winter drink)? Entry to the area is free, but you'll have to pay for all of the fun stuff, with the fest open from 10am to 8pm Monday to Thursday, 10am to 10pm on Friday and Saturday, and 9am to 8pm on Sundays.
Smoking Gun Bagels is Sydney's only authentic Montreal-style bagelry, and it has been hand-rolling and woodfiring them in Woolloomooloo since 2016. Now, it's heading west — to St Peters. The bagelry has popped up opposite Sydney Park, in temporary cafe created in collaboration with Sydney's collective coffee roaster, Collective Roasting Solutions. It's serving up an all-star lineup of Sydney roasters, including Edition, Skittle Lane, Harry's Bondi and Grace & Taylor — and, for the next six weeks, standout bagels. On Smoking Gun's menu, you'll find the likes of Chick Don't Kale My Vibe, with kale cream cheese, candied walnut and poached chicken, and the Netflix and Dill, with house-cured salmon and pickled zucchini. In a move that should improve your morning commute (if only ever so slightly) the pop-up is right next door to St Peters train station. So you can grab a bagel and a much-needed coffee — and maybe even watch some dogs frolicking in the park — before you head off to your 9-to-5. The Smoking Gun Bagels pop-up is open from 7am-2pm, Tuesday to Sunday, until Sunday, September 16.
Cyril Hahn is back. Last time we saw him in these parts, he was playing the Museum of Contemporary Art for Future Classic. Now, he's taking on a national tour. Hahn says his friends described his tunes as "sex music or make-out music". So, if you're in that kinda mood, head down to Max Watt's on February 27 and get your mojo working. More formally, Hahn is known as one of Canada's best R&B remixers and creator of epic anthems. We first heard his magic back in 2012, when his reworking of hits by Destiny's Child and Mariah Carey racked up millions of hits on YouTube and Soundcloud. We're not going to even think about how many affairs they might have started. Since then, Hahn has signed to PMR Records and continued to produce one sexy remix after another. He's also released stacks of originals across three EPs: Perfect Form’ (2013), Voices (2014) and Begin (2015).
Political art is at its best when it not only gives expression to the big questions facing a society, but also forces the audience to think about answering those questions. The work of Australian artist Fiona Foley does just that. Hailing from Fraser Island, for the past two decades Fiona Foley's work has focused on Australia's complicated colonial history and its arguably more complicated present. The current exhibition at the MCA is the first in-depth solo exhibition of her work and demonstrates her considerable ability to fuse indigenous art with contemporary forms and concerns. In one work, River of Corn, you'll find yourself removing your shoes and wading through a room filled with yellow corn about one foot deep. The thick corn on the floor recalls the contours of the desert and the sensation is not unlike walking against a water current. Another work, Land Deal, encompasses various mirrors, flour, scissors and tomahawks — just some of the objects that Lord Batman exchanged for the land we now know as Melbourne. Like many contemporary artists, her practice encompasses painting, printmaking, photography and installation works, but often the focus is more on the idea expressed in the work than in stylistic labels. As in this case the focus is something we can all relate to, our shared history, Forbidden makes for a very thought-provoking experience.
When the weather starts to cool, our stomachs start to grumble for hearty snacks and meals: think burgers and fries, sausage rolls, pasta, brownies and doughnuts. Let's call autumn and winter the seasons of indulgence, and let's call Vegan Collective's next market the ideal celebration of tasty treats for this time of year. It's all there in the name at the Autumn Indulgence Night Market, so head along from 7pm on April 12 and prepare to eat delicious vegan food made by local providers. Treat Dreams, The Vegan Teahouse, My Little Panda Kitchen, Rhubarb Bakes, Green Wise Monkeys, Herbisaurus, and GogoVego will be among the stallholders, so we'd recommend arriving hungry. Vegan Collective's last market attracted around 400 attendees to feast on meals and bites from 2o local vegan makers, in case you needed more convincing. Val York will spinning tunes for the occasion, and Astrix Little will bust out a live set. As for everything else, keep an eye on the event's Facebook page. Image: Vegan Collective / COMMUNE.
Calling all gallery goers. If your love of art is on par with Charlie's love of chocolate, we've got something that'll bring a golden twinkle to your eye. We're giving away a golden ticket to the Art Gallery of NSW, which grants you and a mate access to every single exhibition held there this year. That's free passes to some of the most exciting curatorial offerings in town in your hot little art-loving hands. So what's lined up, you ask? Well, until Sunday, March 3, you can check out Masters of Modern Art from The Hermitage. The exhibition is an eye-poppingly awesome selection from the St Petersburg's State Hermitage Museum that includes works by radical innovators Monet, Cézanne, Matisse, Picasso, Gauguin, Kandinsky and Pissarro. Works by legendary Australian artist Brett Whiteley are also on show until Sunday, March 31. From early drawings of Sydney and France through to the landscapes, interiors and nudes of his later career, this survey celebrates the integral, inspirational role drawing played in his creative process. In April, the gallery hosts the most comprehensive Marcel Duchamp exhibition to ever be seen in the Asia-Pacific, treating visitors to about 150 works and documentary materials from the influential artist's rich career in The Essential Duchamp. You'll get to see early gems like Portrait of Dr. Dumouchel (1910) and Sonata (1911) alongside later career-changing works including Nude Descending a Staircase No. 2 (1912). And in November, the gallery is set to host, Japan Supernatural, a blockbuster exhibition of Japanese artworks, including those by Takashi Murakami. But that's not all. The passes also include entry into an exhibition dedicated to masterpieces from Taipei's National Palace Museum, plus the annual Archibald, Wynne & Sulman Prizes. To enter, see details below. [competition]684175[/competition]
If you've been making plans to revamp your style, but haven't been able to rustle up the coin, here's your chance. For two weeks, Hugo Boss will be hosting a mega sale at its outlet stores. You'll be able to score a further 50 percent off a massive range of premium clothing — from comfy t-shirts and soft sweaters to suave suits and women's dresses. Whether you're after a suit for a special occasion or looking to level-up your wardrobe, Hugo Boss's end-of-year outlet sale will have you sorted for a fraction of the fashion label's usual prices. You'll have to get in quick to score though, with the sale running from Wednesday, December 16 to Friday, January 1. Hugo Boss end-of-year outlet sale will run from Wednesday, December 16 to Friday, January 1. To find your closest outlet store, visit the website.
John Hughes’ 1987 hit combines a ‘buddy movie’ with a ‘road movie’ and an ‘odd-couple sitcom’ to create one of cinema’s all-time classic comedies. It’s a tale of man versus nature, man versus technology and even man versus fellow man as uptight ad executive Neal Page (Steve Martin) and schlumpy shower curtain ring salesman Del Griffith (John Candy) are forced together during a disaster-laden journey from New York to Chicago for Thanksgiving. This is Murphy’s Law at its most unforgiving, transforming a two-hour flight into a three-day back roads odyssey thanks to some bad weather, bad decisions and simple old bad luck. The casting was spot on in this film, which was made when both actors were at their professional peaks. The steady accumulation of frustrating setbacks was a perfect device for Martin, who easily remains the most enjoyable actor to watch suffer an explosive on-screen meltdown. His performance is more subtle and nuanced than usual, however it does also feature a scene in which he famously drops the f-bomb 18 times in less than a minute, taking the otherwise PG-13 film well into the M-bracket. John Candy is equally fantastic; creating a deeply empathic character despite traits that would have rendered him wholly annoying in the hands of almost any other actor. Together with Hughes (who also wrote the screenplay), they took a simple road movie and turned it into something far more enriching, both comically and emotionally. The team behind the much-anticipated event Downtown Drive-In has announced Carriageworks in Sydney’s Eveleigh, just three kilometres from the Sydney CBD, as the location for its three-night season, which will run from November 29 to December 1, 2012. A seldom-used section of the 120-year-old heritage listed building will form the perfect backdrop for the Back Roads USA season of films. The films to be screened include On The Road, Planes, Trains and Automobiles and Vanishing Point. Downtown Drive-In will also feature a custom menu with individual items designed by The Dip, Sydney’s favourite American-style diner, playfully paying tribute to the films and shared Americana settings and atmosphere. Major sponsor Audi will supply a range of luxury cars for the ultimate drive-in experience. The cars will also feature razor-sharp sound from audio partner Bang & Olufsen. Entry into Downtown Drive-In will cost $50 for vehicles of up to four people. Walk-in deck chair seating is also available near the screen, at $25 per person. For more information on the film schedule, drive-in experience and participating partners, visit www.downtowndrive.in
Three of Sydney's Japanese food favourites are coming together to celebrate all things sake across August. Nakano Darling, Tachinomi YP and Yakitori Yurippi are teaming up for Sake Month to present a range of special set menus and snacks to pair with a wide variety of sake. At both Nakano and Tachinomi YP, diners can order a limited-time sake and otsumami (Japanese for 'snack') set, with varieties of the Japanese spirit paired with moreish finger food. The menu is available daily during August and changes week to week with new combinations popping up throughout the month. Over in Crow's Nest, Yakitori Yurippi is also making the most of Sake Month with its Hide's Izakaya chef's table experience. This seven-course izakaya-style menu is limited to 24 people each Tuesday with seatings available at 5pm, 7pm and 9pm. "It's been a pretty cold winter, but it's clear that everyone loves being out again with friends and family," the venues' co-owner Tin Jung Shea said. "We get it and we wanted to create something special to give our customers more chances to have fun, stay warm, and try some amazing Japanese cuisine while they're getting back to dining out."
If the cloying coverage of a certain “fairytale” wedding has left you craving something satisfyingly dark and bittersweet, Ruby Moon asks why red-hooded children never make it safely to grandmamma’s house. It is a subversive re-jig of Little Red Riding Hood that “begins like a fairytale,” but ends somewhere else entirely. The best fairytales, after all, are fractured and fraught with danger; they meld tenderness with malice and romance with depravity. One day little Ruby Moon puts on her red dress and sets off to visit her grandmother at the end of the cul de sac. She never returns. Unable to compress their grief or console each other, her parents resort to re-enactment as a form of solace. When brown paper parcels containing dismantled doll parts start arriving on their doorstep, their suspicions take on a new, warping desperation and they begin interrogating their neighbours in earnest. They refuse to refer to Ruby in the past tense, convinced that behind closed doors, someone knows what happened to their daughter… Ruby Moon was short-listed for the Queensland Premier's Literary Awards, and is playwright Matt Cameron's most celebrated play. It's both a profoundly felt moral story and a surreal tragicomedy about the terrible price of love. It begs the question, if little Ruby had even reached her grandmamma's, would she have been better off?
You could spend one hour trying to get a cab to some party where you might be able to hear some fireworks, or you could spend it heading up to the beautiful Glenworth Valley for Peats Ridge. This year Sydney’s alternative to a New Years spent in the city is hardcore delivering on their promise to be all about the vibes. The (huge) musical lineup will be headlined by John Butler Trio, who are pretty much Peats Ridge in the form of three musically-adept men. Other acts sure to get the vibes flourishing include NZ’s Unknown Mortal Orchestra, our own Deep Sea Arcade, techno guy Luke Slater and Friendly Fires in DJ mode. On the arts side there’s a new theatre, a trippy Derivan Art Tunnel, an actual circus complete with trapeze artists and a slew of interactive installations. Have your eyes and ears wowed, put your bottles in the bins provided and don’t forget to meet at 6pm for the infamous New Years Eve Fancy Dress Masquerade Party.
Swim season is nearly upon us (finally) and the Andrew (Boy) Charlton pool is starting it off with free entry, free brekkie and free harpists. That last one threw us for a loop, too. The pool will officially reopen for the 2018/19 season on Saturday, September 1 and it's giving free entry to the first 50 people through the door — though you'll have to wake up mighty early as the pool opens from 6am that day. If you're late, it's the standard $6.60 entry fee. And, in true 'early bird catches the worm' fashion, the first three people on line will nab a 12-month 360 active membership, which gets you access to ABC, Prince Alfred and Victoria Park pools. Now, back to the harpist. Singer and orchestral harp player Jake Meadow will perform poolside throughout the morning, while attendees are invited to swim, eat a barbecue breakfast and participate in yoga classes on the deck. And, of course, the ABC pool's proximity to the Botanical Gardens and views across the harbour make it an appealing spot as it is. The event caps off at 10am, though, so late-sleepers should be wary of hitting the snooze button.
Drawing on a background in visual art, band Cambodian Space Project also became known for the psychedelic designs that made up its aesthetic. The artworks quickly took on a life of their own, and now dubbed Sticky Fingers Art Prints, 30 designs in editions of four will be showing at the Newsagency Gallery in Petersham, which regularly supports emerging Southeast Asian art. Srey Thy, lead singer of the Cambodian Space Project, grew up in rural Cambodia during the decline of the Khmer rouge regime and came to idolise singers like Ros Sereysothea and Pan Ron, both of whom disappeared in the Killing Fields. When Srey moved to Phenom Penh to become a karaoke singer, she met Australian musician, Julien Poulson, and, well, the rest was history. The two came together to form vibrant and soulful rock band, the Cambodian Space Project, who have garnered acclaim from local outlets such as Triple J. Aimed at fostering up-and-coming talent, Sticky Fingers has enjoyed a meteoric rise, recently opening up a shopfront in Phnom Penh as well as a studio for aspiring Cambodian printmakers and artists. And while they're in town, you can combine a good cause with a good time and catch the Cambodian Space Project performing live at the exhibition September 21. Newsagency Gallery is open weekends, 10-5.
Consider yourself a gin lover? Well, we've got just the thing for your juniper-loving self — a luxe, gin-fuelled trip to Melbourne. After all, don't we all deserve a little getaway? Thanks to our friends at urban gin distillery Patient Wolf Distilling Co., you and a mate could be jetting off to Melbourne for two nights — with flights, accommodation and gin all on the house. Should you win this prize, you'll spend the weekend at the luxury W Melbourne hotel. You'll also learn about distillation and botanicals in a Patient Wolf gin masterclass — a must-do for all gin lovers — at its home in Southbank, just on the edge of Melbourne's CBD. During the masterclass, you'll hear all about the distillery's story; sample its three signature gins; and get to spend $200 at the bar or purchasing a couple of bottles to take home. You'll also score a $200 voucher to spend on a decadent dinner at W Melbourne's on-site restaurant, Lollo, after a hard day of gin sampling. The competition is open to people aged 18 years and over. See further details below to enter. [competition]814639[/competition]
There can't be many tasks more challenging for a performer than making an unlikeable character likeable, yet when done right, that character's humanity and compassion can often burst though — amplified and disarming — with a powerfully cathartic release. Such is the case in John Lee Hancock's tender-hearted tale Saving Mr Banks, which chronicles Walt Disney's 20-year effort to bring Mary Poppins to the big screen. Disney, however, is not the focus of the film. The man was far from saintly, definitely, but — when played by Tom Hanks — his likability was assured. Instead, Saving Mr Banks focuses on the author of that beloved children's story, PL Travers (Emma Thompson), who was every bit the unlikeable character: stubborn, terse and paradoxically impolite in her constant castigations of anyone who failed to observe common etiquette. Common British etiquette, mind you. Beginning in 1961, Travers had found herself in financial trouble when the royalties from Mary Poppins had all but dried up. Faced with the possibility of losing her London home, she finally acquiesced to the pleas of her exasperated agent and travelled to Hollywood to discuss selling the film rights. Her unease, one she'd staunchly maintained for two decades, was that the story and characters would be 'Disneyfied' by way of frivolous cartoons, childish singing and dancing animals. An author seeking creative control was nothing new to Hollywood, but nobody could quite understand why Travers guarded her story with such unyielding ferocity. That mystery is what lies at the heart of Saving Mr Banks. Presented as a dual narrative, the movie flicks back and forth between Travers' present-day obstinacy in the Disney Studios and her difficult childhood in the Australian outback, with the latter periodically informing and recasting our understanding of the former. It's no secret the true subject of Mary Poppins was not the children, but rather their father — Mr Banks — and the quiet crusade by Poppins to reconnect him with his family. Accordingly, Saving Mr Banks's early scenes focus on the relationship between the young Travers (whose real name was Helen Goff) and her alcoholic yet devoted father, played by Colin Farrell. The parallels are all a little too neat, psychologically, but very much contribute to both the story's greater meaning and the audience's eventual appreciation of Travers' hidden benignity. In the lead, Thompson is unsurprisingly sensational. What initially feels like an exaggerated and caricaturesque performance proves remarkably spot-on courtesy of some unmissable credits, and her ability to transform both mood and meaning with the tiniest change of facial expression demonstrates why she remains top of her game. Hanks is reserved in his turn as Disney, though still proves capable of stealing a scene — most notably during an exquisite description of his own father's strict approach to parenting. In supporting roles, Paul Giamatti offers a lovely turn as Travers' driver, while Bradley Whitford, Jason Schwartzman and BJ Novak are excellent as the bewildered creatives charged with appeasing Travers and adapting her book to the screen. There's a good chance you'll cry in this film, both in moments of tragedy and sentimentality — but really, that's always been the Disney formula. Sweet, heartwarming and consistently funny, Saving Mr Banks is every bit the opposite of its main character, but — just like her — ultimately surprises with some unexpected tenderness. https://youtube.com/watch?v=FvKcwNyOnWo
At a time when representation continues to prove an issue in cinema, this year's Sydney Latin American Film Festival is leading by example. Already responsible for showcasing the kinds of South American flicks that wouldn't make it to Australian cinema screens otherwise, the 2017 event — the fest's 12th — also features a lineup that boasts gender parity. When SLAFF rolls into Dendy Opera Quays between September 7 and 11, half of its program will be directed by female filmmakers. That includes opening night's Havana-set On the Roof, Everything Else featuring Oscar-nominated Babel actress Adriana Barraza, and documentary When Guns Go Silent, about Colombian guerrillas trying to make peace with the government. Other highlights range from Bad Influence, about the issues and struggles of the Indigenous Chilean Mapuche people to Dominican sports drama Sambá (a hit at this year's Tribeca Film Festival) to closing night's Bad Lucky Goat, about two siblings on the run after accidentally killing a farmyard animal. In total, SLAFF 2017 will screen eight features, two documentaries and seven shorts across its five-day stint, highlighting the latest movies from Cuba, Argentina, Mexico, Chile, Brazil, Venezuela, Colombia and the Dominican Republic. And if that's not enough excitement, the bookending screenings will feature parties and performances.
Enjoy a leisurely brunch looking out over Sydney Harbour, at the recently opened Flying Bear in Kirribilli. Attached to the Sydney Flying Squadron sailing club, the cafe is being run by Adam Marshall, who previously operated Bird and Bear Cafe in Elizabeth Bay, and is also helming the club's relaunched restaurant, Foys Kirribilli. "The history and location of this building is truly special," Marshall told Good Food. "Our inspiration was to transform the space into a harbour retreat for locals and professionals from North Sydney, which in turn would secure the ongoing viability of this unique community asset." Morning menu offerings include bircher muesli with tea-soaked figs, grated apple, toasted almonds and yoghurt; rosemary, cheddar and sundried tomato scones; and toast with avocado, tomato, chilli flakes and truffle oil. Lunch options are a little heartier, such as a roast chicken, red cabbage, caramelised onion and aioli sandwich; and a grilled chorizo salad with soft boiled egg, rocket, butter beans, parsley and mint. As for beverages, fresh coconut juice seems like an appropriate match for the waterside locale. Alternatively, they also serve tea, coffee, milkshakes and smoothies, and are looking at hosting champagne brunches down the line. Food at the adjoining Foys Kirribilli is handled by chef Fernando Sanchez, previously of Darlinghurt's Food Society. Standout dishes include Tasmanian salmon cured in tequila, lime and cumin with crème fraiche, sourdough wafer and dill leaf; eggplant stuffed with ricotta, napoletana sauce and basil; and share plates of crispy roast chicken with cauliflower puree and chimichurri. Flying Bear will also be hosting live music sessions on Thursday evenings, complete with taco menu and sangria. The Flying Bear and Foys Kirribilli are located within the Sydney Flying Squadron Sailing Club at 76 McDougall Street, Kirribilli. For more information, check them out on Facebook. Via Good Food.
Since he was 15 years old, Jarvis headed up Pulp, the Sheffield Brit-poppers that broke all barriers of the non-movement. Pulp changed the musical climate in England and abroad with their music, which was described by biographer Allen Sturdy as “a cross between Abba and The Fallâ€. Pulp released 7 much acclaimed studio albums, none more so than Different Class which included their biggest single Common People. He is a much respected figure in the musical and cultural cosmos, and since Pulp have been on hiatus he has collaborated with many leading figures past (Marianne Faithful and Nancy Sinatra) and present (he contributed three songs to the Harry Potter and The Goblet of Fire soundtrack). Amongst a plethora of other diverse and ever changing projects and collaborations he has also hosted his own arts series Journeys into the Outside on UK Channel 4. The multi-tasker released his first solo album Jarvis in 2006 and Further Complications was released in May this year. The Steve Albini produced record sees Jarvis turning up the volume and rocking out more with complete with feedback and distorted guitars- including single Angela which according to a Q Magazine interview is about “thwarted lustâ€. His nice-suited self will grace our The Metro Theatre on 7th December.https://youtube.com/watch?v=AzpxtSmEL9s
The Red Bull Music Academy Weekender is gearing up for a second visit to Aussie shores. The globally acclaimed festival will return to Sydney from August 31 through September 3, and sees a sharp curation of performances, conversations, installations and club nights taking over some of the city's best-loved venues, with a careful selection of internationally recognised artists coming together in a celebration of contemporary music. Sydney was lucky enough to be tapped last year, joining previous host cities including Tokyo, Dubai, Vienna, and Stockholm. Expect everything from a carpark carnival from One Day to a minimalist Japanese electronic concert at North Head. Red Bull Radio will also be broadcasting live across all four days with a program of conversations, special guests, local stories, and live streams to accompany the tunes. The rest of the country is getting a taste of the action, too — this year's festival will kick off with a little help from the Road to Weekender, a series of events and lectures slated for Perth, Adelaide, Brisbane and Melbourne in the lead-up to Sydney from August 26 through 31. The Red Bull Music Academy boasts a long-held legacy of cultural celebration, fostering musical talent and collaboration across the globe. In Australia alone, the Academy has also hosted stages at Splendour in the Grass and Laneway Festival, as well as put on an industrial rave at Dark Mofo.
Following a tumultuous couple of years for the team behind the beloved Wollongong music festival Yours and Owls, the live music crew is bringing the party to Berry over 2023's Easter long weekend with brand-new festival Lazy Mountain. The one-day all-ages affair will be popping up at the Berry Showground on Saturday, April 8 with a stacked lineup of Australian favourites. Topping the list of acts is acclaimed Sydney band Gang of Youths, fresh off their run of arena shows and self-curated festivals. The rockstars will bring their catalogue of hits and new album Angel in Realtime to the showgrounds alongside an indie rock-heavy program. Joining Gang of Youths will be Tash Sultana, Middle Kids, Bad//Dreems, Slowly Slowly, Tyne-James Organ, Merci, Mercy and Aodhan. Living up to its lazy name, the music festival is designed for those sick of running around expansive festival grounds trying to catch their favourite acts between frustrating set time clashes. All acts will appear back-to-back on the one stage, meaning that you won't miss your favourite Middle Kids song because you're at Tash Sultana's set. Another enticing element of the new addition to New South Wales' collection of festivals is the location, set in the stunning surrounds of Berry on the NSW South Coast. Located two hours south of Sydney, the festival is a perfect excuse for a regional getaway across the long weekend. [caption id="attachment_886069" align="alignnone" width="1920"] Ellen Virgona[/caption] The drawcards don't stop there, though. You can expect top-notch tipples and moreish snacks to enjoy between sets as well, with the team behind the South Coast Food and Wine Festival in charge of Lazy Mountain's food and drink lineup. Black Iron Smokers and BBQ, Samara's, Mama Kim's Kitchen and OysterLife are among the highlights of the food market, alongside Pip Duck who will be pulling together picnic hampers featuring local produce. Drinks will be on-hand from Hawke's Brewing Co, Truly, Aperol, Kraken Rum, Archie Rose Distilling Co and Henry Clive Caravan Bar, who will be in charge of showcasing some top-notch wines from the region. That's right, you can pair oysters and a picnic hamper with a local vino or craft beer at this festival. While the event is all ages, anyone under the age of 18 must be accompanied by an adult. Bringing the kids is encouraged, though, with a Lazy Mountain kids club being set up with crafts and face painting keeping the little ones occupied throughout the day. Camping and glamping are available to book through the festival at the Riverside Campgrounds, or you can book a local hotel or Airbnb — including the Palm Springs-inspired Berry View Hotel.
A Sydney icon standing tall above Bondi Beach, Icebergs Dining Room and Bar is one of this city's most renowned restaurants. Maurice Terzini's beachfront Italian fine diner is celebrating 20 years in 2022, and to help the team go out with a bang, it's taking a short break for a facelift. The eastern suburbs venue will be hibernating for winter in order to give the team time to do some refreshments. Terzini and co. have enlisted the help of Rome-based architect Lazzarini Pickering to put his spin on the upgraded venue. Pickering has worked on incredible buildings across the globe, including now-closed local hospitality spots Neild Avenue and Giuseppe Arnaldo & Sons, and Icebergs once-idealised Bali beach club. Icebergs Dining Room and Bar plans to reopen in September following the refurbishment. You can check out the full details in the Instagram post below. View this post on Instagram A post shared by Icebergs Dining Room and Bar (@icebergsdiningroomandbar) Icebergs Dining Room and Bar is located at 1 Notts Avenue, Bondi Beach. This week will be the team's final week of service before closing for winter.
Summer lineups just keep kicking bigger and bigger goals. The Sydney Opera House has announced their full summer lineup for contemporary music program Music at the House, with Sinead O'Connor, Caribou, Mogwai, Flying Lotus, Rodrigo Y Gabriela and more joining already announced big guns Damon Albarn, Violent Femmes, Max Richter and the Wordless Orchestra, Asgeir, Ben Frost and Tim Heckler and Fat Freddy's Drop. Running December to April, the 20-show-strong summer program is overrun with applaudably huge names. The legendary Sinead O’Connor will make her second Sydney appearance in 30 years with a retrospective set (ahead of her March 2016 memoir release), original 'Buffalo Stance' boundary-breaker Neneh Cherry makes her Australian debut and Britain's instrumental heavyweights Mogwai make their return to Australian shores. Crisp-as-blazes, London-based Canadian Caribou will surf a wave of hype surrounding his recent album Our Love, while Warp's Flying Lotus makes a triumphant return to the Concert Hall (where FlyLo sold the whole damn thing out last year). A tribute to the Twin Peaks mastermind, 'In Dreams: David Lynch Revisited' will see Australia’s Mick Harvey (ex-Bad Seeds) and Sophia Brous (Brous), New York City-based Cibo Matto and Irish-chanteuse Camille O’Sullivan will venture through Lynch's versions of the likes of Roy Orbison, David Bowie and Chris Isaak, as well as his work with Angelo Baladamenti. Swedish vocal powerhouse Lykke Li is set to make her Opera House debut, while fellow Swedes Little Dragon take over the Concert Hall — a fierce upgrade in space from their wildly raved about Oxford Art Factory show this year. Acoustic Brit Award winner Ben Howard is set to take things down a mellow notch, but if you're feeling the need to stomp a few floors, Grammy Award-winning flamenco legends The Gipsy Kings celebrate 25 years since their self-titled breakthrough album, and furiously talented guitar-duelling duo Rodrigo Y Gabriela return to Australia after a way-too-long absence. Music at the House is quickly becoming one of Sydney's most anticipated lineup reveals, with this year's performances including the recently-toured Rodriguez, the return visit of Vivid LIVE favourite Nils Frahm, Grizzly Bear, Bonobo, Boy and Bear, The National, The Jezabels and more — with performances from Max Richter and the Wordless Orchestra, Damon Albarn and Violent Femmes still to come before the end of the year. MUSIC AT THE HOUSE 2015 SUMMER PROGRAM (December 2014 — April 2015): Tickets go on sale to the general public at 9am, Monday 10 November. MAX RICHTER & THE WORDLESS ORCHESTRA (AUSTRALIAN DEBUT, SYDNEY EXCLUSIVE) DATE: Sunday 23 November TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $49 DAMON ALBARN (SYDNEY EXCLUSIVE) DATE: Monday 15 & Tuesday 16 December, 2014 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $79 VIOLENT FEMMES (SYDNEY EXCLUSIVE) DATE: Monday 29 December, 2014 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 ASGEIR (SYDNEY EXCLUSIVE) DATE: Wednesday 7 January, 2015 TIME: 6.30pm & 9pm (SOLD OUT) VENUE: Concert Hall TICKET PRICE: From $49 BEN FROST & TIM HECKER (SYDNEY EXCLUSIVE) DATE: Sunday 11 January, 2015 TIME: 9.30pm VENUE: Joan Sutherland Theatre TICKET PRICE: From $39 FAT FREDDY’S DROP (SYDNEY EXCLUSIVE) DATE: Monday 26 January,2015 TIME: 9pm VENUE: Concert Hall TICKET PRICE: From $59 LYKKE LI DATE: Monday 2 February, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 CARIBOU DATE: Tuesday 3 February, 2015 TIME: 7pm VENUE: Concert Hall TICKET PRICE: From $49 FLYING LOTUS DATE: Tuesday 3 February, 2015 TIME: 10.30pm VENUE: Concert Hall TICKET PRICE: From $54 LITTLE DRAGON DATE: Thursday 5 February, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $49 MOGWAI (SYDNEY EXCLUSIVE) DATE: Monday 2 March, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 NENEH CHERRY WITH ROCKETNUMBERNINE+ (UK) (SYDNEY EXCLUSIVE) DATE: Wednesday 11 March, 2015 TIME: 9pm VENUE: Concert Hall TICKET PRICE: From $59 IN DREAMS: DAVID LYNCH REVISITED (FEATURING MICK HARVEY, SOPHIA BROUS, CIBO MATTO, CAMILLE O’SULLIVAN + MORE TO BE ANNOUNCED) (SYDNEY EXCLUSIVE ) DATE: Saturday 14 March, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 SINEAD O'CONNOR (SYDNEY EXCLUSIVE) DATE: Thursday 19 March, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $79 BEN HOWARD DATE: Sunday 29 March, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 THE GIPSY KINGS featuring NICOLAS REYES & TONINO BALIARDO (SYDNEY EXCLUSIVE) DATE: Tuesday 7 & Wednesday 8 April 2015 TIME: 9pm VENUE: Concert Hall TICKET PRICE: From $99 RODRIGO Y GABRIELA (SYDNEY EXCLUSIVE) DATE: Thursday 9 April, 2015 TIME: 9.30pm VENUE: Concert Hall TICKET PRICE: From $79 ANGELIQUE KIDJO + MAVIS STAPLES (SYDNEY EXCLUSIVE) DATE: Sunday 12 April, 2015 T TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $79 Tickets go on sale to the general public at 9am, Monday 10 November. Visit sydneyoperahouse.com/music for further information and tickets.
Last month, we announced the bittersweet news that Potts Point's two-hatted Gastro Park is set to close its doors and and will be replaced with a new venture by the restaurant's executive chef and owner Grant King. Now, King has given us an inside look into his next project — just one week after Gastro Park closes on May 20, Antipodean Restaurant and Bar will take its place. As the name suggests, the restaurant will focus on all things Australian and New Zealand, using produce from local artisans, farmers, wineries, breweries and distilleries (to name a few), in an effort to truly bring it all back home. "I've been at Gastro Park six years and I thought it was time to get away gastronomy," says King. "When people hear 'gastro', they expect everything to be 'chef-ified' and I want to make Antipodean just more simple." The native New Zealander is committed to making 99 percent of the restaurant antipodean, right down to the dishes and water glasses, which will come from Byron-based Made of Australia. "I'm going out of my way to find small producers, which sounds cliche — but everyone says this and doesn't really go for it," says King. He has even been able to find a producer making aged vinegar, as well as one in South Australia who makes Spanish-style ham. The restaurant will take on a more casual vibe and be revamped as an accessible, neighbourhood restaurant. The expensive tasting menu will be replaced with simpler share plates with only two or three items per dish. King reckons the price point will be halved to $60-80 per person as oppose to the $140-170 of the Gastro Park tasting menus. "Everything will still be handmade and delicious, but there will be much less of a focus on 'designed' dishes." He's currently working with 100 dishes in mind, which will be paired down to around a 25-dish menu that will be completely dictated by the ingredients available — think New Zealand flounder, baked whole with preserved orange, or mussels from South Australia. The fit-out will also be altered to feel more intimate and casual, creating alcoves, wall divides and indoor trees to add more warmth and separation to the existing open space. "I want the venue to show that we're proud of our local produce and that it isn't inferior to the rest of the world," says King. Antipodean Restaurant and Bar will open at 5-9 Roslyn Street, Potts Point at the end of May. It will be open seven nights a week for dinner from 5pm, as well as lunch on Fridays and brunch on Saturdays and Sundays from 10am. For more information and an opening date, keep checking back here or visit antipodeanrestaurantandbar.com. Image: Kimberley Low.
Right when unsuspecting dairy fanatics were gearing up for their Easter Sunday pig-out, Newtown's Gelato Blue went 100 percent vegan. Yep, on Easter Saturday, the inner west favourite kissed all animal products goodbye, thereby becoming Sydney's first-ever plant-based gelateria. Gelato Blue launched the switch with an evening party and managed it with the help of the ubiquitous coconut, whose milk is now providing the basis for their creamier scoops. According to the gelateria's Facebook page, concern about environmental destruction was a major motivation. "Animal agriculture is one of today's leading causes of global warming," states a post published on March 25. "Our gelato continues to taste amazing with a smaller global footprint." In an interview with Good Food, manager Fotini Platis also pointed out that increasing local demand for vegan ice cream played a role. "We wanted to create a product that anyone can enjoy," she said. "Our family lives and works in the inner west. We've had this business for the last seven years, and only started becoming aware what plant-based eating was because of our community." She said the store's inability to cater to vegan customers had made her feel "just as bad as we would have if we were inviting them into our house and there was no suitable food." If you're worried about Gelato Blue's tasty, tasty flavours kicking the bucket or lacking lustre, don't. The day after the change, the store put any potential fears to rest with the announcement of an epic new carrot cake gelato, made with lemon frosting, maple syrup, walnuts and chunks of Rhubarb Bakes' carrot cake. Gelato Blue is just of many eateries to have gone vegan (or opened as entirely vegan) during the past year or two. In Newtown alone, the gelateria joins Gigi's Pizzeria, Superfood Sushi and Bliss 'n' Chips. Meanwhile, in the east, Potts Point's Yellow started serving a 100 percent vegetarian dinner menu in February. Image: Vegan sundae, Gelato Blue.
Free champagne, free cocktails, free cupcakes and free personal styling are all on the agenda for Fashion Saturday. Taking over Sydney on Saturday, September 12, the extravaganza promises to transform the city into a fashionista’s haven for a day, with more than 90 fashion-inspired happenings planned. It’s in Paddington that you’ll score free bubbles while checking out Argenton Designs’ latest additions to their collections of hand-finished jewellery. Venture down the road to Darlinghurst’s boutique hair salon Sas and Lou to get yourself styled in flowers and braids a la Frida Kahlo, polaroid-ed and entered in the Best Face of the Day comp. By that point, you’re bound to be hungry, so pop over to Potts Point’s Manta Restaurant for a four-course gourmet lunch with matched beverages for $69 or to Surry Hills’ Sparkle Cupcakery for a free cupcake. Not all the action is in the east, however. Get to St. Frock, Pyrmont, for a 20% discount storewide, plus (more!) free wine and a complimentary styling session. Meanwhile, over in Newtown, Buttons Great and Small’s expert team will be showing visitors how to upcycle long-loved items of clothing into refreshed, revamped fashion pieces. Reckon you might need a rest after all that? Sink into a chair at the Golden Age Cinema, where Fashion Saturday will be celebrated with a screening of new release Women He’s Undressed, which tells the glamorous story of Australian costume designer Orry-Kelly, who worked on Hollywood classics like Some Like it Hot and Casablanca. Check out the other 80+ Fashion Saturday events at the event website.
If you've ever taken a shortcut through the back streets of Chippendale, you may have been struck by the sheer number of galleries and creative businesses which abound in this unassuming little corner of Sydney. Wedged between Central Station, Redfern and Broadway, with a post-industrial landscape of redeveloped factories and warehouses, laneways and neat little workers' cottages, the suburb has been flourishing of late. With its less salubrious past now thankfully left behind, it has become a thriving hub of creativity, innovation and sustainability, and the area, which is steeped in history, is experiencing something of a resurgence. On the evening of Saturday, September 22, this little vibrant quarter will be shining bright when the inaugural BEAMS Arts Festival takes place. Hosted by Chippendale Creative Precinct, over 250 locally based creative types will be filling Balfour Street and surrounds with art, media and light installations, performance and music. Take a jaunt through the streets and see what inspiring delights you stumble upon. Then stop for a beverage and share your experiences with new friends at the communal dining table, the fare being provided by local eateries. Who knows, you might even get to rub shoulders with a few of the area's more famous inhabitants, such as the gardening god himself, Costa Georgiadis. Georgiadis is also a champion of the Chippendale plan, a project to encourage sustainability and community spirit. Or you could bump into the makers of The Gruen Transfer, whose production company, Zapruder's Other Films, is based here. The programme also boasts some unusual musical delights. For instance, two of the bands featured, Thorough Bass and Auberne, bring a unique modern twist to baroque music and instruments. In addition to the exhibits and performances, there will also be workshops and talks for those looking for something more hands on. Amongst the activities on offer, kids can help create a mural imagining Chippendale's future or learn how to take care of plants with Georgiadis. For adults, there will be artist talks at many of the local galleries. The BEAMS Arts Festival is a great chance to celebrate, experience and become part of this diverse and burgeoning community. Image: Colour Splash Study (2009) by Steph Quirk.
Finding a moment or statement from The Princess to sum up The Princess is easy. Unlike the powerful documentary's subject in almost all aspects of her life from meeting the future King of England onwards, viewers have the luxury of choice. Working solely with archival materials, writer/director Ed Perkins (Tell Me Who I Am) doesn't lack in chances to demonstrate how distressing it was to be Diana, Princess of Wales — and the fact that his film can even exist also underscores that point. While both The Crown and Spencer have dramatised Diana's struggles with applauded results, The Princess tells the same tale as it was incessantly chronicled in the media between 1981–1997. The portrait that emanates from this collage of news footage, tabloid snaps and TV clips borders on dystopian. It's certainly disturbing. What kind tormented world gives rise to this type of treatment just because someone is famous? The one we all live in, sadly. Perkins begins The Princess with shaky visuals from late in August 1997, in Paris, when Diana and Dodi Fayed were fleeing the paparazzi on what would be the pair's last evening. The random voice behind the camera is excited at the crowds and commotion, not knowing how fatefully the night would end. That's telling, haunting and unsettling, and so is the clip that immediately follows. The filmmaker jumps back to 1981, to a then 19-year-old Diana being accosted as she steps into the street. Reporters demand answers on whether an engagement will be announced, as though extracting private details from a teenager because she's dating Prince Charles is a right. The Princess continues in the same fashion, with editors Jinx Godfrey (Chernobyl) and Daniel Lapira (The Boat) stitching together example after example of a woman forced to be a commodity and expected to be a spectacle, all to be devoured and consumed. Listing comparable moments within The Princess' riveting frames is easy; they snowball relentlessly into an avalanche. Indeed, after the film shows Charles and Diana's betrothal news and how it's received by the press and public, the media scrutiny directed Diana's way becomes the subject of a TV conversation. "I think it's going to be much easier. I think we're going to see a change in the attitude of the press. I think that now she's publicly one of the royal family, all this telephoto lens business will stop," a talking head from four decades back asserts — and it isn't merely the benefit of hindsight that makes that claim sound deeply preposterous. Later, Perkins features a soundbite from a paparazzo, which proves equally foolish, not to mention a cop-out. "All we do is take pictures. The decision to buy the pictures is taken by the picture editors of the world, and they buy the pictures so their readers can see them. So at the end of the day, the buck stops with the readers," the photographer contends. The Princess isn't here to simplistically and squarely blame the public, but it does let the material it assembles — and the fact that there's so much of it, and that nothing here is new or astonishing even for a second because it's already been seen before — speak for itself. What a story that all unfurls, and how, including pondering the line between mass fascination and being complicit. Perkins eschews contemporary interviews and any other method of providing recent context, and also makes plain what everyone watching already knows: that escaping Diana has been impossible for more than 40 years now, during her life and after her death a quarter-century ago as well, but it was always worse by several orders of magnitude for Diana herself. The expressions that flicker across her face over the years, evolving from shy and awkward to determined and anguished, don't just speak volumes but downright scream. In the audio samples overlaid on paparazzi shots and ceaseless news coverage, that's dissected, too, and rarely with kindness for the woman herself. Being sympathetic to royalty isn't a prerequisite for feeling perturbed by The Princess. Being a fan of The Crown or believing that Kristen Stewart deserved an Oscar for Spencer — which she did — isn't either. All that's required is empathy for anyone whose existence is stripped of choice, who is made to perform a certain role no matter what, who's saddled with onerous tasks that dismantle their agency and identity, and who gets torn to pieces whether they comply or rebel. That's a key reason why Diana's plight keeps resonating and always will. It's also why 'the People's Princess' label continues to echo. The latter was coined to describe her popularity and that feverish obsession, but it cannily cuts to the core of a heartbreaking truth: Diana attained a supposed fairytale but discovered that nothing in life is a dream, a realisation that couldn't be more relatable and universal. As well-established as the details are, the minutiae still spills out as The Princess progresses: the coupling primarily to provide an heir to the throne, the unsurprising distance in Diana and Charles' marriage, the persistent presence of Camilla Parker Bowles, several layers of envy, the 'Dianagate' tapes and the nation-stopping interviews all included (electricity surges during her 1995 tell-all chat with Martin Bashir, thanks to kettles boiling across Britain, are noted). Ignoring how the media kept shaping Diana's narrative would mean shutting your eyes and blocking your ears, even if the score by The Crown's Martin Phipps didn't maximise the tension. Ignoring the parallels rippling through the royal camp today, in the way that Meghan Markle has been treated by the media, is similarly out of the question. It isn't by accident that Perkins lingers on a young Prince Harry at his mother's funeral to wrap the movie up, after all. The Princess' approach isn't new, either. It's effective, though. And, as the same style proved in recent Australian docos The Final Quarter and Strong Female Lead — films that used archival footage to explore how perceptions are manufactured by the press as well — it's nothing short of damning about media practices and the audience hunger they think they're satisfying. Those two features explored how AFL star Adam Goodes was regarded in the twilight of his career, and how the fourth estate surveyed Australian Prime Minister Julia Gillard while she was in the nation's top job. They dived into the self-fuelling cycle that stems from predatory coverage and the public's responses, one feeding the other and vice versa. Sound familiar? Watching both alongside The Princess would make for grim and harrowing viewing — essential viewing, too, particularly in a world that shows so few signs of changing.
Sydney's much-anticipated, billion-dollar Metro North West launched in late May to much excitement. But now, on Monday, July 29, the 36-kilometre railway line has caused some peak hour commuter chaos with a "communications system issue" halting all trains between Chatswood and Tallawong. Services in both directions on the line stopped for almost one hour, with replacement buses organised. At time of publication, 11.20am, the Metro was running again at a reduced frequency with buses supplementing some services. https://twitter.com/SydneyMetro/status/1155646538766417920 Transport for NSW is advising commuters to allow for plenty of extra time, listen to announcements at the stations and check information displays. Some commuters have taken to Twitter to report wait times of up to an hour and huge lines for the replacement buses. https://twitter.com/isabelanneok/status/1155632036364767232 The Metro North West — which promises turn-up-and-go services every four minutes (in each direction) during peak times — is just one part of the government's overall Sydney Metro project, which will, along with Metro City and Metro Southwest, see a new railway linking Rouse Hill to Chatswood, travelling under the Sydney Harbour to the city, then down to Bankstown. Sydney Metro West will link the city to Parramatta. Running on all lines will be the new driverless trains. At this point; however, the final stages of the billion-dollar project — Metro Southwest and West, specifically — are not expected to be completed until 2024. For the latest updates on the Metro North West, head to the Transport for NSW's official website and Sydney Metro Twitter account.
