No one loves long-haul flights. If you don't have the cash to upgrade your seat, no one loves trying to get some sleep when you're soaring through the air for nine, 13 or even 17-plus hours. But thanks to Air New Zealand's new economy skynest, getting some shuteye midair is about to get a whole lot easier — come 2024, when the airline's new Dreamliners will take to the skies. First announced back in 2020, and now confirmed to come into operation in just two more years, Air NZ's economy skynest is a first-of-its-kind option that'll feature six lie-flat pods. Yes, they look like bunk beds on a plane, and you'll be able to slumber in them while zooming to your destination. If it sounds like a game changer, that's because it is. Back in 2020, Air NZ announced the pods as part of filing patent and trademark applications, and noted that it'd make a final decision on whether they'd come into effect within a year. That go-ahead might've arrived a bit later — aka now, not in 2021 — but that doesn't make it any less exciting. "New Zealand's location puts us in a unique position to lead on the ultra-longhaul travel experience. We have zeroed in on sleep, comfort and wellness because we know how important it is for our customers to arrive well-rested. Whether they are heading straight into a meeting or to their first holiday hotspot — they want to hit the ground running," said Air New Zealand Chief Executive Officer Greg Foran. "It's a proud moment to finally unveil five years of hard mahi, in what truly is a cabin of possibility. One that will provide customers with options to get some shut eye wherever they're sitting." While the full details are yet to be revealed, when they were first announced, the pods were intended to include a full-size pillow, sheets, a blanket, ear plugs, privacy curtains and lighting designed for sleep. The airline also said it was exploring other features such as separate reading light, personal device USB outlet and ventilation outlet. Also on the way: new business premier luxe suites and business premier seats, if you are flush with cash. The former will include a door that closes, plus a space to dine; the latter will let you share your nest with a friend if you're in the middle row. The new Dreamliners will also feature premium economy seats, with more protected space to recline without annoying the person behind you; economy skycouch, so you can spread out, lie down and sleep; and economy stretch, with more leg room than a regular seat. And, those usual seats will get more storage space, a 50-percent bigger entertainment screen, and bluetooth audio and pairing. Also, the aircrafts will feature care stations in the premium economy and economy cabins, letting travellers stretch their legs, grab a bite to eat and get a drink whenever they wish. Design-wise, the planes' interiors will take cues from Aotearoa in a number of ways, too — such as carpet inspired by the forest, and nodding to the tūī in the seats. Air New Zealand's Economy Skynest will be available from 2024. For more information in the interim, visit the airline's website.
This summer, imaginations young and old will run wild, as the interactive Future Park arrives at the Powerhouse Museum. Developed by teamLab, a collective of 'ultratechnologists' whose cutting-edge installations are currently captivating audiences in Beijing, Singapore, Tokyo, San Francisco and more, this immersive exhibition will see visitors build a huge collective artwork, inspired by the future. Across eight different interactive installations, Future Park is fuelled by human interaction, evolving in real time as visitors engage and leave their own mark on the artworks. Collaboration is nurtured and shared experiences are encouraged — and it's meant for kidults as well as kids. The Light Ball Orchestra installation invites visitors to manipulate a series of moveable balls to create music and light shows, while Sketch Town is a dynamic world populated by vehicles, buildings and townscapes visitors have drawn themselves. Sketch Town Papercraft will even see your drawings scanned into 3D sketches that can later be printed in 3D.
Customs House Square will be going back to nature, thanks to Art & About. From September 18 – October 11, passers-by will find themselves wandering through a 21-metre-high forest, made of more than 400 bamboo poles. They’ll be encouraged to imagine the wilderness that once covered Sydney Cove, while contemplating current destruction of the natural environment. Titled Near Kin Kin, the artwork is the creation of Cave Urban, a Sydney-based design collective dedicated to bamboo. Their previous projects include Hot House (Dark Mofo 2015), Save Our Souls (Sculpture By the Sea 2014) and Woven Cloud (Woodford Folk Festival 2014-15). “It's a privilege to be part of Art & About Sydney and to recreate a piece of another world in a place of such poignancy,” says Nici Long, principal at Cave Urban. “It's a chance for people to see the sheer scale and beauty of bamboo and its potential as a sustainable building material.” Fifteen people will labour for a total of 500 hours to bring Near Kin Kin into being. The bamboo is being harvested from a hillside farm in Queensland after which the sculpture is named, and will be recycled afterwards. “Near Kin Kin is a rare chance to reflect on the many layers of Sydney Cove’s history,” says Lord Mayor Clover Moore. “The enormous beams of bamboo will invoke awe in anyone who stands beneath them. By bringing the forest back into the heart of the city, the project will allow visitors to step back in time to a much earlier Sydney.” Image by Juan Pablo Pinto (artist's impression).
It's been a long time between Australian visits for UK disco-pop queen Jessie Ware. The last time she graced our shores was for Laneway Festival all the way back in 2013. In the time since, she's released four albums, including the immensely critically acclaimed What's You Pleasure in 2020 and its equally vibrant recent follow-up That! Feels Good!. But, it looks like the drought may be coming to an end, with Ware letting it slip that she's got plans to perform at Australian music festival Summer Camp later in 2023. On the most recent episode of her podcast Table Manners with Jessie and Lennie Ware, the singer and her mother Lennie were joined by a fellow pop icon: Australia's very-own Dannii Minogue. While the episode traverses the dynamics of the Minogue family and the delights of panna cotta, one eagle-eared Twitter user noticed that Ware dropped the unannounced goss that she'd be heading Down Under soon. "I'm actually going to Australia in November for this festival called Summer Camp," Ware said while discussing travel plans, and the possibility of doing a Table Manners series here in Oz. View this post on Instagram A post shared by Summer Camp Festival (@summercampfestivalau) Summer Camp hosted its inaugural festivals in Sydney and Melbourne in 2022, combining top-notch tunes and LGBTQIA+ pride through a stacked lineup featuring Years & Years, Sophie Ellis-Bextor, Big Freedia, Cub Sport and The Veronicas. The festival was also set to arrive in Darwin and Perth; however, after it was postponed from February to November, it was forced to reduce its scale to a two-date run. The festival hasn't announced its 2023 plans as yet, but its website does state "2023 dates coming soon". If Jessie Ware is to be believed, it looks set for a November comeback. We'll be sure to keep you updated whenever some concrete news comes through on a Jessie Ware tour of Australia, or a return for Summer Camp. If you want to hear the specific section of the podcast, it kicks off just after the eight-minute mark. Table Manners with Jessie and Lennie Ware is available wherever you find your podcasts, including Spotify and Apple Podcasts. You can keep up to date with the latest Summer Camp announcements at the festival's Instagram account. Top image: Raph_PH via Wikimedia Commons.
First, Airbnb wanted everyone to stay in other people's everyday homes. It still does. Then, it started adding once-in-a-lifetime spots, usually themed around a pop-culture favourite (think: Hobbiton and Barbie's Malibu DreamHouse). Lately, the accommodation booking platform has been going big on celebrity abodes as well, so that you can enjoy a starry getaway. The newest on its books: Ashton Kutcher and Mila Kunis' oceanside guesthouse in Santa Barbara County. Didn't score a night at Gwyneth Paltrow's Montecito spot? This is your next chance to live the life of a Hollywood actor, albeit just temporarily. There's one big difference this time around, however: the reservation is for this weekend, on Saturday, August 19, with bookings opening tomorrow, at 3am AEST / 5am NZST on Thursday, August 17. Accordingly, you and up to three friends will probably need to already be in the US right now, or by this weekend. With such tight timing, this isn't quite the kind of Airbnb once-off that you can plan a whole vacation around. But, if all of the above suits you and you manage to nab the reservation, you'll be slumbering in the Kutcher-Kunis guesthouse for free. The That '70s Show and That '90s Show stars will be there to greet you upon arrival, and get you joining in on some of their top activities. So, get ready to hit the shore, go for a hike, soak in the coast views, and head down to the nearby shops and restaurants. And, once evening hits, board games and charades are on the agenda. The beachhouse also features Santa Ynez mountains vistas — and your booking will include meals and snacks as well. As always, the usual caveat applies: if you do get the reservation, the cost of travelling to Santa Barbara and back again, including from Australia or New Zealand, is all on you. Airbnb adds this extremely short-term listing to its roster after also offering up the Ted Lasso pub, Japan's World Heritage-listed Suganuma Village, the Paris theatre that inspired The Phantom of the Opera, the Bluey house, the Moulin Rouge! windmill, the Scooby-Doo Mystery Machine, The Godfather mansion, the South Korean estate where BTS filmed In the Soop and the Sanderson sisters' Hocus Pocus cottage in recent years. For more information about Ashton Kutcher and Mila Kunis' Oceanfront Oasis on Airbnb, or to book at 3am AEST on Thursday, August 17 for a stay on Saturday, August 19, head to the Airbnb website. Images: Katya Grozovskaya. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Tasers, telephoto lenses and a new spate of crimes terrifying the beachside town of Neptune: yes, Veronica Mars is back. Everyone's favourite pint-sized TV private eye is finally returning to our screens, all thanks to the show's long-awaited, eagerly anticipated fourth season. As played with the usual pluck and determination by Kristen Bell, she's ready to sleuth her way through a whole new mystery. Of course she is. Due to release in the US in July, via streaming platform Hulu, Veronica Mars' revival follows its titular heroine as she endeavours to get to the bottom of a wave of bombings that've been blasting their way through her home town. The fictional seaside spot is quite the tourist spot — especially come spring break — and Ms Mars thinks that someone wants to blight its reputation. After dropping a very brief teaser in April, then a short initial trailer in May, Hulu has released a full trailer for the series — and, as well as showing the no-nonsense Veronica doing what she does best, it once again features a heap of familiar faces. Her dad Keith Mars (Enrico Colantoni) and on-again, off-again love interest Logan Echolls (Jason Dohring) also pop up, as do her ex-classmates Weevil (Francis Capra) and Dick Casablancas (Ryan Hansen). Also set to make an appearance: returning cast members Percy Daggs III and Max Greenfield, plus new inclusions such as Patton Oswalt, Clifton Collins Jr and Bell's The Good Place co-star Kirby Howell-Baptiste. Oh and JK Simmons, too, as an ex-con who appears to be the new season's bad guy. Check out the new full trailer below: https://www.youtube.com/watch?v=pt0QuaQ0huk If you've been following Veronica's story for the past 15 years, you'll know that the TV series originally debuted in 2004, ran for three seasons until 2007, and then set a crowdfunding record to get a film off the ground in 2014. Next came two novels and a web series spin-off — and now, as first confirmed in September last year, this eight-episode revival. Break out the marshmallows, obviously. The fourth season of Veronica Mars hits Hulu on July 26. Details of the show's Australian and New Zealand release are yet to be confirmed — we'll keep you posted.
Near, far, no matter how much of a Titanic and/or Celine Dion fan you are, there's no denying how apt the lyrics to 'My Heart Will Go On' have proven. The film's fame went on, and continues to do so nearing three decades since the movie became the king of the boat-set blockbuster world. Dion's Oscar-winning theme tune goes on, including as an earworm that's hard to get out of your head. Ways to nod to both the picture and its central track keep going on as well — and Titanique, the stage production that riffs on Titanic and adores Dion, is doing exactly that in Sydney by extending its Australian-exclusive (and -debut) season. What if you were at a Titanic museum and Dion was there? What if she was not only your narrator, but her songs accompanied the tale that she was telling? What if Titanic got an off-Broadway musical-comedy parody that went heavy on Dion, then? That's Titanique, as Aussie audiences have been enjoying in the Harbour City since September 2024, and now can continue to see until the beginning of winter 2025. The production's Australian run will now play until Sunday, June 1, adding an extra nine weeks to a season that's already been lengthy. Yes, you could call the show's Aussie stay at The Grand Electric in Surry Hills titanic if you want to. The amusing ode to James Cameron's (Avatar: The Way of Water) movie dives back into the story of Jack and Rose, with Drew Weston and Georgina Hopson stepping into Leonardo DiCaprio (Killers of the Flower Moon) and Kate Winslet's (The Regime) shoes as Jack and Rose — and Marney McQueen playing Dion. It was back in 2017 that the show premiered in Los Angeles, and in 2022 that it set a course for off-Broadway. It has also sailed into both Canada and the UK — but Australia was its first international stop. So far, the production has three Lucille Lortel Awards to its name, plus two Dorian Awards and the Off-Broadway Alliance Award for Best New Musical, among other gongs. And as for the songs, co-writers Blue, Marla Mindelle (Sister Act) and Constantine Rousouli (Cruel Intentions) — with the latter two originally starring as Céline and Jack — have worked in everything from Dion's 'My Heart Will Go On', of course, to 'Where Does My Heart Beat Now' and 'A New Day Has Come'. If you haven't caught Titanique in Australia yet and you're keen to step onboard (well, into the theatre) with the gang, it's also doing party packages. Titanique plays The Grand Electric, 199 Cleveland Street, Surry Hills, Sydney until Sunday, June 1, 2025, with the next batch of tickets available from 10am on Thursday, February 13, 2025 — head to the show's website for purchases and further information. Images: Daniel Boud.
As if the hit Chinese dating show If You Are the One hasn't already brought enough glee into our dreary little lives, it's about to bring even more. And noodles. In almost inexplicable news, cheeky host Meng Fei is opening his own Chinese noodle restaurant in Melbourne, aptly named Mr Meng. Although we know Grandpa Meng as a television host who asks tough questions ("The question is, whether the girls can tolerate your shortcomings?"), he's actually a Kim K level celeb in China thanks to his shenanigans on the cult dating show, which has been airing in Australia on SBS 2 (now SBS VICELAND) since 2013. He's teamed up with Guo Degang, a popular Chinese comedian and actor, to open the noodle restaurant, quite out of nowhere. Why? Literally dunno. His team were tight lipped on motivations — but stay tuned for a report on the opening. In the meantime, get excited for some no-nonsense Chinese food and Chongqing-style noodle dishes. Mr Meng's is opening soon on Elizabeth Street and serving up 'delicious noodles for lunch and dinner, loved by everyone'. We only hope Meng's noodles are as spicy as his insults. In other relevant and exciting news, after eight seasons of humiliating Chinese men on air, the show is undergoing a seismic shift and reboot. A brand new 'boys special' will air on SBS VICELAND on July 2, which will be a taste of things to come before the new series relaunches in December. Mr Meng will open on Monday, May 22 at 382-384 Elizabeth Street. We'll report back on the opening.
Parklands Food Fest is returning to western Sydney with a lineup of some of the city's best chefs and food trucks. The festival, which is now in its seventh year, will feature MasterChef Australia's Matt Preston, who'll take to the stage to recreate dishes from both his recent and his upcoming cookbooks. As well as the high-profile culinary maestro, there will be over 50 food stalls, serving up everything from Egyptian, Vietnamese and Filipino food to savoury meals, baked treats and desserts. Or, grab something to take home with you at the fresh produce markets, which'll be bigger than ever — complete with an Urban Farms stall where you can taste fresh-grown produce on the spot. Throw in makers' workshops to teach you a new skill or two, plenty of craft beer to wet your whistle and live music as the soundtrack, and you won't be hungry, thirsty or bored. Just mark Saturday, September 8 in your diary, and head on down to Abbotsbury's Lizard Log ampitheatre.
As Bruce Wayne's private jet streaks through the skies high above Gotham, Jeremy Irons' steadfast butler Alfred quips: "One misses the days when one's biggest concerns were exploding wind-up penguins." "The good old days" replies a burly, sentient frown in the shape of Ben Affleck. "THEN PLEASE GOD BRING THEM BACK!" screams the audience's frustrated internal monologue from within its collective skull. Welcome to Justice League, the least bad entry in the DC movie universe after this year's smash hit Wonder Woman – not that that's saying a whole lot. Given how low the bar has been set by the likes of Suicide Squad and Batman vs Superman, this superhero team-up flick would have to be truly abysmal not to offer some kind of improvement. Just like its special-effects-laden trailer, Justice League feels like a CGI showreel shot almost entirely in front of a green screen. Its strongest scenes are also its quietest ones: a battered Bruce Wayne being assisted by a sympathetic Wonder Woman (Gal Gadot); Martha Kent and Lois Lane (Diane Lane and Amy Adams) brave-facing their way through hardships in a staff-room cafeteria; The Flash (played by a scene-stealing Ezra Miller) speaking with his incarcerated father. It's in these rare, intimate moments that the film's characters actually begin to feel like characters, each possessed of complicated personal histories, private anxieties and meaningful relationships. Sadly, it's soon back to aliens with lasers, fear-eating bugs, and buildings crashing down in clouds of debris. With a story that feels like it's been lifted from Ghostbusters II, Justice League depicts an earth where hatred and cynicism have reached such heights that it compels the return of a great evil determined to enslave mankind. So arrives Steppenwolf (Ciarán Hinds), a CGI-monster of such poor quality he wouldn't cut the mustard in a cut scene from Gears of War. Steppenwolf is bent on reuniting three powerful Mother Boxes, magic cubes which, when combined, permit him to reshape any planet to resemble his barren home-world. The origins and power of these otherworldly McGuffins actually offers an enticing mystery to be solved in the film's early stages – which is why it's so disappointing when it's all explained away in a single expository scene. The same applies to each of the film's new heroes. Aquaman (Jason Momoa) and Cyborg (Ray Fisher) arrive with such little fanfare or backstory that even comic book fans already in the know may end up feeling robbed. The exception is The Flash, who imbues the franchise with a long-overdue dose of comedy. The character, as played by Miller, is endearingly awkward, enthusiastic yet timid, and note-perfect in his fanboying around the other superheroes. Likewise, his action sequences are thrilling, amusing and innovative in what is otherwise a highly derivative film. Perhaps the most egregious failing of Justice League, however, is its treatment of Batman. Weary, joyless and stammering, Affleck's Dark Knight acts more like a corporate recruiter than a caped crusader. A joke about his powers stemming from his wealth might get a laugh, but it also wholly undermines what makes the Batman character so compelling: a mortal, unexceptional being who still proves himself capable of holding his own in a world of gods and monsters thanks to his intelligence, discipline and unassailable belief in justice. In Justice League he spends most of the fights on the periphery, and quite often on his back; the superhero version of Lethal Weapon's Danny Glover complaining of being too old for this shit. It's a sad relegation for such a DC icon and speaks volumes as to how mishandled this franchise has been from the moment Christopher Nolan (The Dark Knight trilogy) handed over the reigns. https://www.youtube.com/watch?v=OiAmnKUaNmc
The Museum of Contemporary Art is coming in hot this summer with a steamy edition of Artbar. From 7–11pm on Friday, December 15, expect to get wet and wild at the sweat-themed edition of the late-night party, with art installations, AI projections, a cabaret performance and live hyper-pop and punk-metal tunes all on the program. Artist and writer JD Reforma is curating the cultural event, so it's sure to be quite the spectacle. Embrace silly season as soon as you arrive — Santa's Den will be posted on level one, where you can pose for a photo with artist EJ Son's version of Santa. [caption id="attachment_928338" align="alignnone" width="1920"] Arvin Prem Kumar[/caption] Then, take a gander through the major Tacita Dean exhibit (included with your ticket) before discovering poetry works by Jazz Money in the stairwell, immersive digital artworks by Serwah Attafuah, an inflatable piece by Visaya Hoffie and other thought-provoking works throughout the museum. On the performance front, there'll be DJ sets by Ari Kiko and Wicked Bandit, dance performances by Morgan Hogg and Nini Voss, and even a visual-sonic AI presentation by creative studio Kopi Su and AnSo. Punk rockers TBX will be jamming on the rooftop, followed by electronic avant-pop duo Patamon. First-release tickets are $39 for general admission and $32 for MCA Members and Concession. Prices will go up for second release, so get in quick. Book your tickets and find out more at the Museum of Contemporary Art website. Top image: Arvin Prem Kumar
It's been a long time in the making, but the first stage of the glitzy Arc by Crown development on Kent Street is finally up and running, and it seems to have made good on most of the developer's lofty, early stage promises. Making its public debut today is the 25-storey, Skye Suites Sydney multi-residential tower, designed by world-renowned architect Koichi Takada and boasting 73 luxury serviced apartments. The boutique studio, one-bedroom and two-bedroom suites — designed for both short- and long-term stays — are geared towards those with cash to splash, each kitted out with their own Vittoria coffee machine, Kevin Murphy bathroom products and even a bespoke bedding firmness menu. But perhaps most exciting is the ice cave-themed pool and lobby, with stunning curved ceilings to match the arched metal fins soaring across the top of the tower, and the building's rounded balconies. The hotel also boasts a swanky lounge and state-of-the-art gymnasium. It doesn't stop there, either. As part of the hotel's second-stage launch, slated for next month, it will score a stunning rooftop bar, and its own retail and hospitality precinct. Crown is helping to bring new life to Skittle Lane, at the building's rear. It'll play host to Reflect — a 12-metre-long public artwork by Ramus Illumination, with an ever-shifting form, brightened with thousands of LED lights. The historic laneway, which scored its name after being used as a bowling alley by soldiers and sailors in the 1880s, will be transformed into a pedestrian thoroughfare linking Kent and Clarence Streets, complete with a diverse food and retail offering. Some of the eateries set to open later this year include an izakaya and ramen bar, a multi-level restaurant dubbed Meu Jardim, a tapas spot and a new Ministry of Coffee. SKYE Suites Sydney at Arc by Crown is now open at 300 Kent Street, Sydney. Images of Skittle Lane are renders.
When bushfires raged across Australia over the spring of 2019 and the summer of 2019–20, the Hunter Valley's wine community was among the areas affected. Due to smoke from the blazes, huge hordes of grapes can no longer be used for their original winemaking purpose — so distillery Archie Rose is getting experimental and salvaging more than 50 tonnes as part of a new spirit range. The first of the series' three products is eau de vie Hunter Valley Shiraz Spirit, which is made from smoke-tainted Hunter Valley 2020 shiraz and cabernet sauvignon grapes. Clear, colourless and fruity, it's described by the company as having "notes of shortbread, icing sugar and vine leaves" — as well as hints of pineapple, guava and honeydew. Expect to taste mango, raspberry jam, crème fraîche and wafers, too, plus a slight suggestion of campfire. When you're sipping a glass, you'll be aiding Archie Rose's efforts to help Hunter Valley producers and growers, especially those with team members and and families affected by crop and income write-offs due to the fires. As well as receiving support themselves, Tulloch Wines and First Creek Wines worked with the folks at Archie Rose to identify eight smaller growers in need of assistance — particularly in the Pokolbin, Broke Fordwich and Upper Hunter sub-regions. On sale from Monday, May 25 from the Archie Rose Bar in Rosebery, Sydney, bottle shops and the company's website, 1000 bottles of the Hunter Valley Shiraz Spirit are available — in 700-millilitre sizes, for $99. Archie Rose has also suggested a range of cocktail recipes using the Hunter Valley Shiraz Spirit, so prepare to pair it with oat milk in the 'Milk & Honey' and with grapefruit in 'The Pokolbin'. Also in the works is a Hunter Valley Shiraz Brandy, using the salvaged smoke-tainted grapes — however, given that the spirit will need to be aged, it'll be available in future years. Archie Rose's Hunter Valley Shiraz Spirit goes on sale on Monday, May 25 from the Archie Rose Bar in Rosebery, Sydney, bottle shops and the company's website, with pre-orders currently available online.
Three weeks into the Greater Sydney region's lockdown, the New South Wales Government has announced a number of changes to the current stay-at-home conditions. With COVID-19 case numbers continuing to rise — 111 were recorded in the 24 hours to 8pm yesterday, Friday, July 16 — NSW Premier Gladys Berejiklian has today, Saturday, July 17, revealed that the rules will be tightening, including when it comes to masks. From 11.59pm tonight, Saturday, July 17, masking up will be mandatory when you are working outdoors, and if you're at an outdoor market or outdoor shopping strip. And, you must also mask up if you're standing in an outdoor queue waiting for a coffee or something to eat, which is a rather familiar lockdown activity. Also now compulsory: having a mask with you at all times whenever you leave the house. The rules around face coverings have changed quite frequently over the past few weeks; however, now you'll always have to carry a mask with you, even if you're in a situation where you don't need to pop it on right then and there. Folks in Greater Sydney, Blue Mountains, Central Coast, Wollongong and Shellharbour, all of which have been in lockdown for three weeks now and will remain that way until at least 11.59pm on Friday, July 30, must already wear face masks in all indoor settings outside of their own homes, and on public transport. Since Tuesday, July 13, masks have been required in all common areas in residential buildings as well. The latter covers apartment complex lobbies, foyers, lifts, stairwells, corridors and shared laundries, and applies whether you live there or you're a visitor. Basically, the only place you don't need to mask up is actually inside your own home, once you've passed through your own front door. Residents of these regions are still currently only permitted to leave the house for four specific essential reasons: to work and study if you can't do it from home; for essential shopping; for exercise outdoors in groups of two; and for compassionate reasons, which includes medical treatment, getting a COVID-19 test and getting vaccinated. As part of the full slate of tightened restrictions coming into effect from 11.59pm tonight, Saturday, July 17, only critical retail stores in the locked-down areas will be permitted to welcome in customers, and carpooling will be banned unless you're with your own household. In the Fairfield, Canterbury-Bankstown and Liverpool Local Government Areas, folks will no longer be able to leave their LGA for work — unless they work in emergency services, healthcare, or the aged care and disability care fields. From 12.01am on Monday, July 19, all construction is being paused as well. Also, the rules around working from home are changing from 12.01am on Wednesday, July 21. As it always does, NSW Health has been updating the COVID-19 venues of concern list, and will continue to do so as more places keep being identified. Anyone who has visited these venues during the times specified are required to get tested and self-isolate as per NSW Health's instructions. And, if you have any COVID-19 symptoms in general, you should be getting tested at a clinic, too. Sydneysiders should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste. To find out more about the status of COVID-19 in NSW, head to the NSW Health website. For more information about the current mask rules, head to the NSW Government website.
Whether you're battling a hangover or looking to refuel for the rest of a big weekend, Chin Chin's new limited-edition yum cha series is worth a spot on your activities radar. After all, what better pick-me-up than a flavour-packed dumpling feast, enjoyed with your mates by your side? Kicking off on October 5 in the restaurant's Gogo Bar, then happening every Saturday and Sunday throughout the month, the new series has all the makings of a weekend winner. For just $39.50 per person, you'll get to chow down on a parade of southeast Asian-inspired plates, including Chin Chin favourites like steamed mud crab dumplings with its 'hellfire' chilli oil, mixed mushroom fried rice and crisp prawn spring rolls. Of course, this being Chin Chin, you can expect plenty more good vibes in the form of lively disco tunes, courtesy of a weekly rotation of resident DJs. And, as an added bonus for long weekenders, Chin Chin's yum cha offering will even be available on the Labour Day holiday, next Monday, October 7. It's recommended that you book ahead of time, but you can try your luck and walk in on the day. Food images: Steven Woodburn.
Having launched in 1992, Simon Johnson has been selling quality ingredients sourced from the world's best artisan producers to chefs and home cooks for nigh on thirty years. But this old dog still has a new trick or two up its sleeve. Forced to adapt during the COVID-19 pandemic, after seeing its usual restaurant and hotel customers drop off because of the closures, Simon Johnson opened a warehouse clearance store — which is great news for you. The providore market transformed its Alexandria shop into the SJ Outlet Store, a permanent direct-to-the-public clearance shop with discounted bulk and wholesale items, as well as its usual retail offering. And the discounts it's offering are, frankly, wild. We're talking 35–90 percent off everything from caviar and fancy condiments to cheese. Ninety percent off cheese, folks. Cheese. As well as cheese, the store has its usual array of chocolates, honey, coffee, crackers, cooking equipment and so much more. While the hefty discounts do only apply in-store, Simon Johnson is also offering a delivery service to homes across Sydney metro.
Gelato Messina wants to bring you its sweet treats in style this weekend. The famed frozen treats brand has teamed up with Deliveroo to deliver gelato by speedboat to nine beaches and wharves around Sydney. Because, why not? This Saturday, December 15 and Sunday, December 16, beachgoers simply have to hang out at the beach and wait for the speedboats to show up — no pre-ordering necessary. Once you see the Deliveroo boat approaching, you just have to flag it down, wade into the water and retrieve your dessert — a strawberry pavlova choc top or a peach bellini 'Weissina' Bar. A lucky few will also nab a free beach towel alongside their gelato. On Saturday, the speedboats will head to Double Bay at around 11.30am, before heading over to Rose Bay, Nielsen Park, Milk Beach and Watsons Bay (spending roughly 30 minutes at each spot). The boats will have a similar schedule on Sunday, but will start at Manly Wharf then make their way across to Clontarf Beach, Spit Marina and Balmoral Beach. If hunger strikes while you're lazing about on one of the beaches, and it's a hunger that a choc top alone can't fix, you could also order savoury food from Deliveroo. It's now delivering food directly to 150 beaches around the country — but it will be via a regular ol' motorbike or scooter (and a determined human on foot), not a boat. Deliveroo will be delivering free Gelato Messina to nine Sydney beaches and wharves on Saturday, December 15 and Sunday, December 16.
At Sydney's Don't Tell Aunty and Melbourne's Daughter in Law, chef Jessi Singh serves up Indian cuisine his way. He isn't flouting tradition; rather, he doesn't think there's any such thing as 'authentic' Indian food. "There are no recipes, and everything is passed on through the generations in the kitchen verbally," he explains about his rule-breaking dishes — which'll also be available in Byron Bay in mid-June. Singh is expanding the Daughter in Law brand to the beachside town, with the new 65-seat eatery setting up shop on Fletcher Street. Both locals and visitors to the scenic spot can expect to tuck into a seafood-heavy menu, which'll also place an emphasis on both vegan and gluten free fare. Ingredients from the Northern Rivers region will feature, too, with Singh calling his dishes "global food with an Indian twist". In Melbourne, the culinary lineup spans Indian fried chicken, tandoori tikka sliders and papadum platters — if you're wondering what kind of meals Singh classes as 'unauthentic'. The food menu will be paired with an extensive wine list curated by sommelier Bhatia Dheeraj, self-serve fridges full of beer and cider, and a range of cocktails. Sip the Indian spiced sangria, and you'll be tasting red wine, sweet vermouth and orange. Opt for the restaurant's namesake tipple, and you'll be enjoying Brookie's gin, a tandoori-fired pineapple and cardamom lime. Vibe-wise, the new Daughter in Law will take its cues from its location — think playful, vibrant and also relaxed. Patrons will get comfortable on green and blue velvet seating, drink from handmade glasses covered in rainbow peacocks, and sit amidst gold flourishes and under a pink neon sign. Scenes from Bollywood films will brighten up the walls, while DJs will spin 80s and 90s tracks daily. Daughter in Law's Byron Bay restaurant will mark the chain's third, after setting up shop in Adelaide earlier in 2021. Before launching Don't Tell Aunty in Sydney in 2018 — and going on to start its growing no-frills Australian-Indian bar and grill sibling — Singh spent a lengthy stint in the US running his two Babu Ji outposts. Daughter in Law will open at 22 Fletcher Street, Byron Bay, in mid-June — trading from 5pm–late seven days a week.
One of Australia's foremost auteurs. One of the country's best actors. The outback noir genre. The stunning Aussie landscape. The nation's traumatic history of racial inequality. The remnants of the colonial past that still echo today. Break Limbo down to those basic components and, on paper, it might seem as if Ivan Sen is in limbo himself. The filmmaker has been here before with Mystery Road and then Goldstone. In fact, with those two movies about Indigenous detective Jay Swan (Aaron Pedersen, Jack Irish), he started Australia's best film and TV franchise, which has gone on to spawn three ABC series after its two big-screen outings so far. Whatever writer, director, co-producer, cinematographer, editor and composer Sen keeps adding to his resume — including detouring into sci-fi with 2022's Loveland — he'll always be the reason that Mystery Road and its followups exist. With Limbo, he isn't repeating himself. Rather, he's a filmmaker haunted by the nation's reality and driven to keep exploring it. Enter this black-and-white Coober Pedy-shot tale about another police officer riding into a small Aussie town to look into a case that few people have been all that fussed about until now because the victim isn't white. Enter a purposeful examination of the way that the trauma a country has spent two centuries perpetuating and overlooking can only linger. Enter one of the most powerful movies of Sen's career, and a spectacular collaboration with another acclaimed Aussie: Simon Baker. It mightn't seem like a stretch to see Baker play someone affiliated with law and order. He isn't in American TV procedurals The Guardian and The Mentalist anymore, though. Since back in his E Street days, he's frequently forged on-screen ties with the thin blue line — and in recent Australian film High Ground as well. But Baker continues to grow and astound as an actor. In Limbo, he's an astonishingly guarded yet vulnerable presence as heroin-addicted detective Travis Hurley, who is on a cold-case mission while traversing his own purgatory. His task: investigating the 20-year-old disappearance of Indigenous girl Charlotte Hayes, which garners an unsurprisingly wary response from her brother Charlie (Rob Collins, The Drover's Wife The Legend of Molly Johnson) and sister Emma (Natasha Wanganeen, The Survival of Kindness). Sen and Baker first met in 2004 back, far earlier in their careers. The former had a project that didn't eventuate, but now they've finally made a collaboration happen. "You know, you don't count your eggs until they're hatched when it comes to actors," Sen tells Concrete Playground about wanting to get Baker onboard for Limbo. "But he responded very quickly and very strongly, and so then the whole script just changed, and focused on our interactions and our conversations — which usually happens with with my work. Once the actor comes on, we start. Okay, let's find the real story here and pursue that." Baker was similarly enthused. "I like Ivan Sen's films. I really like his films. He's a good filmmaker. He's got a clear vision and he knows how to get that onto the screen," he advises in the same discussion. "And he's very singleminded and he does a lot of the stuff [behind the lens]. So, from a filmmaking standpoint alone, I wanted to go through that experience." Screening in Australian cinemas since May 18, the end result is already one of the standout Aussie movies of 2023. Back in February, Limbo premiered at the Berlin International Film Festival, contending for the Golden Bear — and, with fellow homegrown title The Survival of Kindness, broke a 17-year drought for Australian films in the prestigious official competition. This is clearly more than just a new Mystery Road, as Sen and Baker expanded upon in their chat with Concrete Playground. We talked to the pair about the enduring appeal of outback noir and law enforcement stories, the feature's real-life ties, shooting amid Coober Pedy's underground dugouts, and whether there's a future for both Jay Swan and Travis Hurley — including together. ON THE CONTINUING FASCINATION WITH OUTBACK NOIR AND LAW ENFORCEMENT Ivan: "I guess it's a combination of constantly having the justice system within our faces, within our family and within our communities. The justice system is always there. And it's always been like that — and things haven't been getting better either over the last few years. In combination with that, I've always had an attraction to police work. I'm a fan of all those 24–48-hours shows, American police documentaries and even COPS, believe it or not — you know, the Fox COPS. Because they show reality. They're a chance to see. The cops are always cleaning up society's 'garbage' and that 'garbage' has always involved my family — and it's something that's always been of interest to me." Simon: The truth is that's just sort of what unfolded for me. For a large part of my career early on, I was a young parent and I came from a pretty blue-collar existence, so I always saw my role as less as an artist and more as someone that had to provide for a family. So I focused more on that, and it happened to come about through television [on shows like The Guardian and The Mentalist]. Which, in American television, there was a period of time there where there was nothing on American television that wasn't a procedural crime show. If it wasn't a procedural crime show, you were in in scrubs reciting medical jargon, which I was always going to be shit at — too many syllables." ON THE IMPORTANCE OF LIMBO'S STORY Ivan: "Like everything, everything just comes from the power of place. Coober Pedy has been within my sights for many years, specifically the underground living culture of the place, which I don't think has been really explored very much in narrative before. So I was keen to make a story that involved the underground and aboveground elements of this incredible landscape. I just went out there and the story just came to me, really. It's a manifestation of a lot of the crimes that have affected Indigenous families and the lacklustre response from authorities. While I was out there writing the film there, I found out there was actually a very similar thing that happened in Coober Pedy with a young girl there — very very similar. But if you start digging below the surface, there's not many country towns in Australia that don't have some kind of case like this at some point." ON THE PROCESS OF MAKING AN IVAN SEN-DIRECTED AUSSIE CRIME-THRILLER Simon: "When we first met, we were both pretty young and pretty green in our careers. It was nice to come back together now that we both had a bit of mileage under our belts. And we both kind of — well, certainly I can speak for myself, I know who I am a lot more these days than I probably did back then. It was good. We played around with the script. The story pretty much stayed the same, but there was a bit of stuff here and there that we played around with, and dug in a bit deeper with — and that was a very easy and fluid experience working that way. It was a lean and very focused production. We didn't shoot over a great period of time, and it was really efficient. I like that experience. I like the feeling of serving — like you're making something. You're not standing still for too long that you kind of get bored with the process; you're in among it and you're making something. I think that, coupled with the story — I thought the way into the story was really interesting. It's about so much and at the same time it's really efficient in the way it is about so much. I had a great time. It's weird because I never thought I was not going to have a great time. There's a lot of times when you when you sign onto a movie or you get involved in a movie and you sometimes you go 'oh shit, what have I got myself into here?'. And I never felt that ever. When making a film goes well from the script onwards, it gets better and better, and more focused. But to do that you've really got to know what the movie is about properly. And often what the movie is about can be derailed because people get attracted to shiny things — and, next thing it can become this indulgent exploration. You've got a crew there, and 'maybe we'll shoot this?', and it might have nothing to do with actually what the movie is about. Then you end up with a bunch of spare parts that people try to put back together as a movie. But Ivan, from the very first script, it's about about refining and improving on that. And I feel like that's the way — that's a great way to make a film. So you're never really losing what that the genesis is, it's only getting stronger and stronger. And then you know that, as an actor, what you're putting into it, what you're doing, is contributing in a very positive way." ON COOBER PEDY'S INFLUENCE OVER THE STORY Ivan: "For a story that's about people that are damaged and kind of stuck in their ruts, stuck within their environments, Coober Pedy lends itself to this idea of a limbo — living in a memory or living in a place where you can't move forward or backwards or up or down. And the landscape of Coober Pedy is so desolate that it just allows you to focus, and especially with the black and white, it really lets you focus on the characters and this predicament that they're all faced with of not moving forward or moving back. Coober Pedy has this whole underground living culture that I find fascinating, and I also felt appropriate for the state of mind of all these characters who were stuck in these positions where where they couldn't move forward or backwards — and also, to a point that they were not aware that they were within this position as well. There's just something about that underground aspect there which also does connect with the religious connotation of limbo and what that is within the Bible of of being not in hell and not in heaven — halfway in-between waiting for your time, waiting for a decision to be made about your fate. I felt that was really appropriate as well." ON HOW LIMBO'S HEROIN-ADDICTED COP EVOLVED ON THE PAGE AND SCREEN Simon: "I think the idea of him being in his own sort of purgatory or his own sort of limbo, and he's stuck as a human being, and having his own struggles and sense of trauma, I thought was an interesting point into this story of this other family and their trauma, and how fractured and broken that family was because of that trauma. I felt like that was the key into it, where in a sense it helped him to identify and figure out — well, not figure out; I don't really believe that he's gonna figure it out — but it gives it gives him a level of empathy and relatability, in a way, coupled with the kindness of the family bringing him in. Originally, what was it, Ivan? Originally, in the very first script that I read, he was a diabetic?" Ivan: "Yep." Simon: "And I think we talked about the idea of him actually being someone that is medicating because he can't face his own demons. Then we took that further into this idea of a person that's running from themselves through addiction. Then we explored it from there. There was something about that addiction that creates a vulnerability, and in that vulnerability there is that opportunity. No matter how hard he shields himself from feeling or connection, the vulnerability of addiction makes him susceptible to being able to connect — or for someone to connect with him, like the family or particularly the kids in that family breaking through that shell. It's almost like the harder he works to protect himself, the more vulnerable he gets." ON GIVING LIMBO A SEQUEL — OR EVEN BRINGING IT INTO THE MYSTERY ROAD FRANCHISE Ivan: "Wouldn't that be interesting — the duo, the two cops. Hopefully Simon and I will go on to do more stuff together. I'm a believer in if you feel like you've done something, you've done it, and there's no need to kind go back again unless there's a really good reason for that. Simon and I, I think we get along pretty well. We're a pretty good, creative, efficient, energetic team for old guys. We give those young guys a run, I reckon, for their level of passion. Ours is probably more mature, like a nice fine wine or something. But who knows? Never say never. I think there may be another Jay Swan film at some point. I have another idea for for Jay. Probably more in line with this one with the subtlety of it. Maybe a romance?" Limbo opened in Australian cinemas on May 18. Read our review.
If 11-time world champion surfer Kelly Slater wants to catch a wave, but doesn't feel like going to the beach, he can hop on a board at his inland surf ranch in Lemoore, California. Next time the surfing champ is in Australia, he'll be able to hang ten at a second facility on the Sunshine Coast. While no dates have been announced, the second surf ranch is set to open in Coolum, a 90-minute drive from Brisbane. It'll sprawl over a 510-hectare site, with 75 percent of the space dedicated to wetlands, public areas and lakes — although the surf ranch is clearly the main attraction. Like the Californian spot, the Sunny Coast's surf ranch will use the Kelly Slater Wave System — which, after taking ten years to develop, is crucial to the whole concept. It creates "repeatable man-made waves that convincingly deliver the power and shape of ocean waves most sought after by accomplished surfers, including a hollow barrel allowing for long tube rides". It was the impressiveness of these man-made waves that convinced surfing's governing body World Surf League (WSL) to acquire a majority stake in the Kelly Slater Wave Company (which created the wave technology and owns the Lemoore ranch) back in 2016. Opening more surf ranches was always part of WSL's plans — and, thankfully for us, it's launching the next one in Australia. [caption id="attachment_747864" align="aligncenter" width="1920"] Kelly Slater surfing at World Surf League's surf ranch in Lemoore, California.[/caption] As well as serving up all of the waves and none of the rips, unpredictable conditions and not-so-friendly sea creatures, the $1.1 billion development surrounding WSL's first Aussie ranch will also feature an eco-resort, a hotel, shops, a 'farm to plate' restaurant, serviced apartments, a sports centre, a school and houses. That means that you can head by for a surfing vacation or, if you're super-dedicated and have always wanted an excuse to pretend that you're in Point Break, you can move into the residential area. Like the Lemoore facility, the surf resort will be used for both competitions and coaching purposes. And if you're wondering why WSL has Queensland on its radar, the reasons are twofold. Firstly, surfing is set to become an Olympic sport at the Tokyo games next year. Secondly, the Sunshine State is contemplating putting in a bid for the 2032 Olympics. Australia already has a few man-made surfing spots for the public in the works, with Urbnsurf Melbourne launching this summer, and a Sydney location due to open next year. An outfit called Surf Lakes has also built a prototype spot at Yeppoon in regional Queensland, but it's only for testing — although the ultimate hope is that commercial versions will follow. WSL Surf Ranch is set to open in Coolum, Sunshine Coast. We'll let you know when exact dates are announced. Images: WSL Surf Ranch in Lemoore, California.
When I was bartending, a lovely lady gave me her number over the bar. My manager, having seen the smooth exchange, turned to me a said, "I didn't think people met like that anymore!" It gets to feeling like that in Sydney's dating scene, with so many first contacts with a potential flame coming through the simple swipe of a finger. Keely Sonntag, the brains behind The Datevine, is looking to chuck that notion away — or at least provide an alternative. Instead of checking out a bunch of pictures and making a snap judgment, The Datevine is all about getting together in a fun environment and just simply seeing what happens. You know, social interaction. There's no pressure, no expectation, just some single people maybe or maybe not hanging out together. The Datevine is hosting their first rooftop party in May, booking out the Forgotten Cask Rum and Cocktail Bar on top of the Cauliflower Hotel in Waterloo. $51 gets you a two-course Caribbean feast and a cocktail on arrival, plus the opportunity to chill out with similarly minded people. So put the phone down, get out there and meet some people.
"We don't lock them down, it will be too late." They're wise words when you're dealing with aliens — and xenomorphs at that — roaming the earth, as the just-dropped new trailer for Alien: Earth teases. That's a particularly pertinent sentiment when, as the last full sneak peek also made clear, there's more than just one type of extra-terrestrial to deal with. On streaming, you'll soon be able to hear humanity's screams in response, with this spinoff from the iconic Alien films promising "five different life forms from the darkest corners of the universe" wreaking havoc. Not once, not twice, but nine times now across 46 years, cinema audiences have stepped into the world of xenomorphs, facehuggers and chestbursters — and of cats onboard spaceships, androids resembling people and shouts not heard in the universe's vast expanse. When Ridley Scott (Gladiator II) directed the initial Alien film, he helped start a sci-fi phenomenon. 2025's Alien: Earth is a first, however, given that it's the franchise's debut TV series. One of the show's twists is right there in its title, with the pale blue dot that humanity calls home giving Alien: Earth its setting. All of those different critters is another fresh element to the series' setup. In the works for a few years now, executive produced by Scott and due to debut via Disney+ on Wednesday, August 13, 2025 Down Under, this is Noah Hawley's addition to the saga — and another of his projects, after Fargo, where he's expanding upon the realm of a beloved film on the small screen. Set in 2120, his Alien entry follows the fallout of deep-space research vessel USCSS Maginot crashing onto earth, then the discoveries made as a result by a crew of soldiers that includes human-robot hybrid Wendy (Sydney Chandler, Sugar). As it peers just under a century into the future, Alien: Earth sees its namesake planet under the control of five companies: Weyland-Yutani, of course, because this is the Alien franchise, plus Prodigy, Lynch, Dynamic and Threshold. It also witnesses a society where hybrids like Wendy — the first of her kind, with human consciousness inside a robot body — live side by side with humans, cyborgs and AI-driven synthetics. Hawley's cast not only includes Chandler, but also Fargo alums Timothy Olyphant (Havoc) and David Rysdahl (The Luckiest Man in America), plus Alex Lawther (Andor), Essie Davis (The Narrow Road to the Deep North), Adrian Edmondson (Kidnapped), Samuel Blenkin (Mickey 17), Babou Ceesay (Killer Heat), Lily Newmark (A Gentleman in Moscow) and more. Alien: Earth expands a saga that began with one of the best sci-fi/horror movies ever back in 1979, and has since spanned 1986's Aliens, 1992's Alien 3, 1997's Alien Resurrection, 2012's Prometheus, 2017's Alien: Covenant and 2024's Alien: Romulus — as well as the 2004 Alien vs Predator and 2007 Aliens vs Predator: Requiem crossover flicks with the Predator franchise. The Predator world is also expanding in 2025 courtesy of the already-released animated Predator: Killer of Killers and upcoming live-action Predator: Badlands, both directed by Dan Trachtenberg, who helmed 2022's excellent Prey. Check out the new trailer for Alien: Earth below: Alien: Earth starts streaming Down Under via Disney+ from Wednesday, August 13, 2025. Images: Patrick Brown/FX.
East meets west at the Sydney outpost of New Zealand fave White + Wong's. This colourful spot located at 25 Martin Place doesn't stray too far from the formula that's made it such a success across the ditch, with an eclectic menu that draws influences from classic street food from China, Hong Kong, Vietnam, Malaysia and Thailand. It's an expansive selection that ranges from noodles and made-from-scratch curries to barbecue-roasted meats and dumplings. Yes, purists may scoff at the cross-section of regional influences, but the proof is in the proverbial pudding here — since opening its first outpost in Auckland six years ago, it's become one of the most awarded restaurant brands in Aotearoa. On the menu, you'll find signatures like Fijian-style kingfish sashimi, masterstock fried pork hock with tamarind and chilli caramel, crispy soft-shell crab with Sichuan pepper, Korean fried chicken bao, massaman lamb shoulder curry and deep-fried ice cream with butterscotch sauce. A number of banquet menus are available for groups of four or more, while the popular Feed Me menu is a great way for tables of two or more to sample a selection of dishes from across the menu for $65. Drinks at White + Wong's are taken just as seriously as the food. Sardine Bar, which is nestled just behind the dining room, boasts a considered wine program which includes French and local sparkling, as well as an excellent selection of whites, reds, rosés and booze-free options. There's also a pan-Asian inspired cocktail menu at this breezy open-air bar plus the option to enjoy a custom-made cocktail tailored to your preference. Feeling peckish? You can pair your drink with a selection of food from White + Wong's here, too. White + Wong's is open for lunch and dinner from Monday to Saturday from midday until late.
Have you ever found yourself scrolling through Facebook and pausing to watch the videos of the drool-worthy desserts only to discover they're from some faraway place in Europe or the US? Never fear, Sydneysiders, there's a haven for dessert lovers right in your backyard. Bay Vista has undergone several makeovers since its establishment as a diner back in 1991, but its conversion to a dessert restaurant has by far been the most successful. No matter what your sugary vice is, Bay Vista is sure to deliver; crepes, pancakes, waffles, brownies, cakes, pies, scrolls, ice cream and fondues are all on offer until the early hours of the morning. If you aren't in the mood for a sweet treat, it also makes a mean grilled cheese sandwich. Images: Trent van der Jagt.
The director of Seven, Fight Club and The Girl with the Dragon Tattoo, David Fincher has made a career out of stylish, devilishly entertaining pulp. His latest film, Gone Girl, is absolutely no exception. Adapted from Gillian Flynn's bestselling novel of the same name, it's a dark and twisting tale that presents itself as both a biting commentary on relationships and media frenzy, and a subversion of procedural film conventions. And at the same time, it fully embraces the sleaze and exploitation of that which it critiques. Despite his superhero physique, Ben Affleck looks decidedly schlubby as Nick Dunne, an out-of-work writer from a small town in Missouri whose wife, Amy (Rosamund Pike), goes missing on their five-year anniversary. Signs of a struggle indicate she might have been abducted, and before long the entire country is following the case. But as more and more evidence comes to light, including a six-figure life insurance policy and a string of expensive credit card purchases, suspicion is soon cast upon her husband. And as a series of flashbacks told from Amy's perspective expose a marriage that had begun to turn sour, we're forced to confront to possibility that Nick may be a killer. Of course, it's nowhere near as simple as all of that. Gone Girl is the sort of movie that is very difficult to review, because so much of what makes it interesting lies in its second and third act revelations — each more deliciously silly than the last. Viewers unwilling to suspend their disbelief may struggle with the film, which really pushes the boundaries of plausibility. Then again, lurid, outlandish plot twists go part in parcel with the genre, as Fincher fans would well know. Although the movie plays fairly straight, there is definitely an element of subversion here, along with a jet-black sense of humour that manifests itself in unexpected ways. For example, it's hard not to snort when Nick complains, with a completely straight-face, that he's tired of "being picked on by women." The film's representation of gender and marriage could be the subject of an essay in and of itself. Suffice it to say, any movie that can be read as both a bloody tale of female empowerment and a twisted fantasy that implicitly exonerates domestic abusers is worthy of critical attention. Affleck, to his credit, gives what is probably the best performance of his career. One suspects that the casting choice was a self-aware one, given how much of the actor's life has been scrutinised in the tabloids. In a film full of unlikeable characters, the most repugnant are the likes of talk-show host Ellen Abbott (Missi Pyle), quick to condemn Nick's awkward, emotionless television appearances as evidence of his guilt. The film is very much a double-edged sword though. It condemns us for our obsession with violence while funnelling it down our throats. Once again, Fincher is dressing up trash as serious art, wanting to have his cake and eat it too. And frankly, we wouldn't take it any other way. https://youtube.com/watch?v=2-_-1nJf8Vg
Sydneysiders, are you ready to sit in the room where it happens? Lin-Manuel Miranda's game-changing, award-winning, rightly raved-about international sensation Hamilton is back in town. The global phenomenon has returned to the Sydney Lyric Theatre and is the absolute last Australian season of the acclaimed production, so do not throw away your shot to see the biggest thing in musical theatre this century. Who knew musicals about history could be cool? Turns out Lin-Manuel Miranda did. The globally and critically acclaimed hip hop musical, for which Miranda wrote the music, lyrics and book, is about the life of Founding Father Alexander Hamilton, a story that reflects inclusion, ambition and politics in current-day America. In addition to its swag of Tony® Awards — 11 including Best Musical — it has nabbed a Grammy® Award, Olivier Awards, and a Pulitzer Prize for drama. In addition to the award clout and rave reviews, the musical made cultural waves throughout theatregoers and beyond, sparking a newfound surge to the theatre box offices across the globe. The blockbuster musical first graced the stage in Australia in 2021, opening at the Sydney Lyric Theatre. If you haven't become a Hamilton obsessive yet? We'll give you a few of the highlights of the show. If you missed the debut Australian run, or even if your Hamilton experience has been confined to Disney+, there's nothing like experiencing this in person, feeling the emotion of these world-class performances, stunning sets and costumes and being blown away by these landmark lyrics. Hamilton is truly a bucket list experience. Don't miss your last chance to tick it off in Australia. Hamilton's final Sydney season kicks off on Tuesday, July 30 at Sydney Lyric Theatre and is booking through to January 25, 2025. Visit the musical's website for further details. Images: Daniel Boud.
Sydney Good Food Month, the city's always jam-packed month filled with one-off and limited-time food and drink events, is returning for a special summer edition in January. Usually held in October, the annual culinary festival puts Sydney's world-class food scene front and centre, taking over restaurants around town, hosting food pop-ups and serving up dinners from some of the world's best chefs. While lockdowns prevented Sydney Good Food Month from running in its usual October slot in 2021, the festival is back for its 23rd year throughout January. Top of the bill for the 2022 edition includes a First Nations takeover of Rockpool Bar & Grill; a pastry-heavy vegan brunch at Alibi Bar & Kitchen; a pop-up from Brisbane chef Alanna Sapwell at Ezra; and a night of regional Italian cuisine at a'Mare from Guy Grossi, Alessandro Paconi (Ormeggio at The Spit), Giovanni Pilu (Pilu at Freshwater) and Jacqui Challinor (Nomad). Those looking for something less on the fine-dining side of things can head to Butter and Rising Sun Workshop's 'Ain't nuthin but a Chicken' party — or there's also An Evening in Morocco, which will see Nomad and Golden Age Cinema come together to present a feast of Moroccan dishes and a screening of Casablanca; and a falafel masterclass and Middle Eastern dinner at Above Par. Loyal fans of The Good Weekend Quiz can rejoice, as the live iteration of the weekend ritual is returning. The quiz will be hosted at Rockpool and will, of course, be food and drink-themed. Round up your smartest mates for this, folks. Across the month, close to 50 events, deals and classes will pop up across Sydney, and also in regional New South Wales. Outside of the capital, you'll find wine tastings, long lunches and farm-to-table feats. Head to Pipit on the north NSW coast for a duck salumi masterclass, too, or to Newcastle's Subo for a celebration of the area's local producers. The Night Noodle Markets, which generally run as part of Good Food Month, aren't returning during 2022's festival; however, they will be back as a standalone event sometime later in the year. Suddenly and unsurprisingly hungry? You can find the full 2022 program at the Good Food Month website. Top image: Ezra by Cassandra Hannagan
What could possibly be more Sydney than gathering seven of the city's most diverse musicians on the rooftop of a Parramatta carpark, and asking them to combine their music with dance, video projections and art installations for an epic one-off multimedia performance? Not much, really. And, as such, this is precisely what the Sydney Sacred Music Festival plan to do with a brand new work called Worlds Collide, which will be premiered atop said rooftop this September. In conjunction with Riverside Theatres, the festival's artistic director Richard Petkovic has gone about finding some of the best (and most culturally distinct) musicians in Sydney in an effort to take Australia's multicultural roots to the mainstream after he recognised a noticeable lack of diversity in the local music scene. "We've got these fantastic artists from different backgrounds — amazing DJs, amazing world musicians — and this is a great new work that represents us all," says Petkovic. "I do a lot of work in Western Sydney, and there I was able to find these hidden treasures in our community." So the choice of location — the rooftop of Parramatta's Wentworth Street carpark — was a natural choice. It's a unique venue and, according to Petkovic, represents where real people live. "I've always wanted to do an event on a carpark roof and when I looked at it I thought, 'this is not a gig that is going to suit people in a seat'," he says. "I want people to move, dance, get excited and really engage with the event." Musically, styles will span everything from world music to dance; meditative drones and sacred African chants will combine with the hip hop rhymes of Mt Druitt's Esky the Emcee and South Asian underground beats of Coco Varma's Sitar Funk. Art installations from Khaled Sabsabi, Marian Abood and Ghasan Saaid will also be featured. Sydney Sacred Music Festival begins on Friday, September 2 at Pemulwuy (Prospect Hill) with a performance from internationally acclaimed artist William Barton. Worlds Collide will kick off from 7pm the following night on Saturday, September 3 on the rook of the Wentworth Street carpark, Parramatta. You can buy tickets here. Image: Jens Thekkeveettil.
There is no better time than winter to learn how to whip up a classic cocktail. Try as we may to encourage you to get out and about during the cooler months, we get it — sometimes, you just can't face the blistering cold. For those nights when your blanket fort is calling, being able to recreate one of your favourite tipples at home is a skill akin to juggling with one hand (but way more useful). So, to celebrate the 100th anniversary of the negroni, we're giving you the chance to win an exclusive roaming masterclass for you and three mates with Campari ambassador Tristram Fini. If there's one drink that should be in your cocktail making arsenal, this is it. It has the ideal flavour balance of sweet and bitter (thanks to its key ingredient Campari) — a balance you'll learn how to perfect in this exclusive session. Across one evening, you'll try your hand at making the perfect negroni in three top Sydney bars, with each venue sharing its own twist on the classic drink alongside a selection of bar snacks. Your educational bar hop will kick off in The Rocks at the luxe bar Maybe Sammy, before a visit to the award-winning (and ever popular) Bulletin Place. Your tour will finish at CBD spot PS40 to try its take on the signature negroni. Along the way, Tristram Fini will explain the history of this revered drink, along with some trade secrets and tips for how to put your own spin on it at your next dinner party — or quiet night in. [competition]724911[/competition] Discover more ways to experience Negroni Week with the help of our handy bar finder. And, to find out more about Negroni week, head to the Campari website.
When Touch played Australia's Scandinavian Film Festival, which fittingly fills cinemas around the country each winter, it wasn't the only feature from Iceland on the program. Of the four titles from the Nordic nation, however, two of the fellow movies around this tender romantic drama fell into the thriller category. Scandi noir has become its own genre, buoyed by the success of efforts across the Nordic region such as The Girl with the Dragon Tattoo and its sequels, and the likes of The Killing and The Bridge on TV. Icelandic television series Trapped also sits in the same camp, as created by one of its most-famous filmmaking names: director Baltasar Kormákur. Kormákur knows how to lean into the genre that the rest of the planet now considers synonymous with his part of the globe. He's also well-aware that there's far more to Iceland's screen output than its moodiest efforts, and how important it is to ensure that other tales are being told. An actor before moving behind the lens — and sometimes afterwards, including for himself — he's just as familiar with a recent trend among features from his homeland: movies with animal-themed titles (see: Of Horses and Men, Rams and Lamb). In comparison, Touch takes its own path, eschewing both noir and critters. That said, character-driven films are hardly new to the country; Kormákur has been there before himself, in fact, starting with his 2000 directorial debut 101 Reykjavík. Consider Touch a reminder, then, that crime-thrillers, the frosty landscape and the animals that live upon it are only a part of Iceland's storytelling. Hopping between Iceland, the UK and Japan, as well as between time periods, Kormákur's latest feature found its details on the page via the filmmaker's compatriot Ólafur Jóhann Ólafsson, who co-wrote the script — and its narrative spreads far beyond what's become regarded of late as typical Icelandic fare. It all kicks off in Reykjavík, where widower Kristófer (Egill Ólafsson, another Trapped alum) does indeed have a mystery to solve: the whereabouts of the woman he loved five decades earlier. In the late 60s, he was a student (played by the director's son Pálmi Kormákur, The Deep) in London who took a job in a Japanese restaurant, with a romance with his boss Takahashi-san's (Masahiro Motoki, Giri/Haji) daughter Miko (Kōki Kimura, Ushikubi Village) blossoming. Touch begins in 2020, just as the COVID-19 pandemic was shutting down existence as everyone knew it. Before he flies out to the UK, it also commences with Kristófer receiving an early-stage dementia diagnosis. As the film flits back and forth between the elder version of the character on his search for the Hiroshima-born Miko and his memories of their time together, it contemplates paths not taken, connections that will never fade, choices that haunt and emotions that last forever. It plunges, too, into one of the 20th century's horrors and its lingering ramifications. Kormákur also sees Touch as a picture about seeking closure, and knows how universal that idea is — and how cathartic Kristófer's journey is to watch. He feels that link personally. "As the years come in, it becomes a heavier burden," he tells Concrete Playground. "There are things — you did something wrong to somebody, or weren't fair or left a love relationship in the way you shouldn't, whatever it is — there's the need to rectify and close. Not to necessarily pick up. I don't think Kristófer is there to pick up and run around with a newfound love, no. It's about finding closure and understanding. I have very strong ties to that. That has come very a heavy burden in my life, which I didn't think much about when I was in my 20s and 30s." [caption id="attachment_970779" align="alignnone" width="1920"] Kormákur hasn't just crafted a departure from the current Nordic norm. He's now spent decades jumping between both sides of the Atlantic, with English-language action and survivalist movies dotted across his resume. The Mark Wahlberg (The Union)-starring Contraband and 2 Guns, scaling mountainous heights in Everest, the also based-on-a-true-tale Adrift, Idris Elba (Hijack) fighting lions in Beast: they've all boasted Kormákur behind the lens, but he doesn't see himself as linked to or fascinated by any one genre.[/caption] We also chatted with the filmmaker about discovering Ólafsson's book and being inspired to turn it into a film, celebrating a different kind of Icelandic movie than the kind worldwide audiences are often seeing of late, juggling Touch's different locations and eras, and casting when you're telling a story across half a century. On Kormákur Coming Across the Novel and Knowing That He Wanted to Turn It Into a Film "It was given to me by my daughter as a present for Christmas. And I opened it right away and started reading, and I couldn't put it down. I think I read it in less than 24 hours. First, it took its time in the beginning, and then it just got me more and more and more. And there's something about the way that it reflects time and life through the two story threads. I also wanted to find a love story, but a real one to me, something that would mirror my experience in some way with love, because I've had a relationship with love for now 58 years. It was just a great vessel for that in the movie. It's also very unusual for Icelandic films to have these kind of cross-cultural references, and an opportunity of travelling through space and time." On Making an Icelandic Film Away From the Country's Frosty Landscape and the Nordic Noir Genre "I think it's very important. I think it's actually more important, possibly, than people realise in the moment. I think always when you break a little bit of boundaries in telling stories, it gives the young people who are coming after you a different perspective and opens up to them — 'yeah, well if that's an Icelandic film, then I can maybe do something of that kind or something different'. I think with small countries, often there is a tendency that there are certain kinds of films that are accepted and tend to be repeated. We've done a lot of films about domestic animals in Iceland. I think every title — we have Lamb, we have Rams, we have Of Horses and Men. It's all good, very good films, don't get me wrong, but at some point we're running out of domestic animal titles. So it was about time for something else. But also I come from a background of two nations. I'm half Spanish and half Icelandic. My parents actually met pretty much like Miko and Kristófer in the story — in a restaurant in Reykjavík as my father was passing through. He was a Spanish artist escaping Franco at the time, and he ran into my mother and he just stood up in the restaurant. He was coming in, she was working in the restaurant, and 18 days later they were to be married — and 60 years later they're still together. Unfortunately he has a bit of Alzheimer's, like the character. So there's a lot of things that connected me to the story on many levels. Also the need for closure, which is very important to me, and I feel like is coming harder and harder down on me — like the need to close certain chapters and stories and make peace with them." On Balancing Multiple Different Time Periods — and Hopping Between Iceland, the UK and Japan "It was very, very complicated in terms of shooting. People thought Everest was complicated, but this is actually more complicated because there's also three languages. But I love it. We are allowing more languages and more culture into films, and it's getting more accepted, and I think it's really important. And for me, it has to be in the language that these people would authentically be speaking to each other. Then the market comes next and says 'I'm not going to...' because there was this idea, somebody came and said 'what about if Kristófer is in England rather than Icelandic and we can just have him...'. And yeah, it would work, but that's not my story. So, that's very important. And of course, it's incredibly complicated to create a restaurant. A Japanese restaurant in England 1969, there are hardly any references. But by digging, we found actually a couple still alive that ran a restaurant — a Japanese couple, immigrants in England — that gave us a lot of information about their place. So, for me it was so much about all the preparation and work. We had Japanese people working with us from day one, everyone possible in Iceland in the Japanese embassy. And the respect — when you come from a small culture like Iceland, your country and your culture has been tarnished by Hollywood, just because they don't care. It's a small market. So the names are usually wrongly used, and there is not much authenticity to the story. But I think that's lazy. Because you can tell this is a good story, and even better, you can just little do a little homework and digging and learning about cultures. Also, I love the fact, and I didn't say that in the beginning, that this story leads you to one of the most horrific acts in history, war crimes in history, in such a different and unique way. It's just to one victim that wasn't even born at the time of the bombing, and it affects a life of an Icelandic guy whose whole life is affected by this. So this choice of taking just a single view, when I read the book, I didn't see that coming — an Icelandic novel dealing with the aftermath of Hiroshima." On Casting When You're Working with Both Younger and Older Versions of the Same Characters "For me, it's more about finding the right person for its purpose. I wasn't necessarily chasing that it had to be totally aligned for Kristofer — for me, it's more important that the actors are right for the role and for their purpose, and then matching them up. It was very important for the younger actors that they would sit on the baseline in the role. They don't have to be playing someone else. They'll allow you to come closer, because falling in love is an intimate thing. And I wasn't going for the sexual version, I was going for the sensual version of it. And for me, it's very innocent and you have to allow the camera into the act rather than him playing it for you. And I think I chose the two of them from that perspective, the young cast. On the other hand, it was very important to me — I told you about my father — Egill reminds me a little bit of my father. A very nicely dressed man, even in his Alzheimer's and the fog of that, he always carries himself with some grace. Egill used to be the sex symbol of Iceland. He used to be this big singer and actor. All my youth, everyone knew who Egill was. Then, he now actually has Parkinson's, and it's just changed his whole demeanour. He's very gentle and he steps to the earth very carefully. I learned this about him, and I thought he was absolutely perfect for the role. It's just something about the grace and I wanted him to be romantic in a way, but not somebody you would feel sorry for — actually, you can go on this journey and you can want him to have his closure." On the Approach to Flitting Across Genres When Your Career Jumps Between Romance, Action, Thrillers, Survivalist Tales and More "I do not look at genre in the beginning of choosing a project. If something, like with Beast, I've been fascinated with lions all my life since I was a kid. I loved pictures of lions when I was a kid. When I got Everest, it was like 'this is like me walking to school in Iceland every day'. There are certain things that you just are drawn to, and then the genre comes around it. And then everyone, people are like 'oh, he's the action guy, he's the survival guy'. I've had so many versions of 'guy'. But for me, I just choose the project that I'm drawn to and genre is something that it comes after, and I work with that. I understand that genre or tone is very important. But I have many genres inside of me. I am an athlete in some ways, when I was younger. But I'm also a lover. These are two genres inside of me. So I'm full of genres, and I just don't want to limit myself to one thing. It's not conscious, to be honest. It's just when projects — like when I read this book, I love this book. I want to do it and then I do it. And then I let the specialists analyse it." Touch opened in Australian cinemas on Thursday, August 22, 2024. Images: Lilja Jonsdottir and Baltasar Breki Samper / © 2024 FOCUS FEATURES LLC.
Beyond the stunning beaches and waterside walks, Bondi has so much going for it — it's also home to a thriving arts and culture community that hosts a unique and diverse range of events throughout the year. These creatives breathe even more life and colour into the vibrant coastal neighbourhood. If you're looking for a different way to experience Bondi, you can see gallery exhibitions by local artists, take part in sculpture or painting classes or join an Aboriginal-led walking tour — and that's just the beginning. In partnership with the newly revamped Bondi Pavilion, we've rounded up six of our favourite arts and culture experiences to check out in Bondi. BONDI PAVILION For nearly 100 years, Bondi Pavilion has taken pride of place on the foreshore of the iconic Sydney beach. Following extensive renovations, the newly unveiled Bondi Pavilion now has all the bells and whistles required to host top-quality arts and culture events, as well as spaces to flex your creative muscles. The Pav's ground-floor Art Gallery hosts a year-round series of exhibitions that gives a platform to local and international artists, while the stunning (and impressively large) Bondi Pavilion Theatre provides a stage for live music, theatre and regular movie nights for all ages — just like it's been doing for nearly 50 years. You can also get to know the local heroes who have made Bondi the legendary destination it is in the Bondi Story Room, an interactive digital exhibition celebrating community stories stretching back over a century. The Pav is also a space for creators both amateur and professional to ply their craft — be it at the community radio studio that's the home of 89.7 Eastside FM, the state-of-the-art recording studios that are available for hire, or in the dedicated pottery workshop that hosts classes by the experts from Sydney Clay Studio. There's a full roster of events taking place at the Pav over summer, too, which you can find out about right here. [caption id="attachment_883514" align="alignnone" width="1920"] Melissa Mladin[/caption] TWENTY TWENTY SIX Twenty Twenty Six is a relatively new addition to Bondi's art scene. Figurative painter Martine Emdur opened this contemporary gallery in 2020 with the aim of creating stronger connections between artists, collectors and the community. It's a space for those who wish to buy or sell art, but you can certainly enter for a spot of window shopping. You'll find paintings, drawings, photography, mixed media, sculpture and ceramic works by both established and emerging artists, all just a proverbial stone's throw from the beach. AQUABUMPS This photography gallery has been a Bondi go-to since 1999 — and it's become somewhat of a local institution. Locals and tourists gather at Aquabumps to purchase affordable photography of Bondi and other Australian and international locations. Eugene Tan, the owner and a lifelong, self-taught photographer, has a huge love for surfing, so expect to see pieces depicting beach culture and other natural landscapes. BAR 34 Not all arts and culture experiences need to be so formal. Sometimes, catching a gig in a beachside bar is all you need to get your fix. When the mood strikes, head to Campbell Parade's Bar 34 and grab a beer and burger before entering the basement to listen to some live music. Bar 34 hosts gigs from Thursday to Sunday, curating artist line-ups that represent a diverse range of genres and cultures. Check out its Instagram page for the latest on its upcoming shows. WAVERLEY WOOLLAHRA ART SCHOOL Practicing artists have been teaching a huge range of classes at this independent not-for-profit cooperative since 1968, and it's still a thriving hub for the local arts community. The Waverley Woollahra Art School hosts classes for painting, drawing and printmaking, as well as offering lessons to budding ceramicists and sculptors. So if you're feeling inspired to roll up your sleeves, sign up for an entire term or join a shorter weekend-long course — learning these creative skills doesn't have to be a huge commitment. BONDI ABORIGINAL WALKING TOURS Make your next Bondi coastal jaunt a little more interesting by joining one of the regular Aboriginal Walking Tours. Artist, teacher and performer Walangari Karntawarra takes each group on a gentle walk to see ancient Aboriginal rock carvings and traditional bush foods and medicines that still grow along the coast. As an Aboriginal elder and Bondi resident, Karntawarra is incredibly passionate about sharing his people's culture and rich local history with visitors. Planning an artsy trip to Bondi? Head to the Bondi Pavilion website to sign up to classes, book tickets to shows or check out the full lineup of free events it's hosting this summer. Top image: Bondi Pavilion
Who doesn’t love a good dose of dumplings? Or yum cha? Wonton noodle soup, pork buns, peking duck pancakes, crispy shallots or stir-fried Asian greens with lashings of oyster sauce? With Sydney being such a multicultural city, there's certainly no shortage of authentic Chinese cuisine. The culinary variations are aplenty and can be somewhat overwhelming. Yes, Chinatown does have the goods, but let us guide you to some other tasty places in Sydney that we think are equally impressive. Some of these guys are unassuming little gems; some are imperial institutions that have been satisfying our oriental cravings for years. So get your diaries out and organise a fascinating feast for the senses with some awesome Chinese food. Din Tai Fung An infamous Taiwanese noodle chain has introduced Sydney to the best dumplings it's ever had. Peer into the kitchen and you can observe the production line — it’s hypnotising. Once inside, order up a storm. A must have are the Xiao Long Bao pork dumplings ($8.80 for 6, $10.80 for 8), filled with hot broth as well as a delicious pork filling.Try the vegetable and pork wonton soup ($9.50) or the vegetable and pork wonton dipped in a spicy sauce ($11.80) for an extra kick. Refreshment-wise, the lychee mint juice ($6.50) is hard to go past, while the steamed mini black sesame bun ($1.90) for dessert is an indulgent way to finish up your meal. Mon - Wed 11.30am - 2.30pm, 5.30pm - 9pm, Thu 11.30am - 2.30pm, 5.30pm - 9.30pm, Fri - Sat 11am - 3pm, 5pm - 9.30pm, Sun 11am - 3pm, 5pm - 9pm; 644 George Street, Sydney 2000; (02) 9264 6010; www.dintaifungaustralia.com.au BBQ King Restaurant Dead ducks hanging in the window, kitsch Chinese decor and the best peking duck in Sydney. What more could one ask for? Take advantage of the late opening hours too — this place is a godsend when you’re attempting to curb that drunken hunger at 1.30am. There’s plenty on offer, but our advice is to go straight down the cliche line. The signature dishes here are obviously, the roast peking duck and pork, although the full serves can be difficult to get through. An easier option is the peking duck pancakes, served up with slices of roast duck, green onions, hoisin sauce and chilli to taste and an unmissable entree is the san choy bow. This is a restaurant made for groups, so don't be scared to organise a big night out. Mon - Sun 11.30am - 2am; 18 Goulburn Street, Sydney; (02) 9267 2586 China Lane Deep in the business district of the CBD is China Lane, another laneway bonus for the corporate end of the CBD — China Lane means business. It seems obligatory at every mod-Asian joint to have a twist on the pork bun. At China Lane, it's no different. Pulled pork, mayo and crisp shallots are piled upon a flattened steamed bao ($16 for two). Pig’s ears seem to be making a comeback. Here, they’re crisped and caramelised, served with lemongrass ($8), and delicious. The grilled dory with coconut sambal ($19) is a light treat, and a good compliment to the lamb and chili hot pot ($30) or the pick of the bunch, the soy-braised pork belly ($30). And if you’ve got room for dessert, the exquisite pistachio and lemongrass parfait ($14) with pandan syrup is a sweet and aesthetic treasure. Mon - Fri 12pm - 3pm; 6pm - 10.30pm, Saturday 5pm - 10.30pm; 2 Angel Place, Sydney; www.chinalane.com.au Kam Fook This place is an institution. Crowds gather outside for lunch on weekends like the Rolling Stones have come to town. And considering it seats 600, it’s certainly saying something. Half the fun here is to have some of the dishes fried up in front of you on the dedicated ‘frying cart’ — the traditional way of Cantonese yum cha. The other half is observing the organised chaos that goes on around you. Fried rice rolls, steamed prawn dumplings (har gow), sliced BBQ pork, stuffed crab claw: it’s pretty much all going to please you. Either order directly from the menu or flag down one of the apron and trolleys that are whirring around. Special mention goes to the Kam Fook spicy seafood hot pot though — the fiery broth is in a class of its own and there’s no skimping on fresh seafood. Mon - Sun Lunch 10am - 3pm; Dinner 5.30pm - 10pm; Shop 600, Level 6, Westfield Chatswood; www.kamfook.com.au Mr. Wong Mr. Wong is another post-midnight dining option that we Sydneysiders are certainly happy about. Especially considering that head chefs Dan Hong (Ms. G's and El Loco) and Jowett Yu (ex Ms. G's) are serving up authentic Cantonese fare in plush 1930s Shanghai-inspired surrounds. The steamed dim sum platter (eight pieces for $32) is a solid option to start as is the yellowfin tuna ($19). Tail this with a full serve (16 pancakes) of the peking duck pancakes ($88) and you'll quite openly celebrate the fact that you've over eaten. For dessert try Mr. Wong's deep fried ice cream served with butterscotch sauce, vanilla or chocolate ($14). Whether you're there for the dim sum or a more involved eating experience, this place guarantees one thing: satisfaction. Mon - Sun lunch 12 - 3pm, dinner 5.30 - late, Thu - Sat until 2am; 3 Bridge Lane, Sydney; (02) 9240 3000; www.merivale.com.au/mrwong Hung Cheung Chinese Restaurant As well as trendy and favourable cafes, Marrickville is also home to a winning Chinese seafood restaurant, offering some of Sydney’s best yum cha. Don’t expect anything flash or fancy though — this is Cantonese family dining at its loudest and proudest. Get here pronto on a weekend or else you’ll have to wait (albeit it’s worth it). Use of fresh ingredients is apparent and their dumplings that are made on site are not to be missed (hot tip — snow pea and prawn $6 for six). For those who love a good salty treat, the salt and pepper battered whitebait is a plate to wave down and the steamed BBQ pork buns (char siu bao) are probably the best version outside of Hong Kong. For the brave there is tripe in black bean sauce and chicken feet; alternatively Singapore noodles, siu mai and a good old plate of steamed greens with lashing of oyster sauce won’t let you down. Mon - Sun 9am- 11pm; 338 Marrickville Road, Marrickville; (02) 9560 4681 Chairman Mao You know you’re on to something good when a hatted chef is tipping this Chinese as his favourite in Sydney. One of the only Hunan restaurants in Sydney (aptly named after its most famous citizen), Chairman Mao is one of the hottest eateries around this part of town: pun intended. The Hunan territory is well known for its spicy and peppery flavours: honest, candid cooking laced with garlic and chilli. The five-spice tofu with leeks and red hot chilli ($14.80) and the spicy duck with celery and chilli ($28.80) are punching with flavour and heat, yet sustaining clarity and not assaulting your tastebuds. Stir-fried green capsicum with preserved duck egg ($19.80) may not be the most attractive sounding dish, but worth a try for the brave. However, the standout dish would have to be the steamed pork belly with preserved vegetables ($18.80) — a classic Hunan dish that is so fatty and naughty, yet utterly delicious and irresistible. Wash it all down with an icy cold beer ($7) and the complimentary spicy sour pickled cucumber and just forget about your arteries for one night. Mon, Wed & Thus: 5-10pm; Fri-Sun 5pm-11pm; 189 Anzac Parade, Kensington; (02) 9697 9189 Chinese Noodle Restaurant Chinese Noodle Restaurant may have plastic grapevines suspended from the ceiling and kitschy tapestry on the walls (reflective of the Xinjang Provence), but don’t let this quirk deter you. Small and pokey simply means quick and cosy and it’s the handmade noodles and dumplings that you’re here for. Half the fun at this bustling joint is trying to get a mouthful of the delicious hand-pulled noodles into your gob whilst thoughtfully paying attention to the violin entertainment that unexpectedly occurs intermittently. The other half is trying to decide what to order. Mini pork and chive dumplings ($8.80 for 12), braised eggplant ($11.80), soupy pork buns ($5), spring pancakes ($8.80 for 2), shredded pork pancakes ($3.80)…all these palatable options means you’ll just have to ensure a revisit. Mon - Sun 10am-10pm; Shop TG7, 8 Quay Street, Haymarket; (02) 9281 9051 Shanghai Night Dumpling lovers be warned: your belts will be loosened and your dreams may be filled with images of loose little pouches filled with minced pork and piping hot broth. Shanghai Night in Ashfield is a cheap and cheerful restaurant that is home to some of the best Shanghai pork dumplings you will eat. With a pastry skin slightly thicker than the Cantonese variety, these handcrafted morsels of joy are evidently made with patience and care. The pan-fried pork and crab buns ($12.80) are a must-order menu item and the mini pork-buns ($6.80 for 8) cannot be snubbed either. The vege dumplings ($5.80 for 12) are small open parcels of goodness and for those of you who are perhaps dumpling-ed out, try the shallot pancakes ($4.80) or the stir-fried noodles with pork strips — an absolute steal at $8.80, the silky strips from the fiery wok are smoky and deliciously tender. Mon - Sun 10am-10pm; 275 Liverpool Road, Ashfield; (02) 9798 8437 Billy Kwong at Eveleigh Markets Why wait till dinnertime to get into Billy Kwong’s restaurant when Kylie and the team are cooking up a storm at Eveleigh Markets every Saturday morning? Forget bacon and egg roll or pancakes with blueberries. Kick start your Saturday and tuck into some delicious steamed savoury pancakes ($10.50) that are piled high with fresh vegetables, egg and a sweet but slightly salty caramel-tamari sauce. The deliciously wholesome dish is somewhat difficult to eat standing up, but the sunshine outside invites you to cop a spot in order to tackle this healthy breakfast. Everything else on the short menu mustn’t be overlooked either. The steamed free-range pork dumplings ($8.50) are easier to eat and just as scrumptious, so too are the steamed sticky rice parcels ($8.50). Filled with macadamias, goji berries, crushed crickets and a homemade chilli sauce, you have to get to the markets early to nab this bestseller. If you miss out, don’t fret — there’s always next week. And the week after. In fact, you’ll find yourself getting up at the crack of dawn every Saturday to satisfy that Kwong craving that’s been lingering since the previous week. Every Saturday 8am-1pm; 243 Wilson Street, Darlington; (02) 9209 4735 (markets); (02) 9332 3300 (Billy Kwong restaurant); www.kyliekwong.org For more Chinese goodness, check out The Five Best Dumpling Restaurants in Sydney and The Ten Best Things to do in Chinatown
For a month in 2026, The Phantom of the Opera will be there, on a floating stage on top of Sydney Harbour. Each year, Australia's most-stunning performance venue welcomes a big-name Opera Australia show to unleash its wonders with a spectacular backdrop. Just like in 2022, 2026's production involves the music of the night echoing over the ocean. The extremely popular Handa Opera on Sydney Harbour has repeated titles before, but there's a particular reason for Andrew Lloyd Webber's The Phantom of the Opera haunting its scenic setup again so soon. 2026 also marks the stage musical's global 40th anniversary. There's phenomenal ways to commemorate a milestone and the there's this. When it takes to Handa Opera on Sydney Harbour's picturesque waterfront digs at Mrs Macquaries Point for 2026 — across Friday, March 27–Sunday, April 26 — this run of The Phantom of the Opera is kicking off a worldwide program of events planned for the year to celebrate four decades of the show. The production will also increase the huge audience numbers that've spent time with The Phantom and Christine, given that it has already been seen by 160-million-plus people in 205 cities across 58 territories across its lifespan so far. Simon Phillips, who recently helped bring Round the Twist from the screen to the stage, initially directed the 2022 Handa season — and is back for 2026, too. Also a highlight: the eye-catching production design that includes a giant chandelier. Images: Handa Opera on Sydney Harbour's 2022 production of The Phantom of the Opera © Prudence Upton / Hamilton Lund.
Sydney ambient electro darlings Seekae dropped news of their third album and a national August tour earlier this year. Luckily they didn't do it so silently. They've also gifted us with a new single, 'Test & Recognise'. Picking up the tempo and embracing the power of the synth, it could signal a new direction for the group — from classic chillout sessions to the dancefloor. With past releases, The Sounds of Trees Falling on People and +DOME, Seekae have made a name for themselves in the past few years, playing local festivals like Harvest and Golden Plains. Known for hypnotic electro-pop such as 'Void', 'Crooks' and 'Blood Bank', their name is synonymous with late night drives through the city or relaxed midnight hangs with friends. In the bigger picture, their debut was named one of the albums of the decade by FBi Radio, and their follow-up earned them four nominations at the Australian Independent Music Awards. Since then they've been touring internationally and even took to the stage at this year's SxSW. Seekae's third album, The Worry, is openly described as their most ambitious work to date. Bringing vocals to the fore and losing some of that distinctive ambient haze, it definitely marks a departure from their past sound that may not win over all fans. However, the shift will make for an entertaining live gig. Caught somewhere between blissful oblivion and classic electro these new tracks are sure to get people awkwardly shuffling around the dance floor nationwide. https://youtube.com/watch?v=S78pfy37SN8
If you're the type of spirits aficionado who likes their tipples to taste exactly how they always have, then you probably aren't all that fond of creative booze flavours. You mightn't be a fan of bloody shiraz gin, for instance. You likely didn't even give lamington vodka a try. And, well, peanut butter whiskey isn't going to be your thing either. For anyone that's now wondering how to make a peanut butter and jelly cocktail, this latest flavour from Sheep Dog Whiskey is probably already having the exact opposite effect. Yes, peanut butter whiskey is now a real thing that exists, and can be sipped by fans of both peanut butter and caramel-hued spirits. And, after launching in the US, where it's made, it is now available in Australian bottle shops. Taste-wise, you can expect the obvious — so, peanut butter and whiskey — however, this tipple also apparently comes with notes of vanilla and caramel popcorn as well. And if you're wondering how to drink it, the brand suggests going neat — or adding it to your next espresso martini. Other options include combining it with grape liqueur so that you really can have a PB&J-flavoured tipple, or whipping up a peanut butter old fashioned. Naturally, if you're not fond of peanuts, this definitely isn't for you. Sheep Dog Peanut Butter Whiskey is now available in Australia for $55 RRP a bottle — from BWS, Dan Murphy's and First Choice.
Sydney summer may mean lounging in the sand, swimming in the surf and basically living at the beach, but you'd be remiss not to consider some of the city's fine outdoor pools — especially, Andrew (Boy) Charlton. The saltwater pool sits just above the harbour and boasts a cafe with some fine views. Once you've picked your day to go, your plan for that day is simple. Head past AGNSW, without stopping. (Yes, we know that's a difficult one to do, but you can loop back in the afternoon.) Dive into Andrew (Boy) Charlton pool for a few laps to work up an appetite, then head for the Poolside Cafe at the top. We hope you've decided to come on a weekday because this place sure does get busy on weekends. That said, it's well worth waiting your turn if there's the need to do so. Sit down at your table, remembering to borrow a hat and slap on some of the sunscreen on offer if you're outside. This is the spot with the best view, over not only the pool but across Woolloomooloo Bay. Next, order up a storm. We suggest a frappe to start. The limonata with mint is our vote, though the passionfruit, mango and orange option also comes highly recommended. From the breakfast menu, try the mushroom bruschetta ($18), with ricotta, smashed peas, truss tomato and soft boiled egg on grain toast. If you're arriving later, lunch is available, with crispy zucchini flowers ($16), the Nourish, Rainbow and Soul salad bowls ($19 each) and a good ol' fashion fish and chips ($23) all available from 12pm. To be fair, it's hard to miss with this food. Super fresh, almost as affordable as a visit to the pool downstairs and served up surprisingly fast. Add a warm, clear day and an incredible view, and it doesn't take much to realise why this is such a popular summer haunt.
It doesn't take long to wander from one end of Tocumwal to the other, but this historic part of the world is overflowing with fascinating history everywhere you look. For a deeper look into Australia's fascinating history of flight — both military and civilian — head to the Tocumwal Historic Aerodrome Museum. What was once home to Australia's largest RAAF base is now a space dedicated to preserving, commemorating and educating visitors of the town's wartime legacy. Make sure to grab a coffee at The 'Drome Cafe while you're there.
It's omurice time. Some dishes are as straightforward as they sound, and this one — aka omelette rice — is among them. It's an omelette made with fried rice, then typically topped with sauce. Clearly it's an easy concept to get around. And Motokichi Yukimura from Kichi Kichi Omurice in Kyoto keeps visiting Down Under to whip it up. Not all iterations of this western-influenced Japanese eggs-plus-rice staple are made equal, which is why Kichi Kichi Omurice's version might be on your travel bucket list. Chef Motokichi Yukimura's viral-famous take on the dish has made him an internet star — the term "Japan's most-famous omurice chef" has been used — and seen his eatery become a tourist destination. Sometimes, however, he brings his omurice to Australia, as he's set to again in March 2025. If you'd like the Kichi Kichi Omurice experience without the airfares, you can make that a reality in Sydney. And if this sounds familiar, that's because Yukimura headed this way twice in 2024. He's again visiting Harajuku Gyoza to show why the dish he's been making for over 45 years is such a smash. The chef is doing 'meet and eat' events, cooking everyone who attends his specialty — and putting on a show, complete with his Kichi Kichi Omurice song and dance. Harbour City residents are headed to Harajuku Gyoza Darling Harbour across Tuesday, March 18–Thursday, March 20. Tickets cost $170 per person, with sittings for both lunch and dinner. That price covers tucking into Yukimura's omurice, as made at your table, plus a range of Harajuku Gyoza signature dishes — and meeting the chef. Alongside removing the need to book a flight to Japan, this is an easier way to enjoy the Kichi Kichi experience for another reason. As of January 2024, the Kyoto eatery is no longer doing bookings in advance. Now, diners are only able to make reservations on the same day they're eating, and need a password that's placed on the restaurant's door each morning to lock in their seating.
A relic of Sydney's old public transport network is being transformed this month as part of a new art exhibition from creative collective Osmosis. Chinatown's former monorail station is set to become the city's latest gallery space as Osmosis takes over for an 11-day exhibition of sound and light. Opening in the 1980s, Sydney's monorail delivered people to the Powerhouse Museum and Sydney Aquarium up until its deinstallation in 2013. While it's since been replaced by the much-maligned Light Rail, the monorail is a source of nostalgia for many Sydneysiders, especially those that link it to their first memories of the Sydney CBD. Osmosis is looking to play on this nostalgia — transforming the unused space through an immersive light and sound display. Within the space, attendees will be met with a looping ambient soundtrack, field recordings, sound samples and melodies taken from recognisable songs from the past two decades. The soundscape, created by composer Mara Schwerdtfeger, is designed to conjure nostalgia and provide comfort following the tumultuous past 12 months. Accompanying the sound will be a dynamic lighting display created by multimedia artist George Webeck. Webeck's light show will move across the building's angled windows and architecture throughout the looping 30-minute experience. Located at Level 5, Number One Dixon Shopping Centre, the exhibition will run from Thursday, May 20 until Sunday, May 23 and then again from Wednesday, May 26 until Sunday, May 30. Most evenings the exhibition will open at 6pm (with the exception of Wednesday, May 26 at 7pm) and entry will be free with no bookings required. Drinks will be on hand courtesy of event sponsors Never Never, Konpira Maru, Yulli's and Fever Tree. If you're looking to take a peak behind the exhibition's curtain, Schwerdtfeger, Webeck and Creative Director Marco Rinaldi will be giving an artist talk, discussing the activation on Wednesday, May 26. The Osmosis Monorail exhibition will run from Thursday, May 20–Sunday, May 30 at Level 5, 1 Dixon Street, Sydney.
When Beauty and the Beast typically graces the screen, it doesn't involve a rose-haired singer decked out in a matching flowing dress while singing heart-melting tunes atop a floating skywhale mounted with speakers. It doesn't dance into the metaverse, either. Anime-meets-Patricia Piccinini-meets-cyberspace in Belle, and previous filmed versions of the famed French fairytale must now wish that they could've been so inventive. Disney's animated and live-action duo, aka the 1991 musical hit that's been a guest of childhood viewing ever since and its 2017 Emma Watson-starring remake, didn't even fantasise about dreaming about being so imaginative — but Japanese writer/director Mamoru Hosoda also eagerly takes their lead. His movie about a long-locked social-media princess with a heart of gold and a hulking creature decried by the masses based on appearances is firmly a film for now, but it's also a tale as old as time and one unafraid to build upon the Mouse House's iterations. At first, there is no Belle. Instead, Hosoda's feature has rural high-schooler Suzu (debutant Kaho Nakamura) call her avatar Bell because that's what her name means in Japanese. That online character lives in a virtual-reality world that uses body-sharing technology to base its figures on the real-life people behind them, but Suzu is shy and accustomed to being ignored by her classmates — other than her only pal Hiroka (Lilas Ikuta of music duo Yoasobi) — so she also uploads a photo of the far-more-popular Ruka (Tina Tamashiro, Hell Girl). The social-media platform's biometrics still seize upon Suzu's own melodic singing voice, however. And so, in a space that opines in its slogan that "you can't start over in reality, but you can start over in U", she croons. Quickly, she amasses an audience among the service's five-billion users, but then one of her performances is interrupted by the brooding Dragon (Takeru Satoh, the Rurouni Kenshin films), and her fans then point digital pitchforks in his direction. Those legions of interested online parties don't simplistically offer unwavering support, though. Among Belle's many observations on digital life, the fact that living lives on the internet is a double-edged sword — wielding both opportunities to connect and excuses to unleash vitriol, the latter in particular when compared to the physical experience — more than earns its attention. That said, all those devotees of Suzu's singing do rechristen her avatar as Belle, and she starts living up to that fairytale moniker by becoming fascinated with the movie's Beast equivalent. He's mysterious to the point that no one in U or IRL has been able to discern who he really is, but the platform's self-appointed pseudo-police force is desperately trying. Suzu is also mortified about the possibility of anyone discovering that she's Belle, although she's drawn to Dragon because she can sense his pain. Hosoda has repeatedly proven an inspired filmmaker visually — one just as creative with his stories and storytelling alike, too — and Belle is no exception on his resume. After the likes of The Girl Who Leapt Through Time, Summer Wars, Wolf Children and Mirai, he's in especially dazzling form in a movie that wields its images in two distinctive modes. In U, Belle is an epic onslaught for the eyes, its animation lively, busy and hyper-real in a way that cannily mirrors the feeling of wading through always-on online realms. This is where that whale swims through the air, concerts are held in what appears to be a hollow planet and Disney-style castles turn gothic. When it's in Suzu's reality, the film opts for naturalistic tones in a look that notices the everyday beauty in the flesh-and-blood world, even amid daily routines in fading small towns filled with average teens and their families. Hosoda revels in the contrast between the two, in fact, because that clash constantly sits at the film's core. A wealth of juxtapositions echo through Belle, so much so that Hosoda may as well paint with them as he does with his mix of hand-drawn animation and pixels. Collisions between the virtual and actual, genuine connection and online ease, perceptions and truth, anonymous freedom and reality's trappings, being anyone and accepting yourself, and happiness and trauma all bounce through the movie — and never, befitting its vibrant visuals, in a black-and-white fashion. Indeed, while the film's top-level insights into the solace we seek online, the faux coat of armour it affords and the horrors it can also unleash don't reveal anything new, Belle is both deeply felt and disarmingly attuned to tiny details. Those two traits apply in its piercing emotions and background minutiae, and also in bigger strokes such as in Suzu's and Dragon's backstories. She suffered a great loss when she was younger, and the grief it still causes shapes everything about her every move in devastatingly astute ways, for instance. Some other pitch-perfect bits and pieces: the chorus of text clouds, incessantly bubbling up on computer and phone screens, that the feature uses for both worshipping and cruel online chatter; the scars Dragon sports, as imitated in IRL tattoos by his aficionados, but also emblematic of the motives driving him; and repeated vistas as Suzu wanders through Kōchi Prefecture, where she lives, and her surroundings don't physically change but her feeling within them shifts depending on what else is colouring her life. That's the level of intricacy that Hosoda is working with as he also spins a coming-of-age tale complete with teen angst and schoolyard gossip — the offline parallel to digital witch-hunts — over Suzu's long-running friendship with now-class hunk Shinobu (Ryô Narita, Remain in Twilight), and doesn't stop using Belle's bangers to convey a world of emotion. Studio Chizu, which Hosoda co-founded with producer Yuichiro Saito in 2011, isn't yet a household name as fellow Japanese animation house Studio Ghibli is — but as it keeps growing with each of the director's releases, it really should be. Belle deserves to be the new go-to Beauty and the Beast adaptation, too, although three decades of Disney domination means that it'll likely never supplant the Mouse House's versions. Hosoda might find that apt, however, because Belle sings loudest about being brave enough to know and embrace who you truly are in an existence where it's now ridiculously easy to pretend you're someone or something else. And while it mightn't seem like it'd need courage to create this lush, grand, generous and captivating film — and gorgeous as well — but bold, insightful and transfixing takes on stories as old as rhyme just don't come around that often. Top image: Studio Chizu.
Sydney has the Sydney Gay and Lesbian Mardi Gras Parade, which takes over Oxford Street for a night of celebration. Melbourne has the Midsumma Pride March, its equivalent in Fitzroy Street, St Kilda. From November 2024, Brisbane will share the show of pride, but in a way befitting the River City: with the first-ever River Pride Parade as part of the new Melt Open festival. Boats will float from William Jolly Bridge to Brisbane Powerhouse, all embracing everything that a pride parade should be — just on the water. The River Pride Parade will take place on Saturday, November 9 in the afternoon, with Courtney Act leading the charge as Melt Open's just-announced inaugural ambassador. "A pride parade on the Brisbane River — what a brilliant twist on a cherished favourite! Just imagine the magic as we all come together to celebrate on the water, surrounded by the beauty of the city," said the Brisbane-bred Act. "As I lead the river parade, you can bet there'll be plenty of SPF beneath my makeup! This is truly a unique and fabulous way to honour pride and the stunning Brisbane River." "Prepare for a dazzling spectacle with the River Pride Parade fronted by the fabulous Courtney Act. Picture dykes on jetskis, drag-clad waterskiers, iconic queer boat parties and that's just the beginning. We welcome watercraft of all shapes and sizes to join the river parade and encourage everyone to get their spots along the river to view the carnival," added Pieta Farrell, Executive Producer of Melt Open. Registrations are open now for the River Pride Parade, which will help close out Melt Open's first year, with the entire fest running from Wednesday, October 23–Sunday, November 10. Don't have a boat? Organisers advise that watercraft of all shapes and sizes can take part. Melt Open was announced in 2023 as a fringe-style event to celebrate LGBTQIA+ art and performance everywhere from Fortitude Valley to Woolloongabba, showcasing queer work, talents, legends and allies. Brisbanites should already know that Brisbane Powerhouse has hosted Melt Festival for eight years and counting, with that event considered a predecessor to this newcomer. As its name makes plain, Melt Open is broadening its scope by building upon Melt's success — spreading beyond the Powerhouse, featuring more artists and venues, and operating as an open access-style shindig. The River Pride Parade is the second major program announcement for the debut Melt Open, and the second that'll make spectacular use of the fest's Brisbane location. The other: New York-based artist Spencer Tunick returning to Brisbane after 2023's Melt Festival stint, this time to close the Story Bridge to fill it with nudes for a new photography work. If you're eager to get your kit off in the name of art, celebrating the LGBTQIA+ community and diversity, registrations are still open for the installation, which will take place on Sunday, October 27 — and there's no limit on the number of participants. Melt Open 2024 will run from Wednesday, October 23–Sunday, November 10, with the River Pride Parade taking place on Saturday, November 9. Head to the Brisbane Powerhouse website for additional information, and to register for the parade. Images: Jack Martin.
Clocking in at two hours and 40 minutes, Quentin Tarantino's Once Upon a Time in Hollywood isn't a short movie. Like the bulk of the acclaimed writer/director's films, however, it's one that viewers would be be happy to spend even longer with. Since the hit flick premiered at the Cannes Film Festival last year, Tarantino has even talked about returning to its world, revealing that he has written the scripts for five episodes of the Rick Dalton (Leonardo DiCaprio)-starring fictional TV western Bounty Law — and that he plans to make and direct them all. It might take some time for that to come to fruition, though, so a new, free documentary that peeks behind the scenes of Once Upon a Time in Hollywood will just have to do in the meantime. Called Once Upon a Time in Hollywood — A Love Letter to Making Movies, the half-hour doco lives up to its title. Not only does it step through the making of Tarantino's feature, but it explores how the filmmaker's obsessive love of cinema informed everything about the movie. QT's fondness for the medium he works in isn't new news. Neither is his tendency to fill his films with references to his inspiration, or his dedicated attention to detail. But if you want to hear more about how that all plays out on this specific 19169-set flick — a movie that's, among other things, a love letter to Hollywood's heyday just as it was fading — then here's your chance. Currently available to watch on Youtube, Once Upon a Time in Hollywood — A Love Letter to Making Movies features plenty of the movie's heavy-hitters, so expect to-camera chats from Tarantino — obviously — as well as DiCaprio, Brad Pitt, Margot Robbie, Kurt Russell, Timothy Olyphant and the late Luke Perry. With the film industry's annual awards season currently in full swing, and with Once Upon a Time in Hollywood not only vying for ten Oscars, but hotly tipped to nab the coveted Best Picture prize —if Parasite or 1917 doesn't beat it, that is — the documentary's release is obviously extremely well-timed. Check out Once Upon a Time in Hollywood — A Love Letter to Making Movies below: https://www.youtube.com/watch?v=8AxkaueDxYM Top image: © 2018 CTMG, Inc. All Rights Reserved.
Here's what stuck with our critics. Top Five Movies - Rima Sabina Aouf, Editor-in-Chief Silver Linings Playbook Forget American Hustle; this January release was David O'Russell's big 2013 success. Not only is it funny and moving, it's a sensitive, generous portrayal of mental illness that means a lot to many people. The Act of Killing Your jaw just drops further and further with every minute of this documentary about the 1965-66 Indonesian genocide and the ongoing exaltation of its perpetrators. Upstream Color There is no filmmaker quite like Shane Carruth, and there is no forgetting the experience of watching Upstream Color, wondering what the fuck is happening and then letting go and running with it. The Hunger Games: Catching Fire It kicks so much arse. Short Term 12 The best Boxing Day release you've probably never heard of, Short Term 12 will make you feel all the feelings. Top Five Movies - Tom Glasson, Writer We Steal Secrets: The Story of Wikileaks A surprisingly sensitive inquiry into Wikileaks and the two men responsible for its overnight infamy. Complex and impressively even-handed, it's also far more compelling than last month's The Fifth Estate. Zero Dark Thirty People often forget (or simply don't realise) that Kathryn Bigelow directed Point Break. Fact is, she's arguably the best director of action right now, and Zero Dark Thirty was a sublime example, combining heart-pumping combat with deeply personal drama. Red Obsession Rightly described as a 'wine thriller', this documentary offered an enthralling, passionate and consistently amusing perspective on the extraordinary price boom of 2011, followed by its equally dramatic crash and China's growing obsession for the iconic Bordeaux reds. Moonrise Kingdom Perhaps the darkest of the Wes Anderson oeuvre, Moonrise Kingdom is also somehow his most romantic. Quirky, whimsical and wickedly funny, it's a delightful tale of young, forbidden love. The Gatekeepers Like the Shin Bet agents it scrutinised, this gripping documentary grabbed you by the throat from the opening scene and never let go. A remarkable and candid examination of one of the world's most secretive organisations. Top Five Movies - Lauren Carroll Harris, Writer Mystery Road Both bleakly beautiful and staunchly optimistic, and with an Indigenous cultural perspective that's rarely represented in the mainstream, I'm convinced that we'll look back on it as something important in Australian cinema. The Great Gatsby Luhrmann’s 21st-century bastard iteration of the sham-American-dream classic made me cry like a small child. I don't care how uncool it is to admit — this was the first version that made me feel the true tragedy of Gatsby (a perfect, shiny-eyed Leo DiCaprio) and Daisy's predicament. Behind the Candelabra Steven Soderbergh went beyond the cliches of both a 'gay film' and a biopic to deliver touching, if typically unsentimental, twin portraits: one, a dysfunctional, tragic relationship, and the other, a destructive American addiction to consumerism and celebrity. The Act of Killing A film that changed the documentary genre and terrified and transfixed audiences more than any fiction could. If it helps the victims of Indonesian war crimes achieve justice, it may even be one of the most effective documentaries. Top of the Lake Challenging, gorgeously shot, with difficult characters and deft observations of crimes against women and the relationship between childhood and adulthood — it had everything I expect from great film. It counts. *Tom and Rima would like to go on record with the actual no.1 film they've seen this year, Spike Jonze's Her. Unfortunately, it's not out till January 16. Look for it then, and on our 2014 lists.
The plastic rings that hold six packs together are both genius and hazardous. On the one hand, they're really bloody handy when you're carting six tinnies to a barbecue — have you ever tried to hold six loose cans of beer? — but on the other, they have a devastating impact on marine wildlife when they become waste. To combat the effects these pesky pieces of plastic have on the environment, a Florida brewery has developed a type of biodegradable six-pack ring that can actually be eaten by the animals they usually pose a risk to. After seeing the effect plastic has on marine animals like birds and turtles, Saltwater Brewery — a small brewery in Delray Beach, Florida — teamed up with New York advertising agency We Believers to redesign their packaging to make it more environmentally friendly. What they came up with was a biodegradable version of the plastic rings made of the wheat and barley that's left over after brewing. They claim that it's the first 100 per cent biodegradable, compostable and edible packaging in the beer industry. The first batch of rings were made using a 3D printer, and the brewery aims to produce 400,000 per month to cover their current production. It's a great move that we hope bigger breweries take on. Now to tackle aluminium cans... Via Creativity.
Stay tuned. More info on its way. Images: Nikki To
It's hard to get a true snapshot of a place you're holidaying in when you don't know a resident who can show you around. It can take years to truly get to know a place, and while tourist spots are the obvious starting point, they can also leave you wanting to dig deeper. We've teamed up with Pullman Hotels and Resorts to bring you a guide to Brisbane's less obvious but obviously fabulous experiences. It's not exactly a local's guide, because visitors are not exactly locals and we all want to treat ourselves while on vacay. But it is a round-up of the best of the best art, food and fun found in Brisbane — and given the city offers an abundance of each, it was not easy to whittle it down. Putting our heads together with Mark Wayper, marketing and loyalty executive at Pullman Brisbane King George Square, we've curated a list of must-dos that will leave you wanting more of Brisbane. A former musician and Disney Cruise Line staffer who regularly volunteers for arts festivals, Mark's stayed in the service industry for the pure love of bantz with guests. Let our joint recommendations guide you to the perfect day out in Brisbane, and check out the rest of our Explore More content series to hone your itinerary for some of Australia's best holiday destinations. FOOD & DRINK DOO BOP JAZZ BAR His excellency Sir Howard Moon once said "Never disturb a man when he's in a jazz trance". At Doo Bop Jazz Bar, you'll be surrounded by like-minded soul brothers and sisters soaking in the live sounds of both local and interstate talent (no trance interruptions allowed!). The two-level live music venue in the heart of Brisbane's CBD features a jazz bar, piano bar and late-night jam sessions for those itching to get on stage. Need some liquid courage? No problem! Their extensive and sophisticated wine list will have you scatting up a storm in no time. Don't miss: The late-night jam sessions, at least from the spectator's side. CREOLE SOUL KITCHEN Brisbane is full of surprises. What visitor would guess, for instance, that it's home to some of the most delicious gumbo? Southern hospitality is well and truly alive and thriving in Creole Soul Kitchen. This cosy Spring Hill eatery is well worth the visit for its charming service alone. If seafood isn't your thing, then it also offers a "create your own" pasta menu, paying homage to New Orleans' Italian influence. Don't miss: The gumbo. SANTA MONICA PIZZA AND BURGER BAR Across the road from Central Station, Santa Monica Pizza and Burger Bar is right on one of the busiest crossings in the CBD. Few places manage to channel the character of Brissie itself, but — laidback, casual and ever so stylish — this place manages to do just that. Grab yourself a booth, kick back with a burger and a craft beer, and enjoy the ample people-watching opportunities. Don't miss: The Cajun chicken burger THE GRESHAM If you feel the need to mix a bit history and architecture with some of the highest-quality rum (let's face it, who doesn't?) then visiting The Gresham is a must. Initially designed for the Queensland National Bank in 1881, The Gresham building is now the only heritage bar in Queensland. Think sandstone walls, dim lighting, a vintage piano and an open fireplace. Don't miss: Their signature Sunnyboy cocktail is a nod to the nostalgic childhood treat, with passionfruit, coconut, butter and vodka — an obvious adulthood essential. CONTEMPORARY ART & DESIGN [caption id="attachment_643158" align="aligncenter" width="1920"] by Mick Richards[/caption] METRO ARTS The search for contemporary art in Brisbane shouldn't necessarily default to visiting the popular QAGOMA. It's understandable to want to escape the crowds and look for something a little more intimate (without making the trek out to the suburban galleries). Metro Arts ticks all the boxes. A buzzing CBD hub of all things contemporary art, Metro Arts is a community-based venue with no shortage of exhibitions, performances, poetry readings, workshops and independent film screenings. Its exhibition program showcases a new artist every nine days. Don't miss: Check out the gallery on level two for works by artists ranging from graduates to established professionals in an array of mediums. PIGEONHOLE It may sound like the perfect hiding spot for the CBD's most populous bird, but in fact, Pigeonhole is the perfect place to find a souvenir for the person that has everything. Just like the bird itself — friendly, a little bit quirky and a little adorable — here you'll find personality-driven clothing, novelty gifts, statement pieces and local designer homewares. You won't have to travel too far either, as Pigeonhole is tucked away in the centrally located Wintergarden Shopping Centre. Don't miss: Keep an eye out for hard-to-find brands like Concept Japan as well as Aussie favourite Able and Game. ARTISAN A centre for craft and design, Artisan is a space much like the makers that frequent it — unconventional and completely charming. The store shelves are full of ceramics, jewellery and textiles to purchase, while interactive exhibitions reflect the diversity of Brisbane's contemporary arts community. Don't miss: Their workshops, which range from spoon carving to textile design and life drawing. LEISURE & WELLBEING [caption id="attachment_643146" align="aligncenter" width="1920"] by Tatiana Gerus[/caption] MT COOT-THA They say it's lonely at the top, and boy, they couldn't be more wrong. Standing at the lookout of Mount Coot-tha will have you surrounded by an epic 360-view of the always gorgeous Brisbane city, as well as fellow hikers and foodies. Choose between the 30-minute Summit Walking Track if you're a beginner, or the 1.5-hour Eugenia Circuit trail, which takes in the eucalypt woodlands across to the Simpson Falls viewing deck. Don't miss: Reward yourself with a post-hike lunch at the Summit Restaurant. The pressed pork belly with braised cabbage and jamon is a winner. The best part about ordering multiple desserts? You'll burn it all off on the way back down. JAMES STREET Quite possibly the most glamorous street in Brisbane, James Street has evolved into the city's ultimate fashion and lifestyle mecca – with not a shopping centre in sight. The beautiful, tree-lined precinct is filled with al fresco dining options, a cinema and more than 130 specialty stores stocking sought-after labels. Drop into Calexico for key pieces from Rag & Bone, Camargue for eclectic threads from Dries Van Noten, and Optiko for a pair of killer shades to get you through Brissie's enviable sunshine. Don't miss: Look out for James Street Up Late events throughout the year to snap up bargains while taking in cocktails, street food and live music. SAKURA DAY SPA NEW FARM PSA: Explorer exhaustion is a real thing. All that walking, shopping, eating and drinking your way around the city is bound to take a toll. Kick up those tired feet and pop into Sakura Day Spa, just minutes from the city yet far enough to feel like you've just entered your very own Japanese sanctuary. A massage or facial here will have you finish your holiday feelings actually rested for a change. Don't miss: Sakura's signature body treatment — 120 minutes of dessert-inspired bliss that includes a vanilla salt scrub and chocolate body wrap, followed by a refreshing Vichy shower. Explore more with Pullman. Book your next hotel stay with Pullman and enjoy a great breakfast for just $1.
In the ballad of the Barden Bellas, it's time for another verse. That gang of college pals is back — aspiring record producer Becca (Anna Kendrick), group stalwart Chloe (Brittany Snow) and outspoken Australian Fat Amy (Rebel Wilson) included — and they're trying to sing their way to supremacy once more. Is their second outing a toe-tapping rehash of their catchy debut tune, or does it drag on past the natural fade-out point? The answer is both. Pitch Perfect 2 alternates between the cinematic equivalent of the catchy melody you don't mind having stuck in your head, and the earworm you quickly grow tired of. Just three short years ago, an a cappella comedy was considered a gamble, but now we don't just have a repeat effort — we have a ready-made formula to follow as well. With mashups of songs old and new, rivalries getting heated, against-the-odds challenges to overcome, and one-liners a plenty, there's not much that's different, save for a new character setting up for a potential third instalment. That'd be freshman Emily (Hailee Steinfeld), a wannabe Bella since birth thanks to her ex-member mother. Fresh blood aside, everyone is older this time around, given that three years have passed in the film as well. They're also clouded in scandal, after an important show exposes too much of Fat Amy, leaving the Bellas banned from performing as punishment. Chloe finds a loophole that will see them on stage again, but only if they can beat their stereotypically tough-talking German counterparts at the world championships. Becca's focus is elsewhere, though, as she's thinking of life beyond study and competitive singing. It was the jukebox-like playlist of tracks and the loveable cast playing quirky characters that helped Pitch Perfect hit the high notes the first time around, so here, it isn't surprising to see a whole lot of doubling down on both. Expect an eclectic compilation of Beyoncé, Taylor Swift and Miley Cyrus tunes, as well as '90s hiphop jamz and songs about butts. Expect Kendrick and the group cycling through sing-offs, fall outs, bonding sessions and realisations about what's really important — and copious amounts of harmonising. What you shouldn't expect is anything beyond a more is more approach — more music, actors, complications and reminders that it's all about a singing sisterhood, that is. If it sounds routine, that's because returning screenwriter Kay Cannon, once again taking inspiration from the book Pitch Perfect: The Quest for Collegiate A Cappella Glory, doesn't stretch anything very far. Pushing boundaries is left to Wilson, who steals the show all over again. In a lineup that includes Arrested Development's David Cross, Key and Peele's Keegan Michael-Key, Snoop Lion and the Green Bay Packers (yep, the American footballers), it helps that she's the only one who doesn't seem like she's just going through the motions. Of course, it's always difficult for a sequel to a breakout hit to pave its own way, a problem Pitch Perfect 2 clearly struggles with. Sitting in the director's chair as well as popping up again as sarcastic commentator Gail, Elizabeth Banks bubbles over with enthusiasm, but not with flair. She's pitch-slapping audiences and staying in key; however, her film isn't a fun new must-listen track — it's more like movie karaoke. The verdict (sing it with me): aca-average.
It's said there's no such thing as a free lunch, but Shannon Martinez (Smith & Daughters, Smith & Deli) and Deliveroo are today proving the phrase wrong — in more ways than one. The legendary vegan chef and the food delivery group are teaming up to hand out hundreds of complimentary hot dogs that are both free from animal products and won't cost you a cent. Today's giveaway — going down in both Sydney and Melbourne — are happening in celebration of Martinez's new collaboration with local group The Alternative Meat Co. Together, they've designed not just any old snag-in-bun affair, but, rather, a plant-based creation dubbed the Lasagne Dog. The limited-edition dog features a plant-based sausage in a vegan bun, finished with lashings of garlic butter, a rich plant-based bolognese and vegan cheese sauce by the Alternative Dairy Co. Clocking in at $12, this beaut will be available through Deliveroo from Thursday, October 31, until Sunday, November 3. You'll find it on the app if you're located within 2.5 kilometres of Windsor in Melbourne, or 2.5 kilometres of Potts Point in Sydney. But both cities are in for a free sneak peek today, Wednesday, October 30, with the Deliveroo crew handing out a swag of Lasagne Dogs between 12–2pm at the below locations. Find free Lasagne Dogs at Melbourne's Balaclava (12–1pm) and South Yarra (1–2pm) stations or from Kings Cross Station (12–1pm) or Taylor Square (1–2pm) in Sydney.
