Ahh, globalisation — the force that means Sydney now enjoys the same cheap thrills as all the rest of the world. While you can get Prada knockoffs, dodgy thermals and T-shirts from Zara, Topshop, Uniqlo and Gap; good ramen at Ippudo; and decent teishoku at Yayoi, it's Taiwanese import Hot Star Large Fried Chicken that delivers the most fun for the least buck. A small takeaway-only shopfront on the dingy, cold end of Liverpool Street, Hot Star does very little to live up to its name. The colour scheme is contact-lens-brand blue and the staff wear surgical masks that make you think they are fighting bird flu, not frying chicken. The simple menu is laid out confusingly. There are two flavours (original and spicy, $7.90), two kinds of fries (curly and sweet potato, $3.90), as well as mushrooms (??, $4.90) and chicken 'bites' ($5.90) that completely defeat the purpose of 'large fried chicken'. Having ordered, we are given plastic bags to hold. The purpose of this is revealed as bagging a piece of fried chicken the size of Western Australia is like getting a sleeping bag into a condom — between you and the store attendant it's a two man job. But it is worth it. The spicy chicken is a brilliant, powdery Mars red, while the pale expanse of the original chicken resembles a vast, pocked lunar landscape (but with a much higher water content). The breast meat is remarkably juicy, and while the seasoning on the original chicken puts the Colonel's secret recipe to shame, the moderate heat of the spicy chicken does become a challenge after the first 200 square centimetres. In the end, we realise that the only advantage the Colonel has are the wet wipes that accompany his meals. Unfortunately, the 'curly fries' come as a bag of greasy, smashed-up spirals. On the other hand, the excellent sweet potato fries have a sugary seasoning (insidious? ingenious? I'm not sure), and serve as the dessert that, perversely, such a large, salty meal always calls for to balance the palate and delay the inevitable food coma. Better value for money than those Zara skinnies in your cupboard with the broken fly zipper, Hot Star is the best of Sydney's international chain store imports. Or did that fly zipper only break after your face-sized fried chicken? You'll find Hot Star Large Fried Chicken in our list of the best fried chicken in Sydney. Check out the full list here. Appears in: The Best Fried Chicken in Sydney for 2023
When Winnie-the-Pooh moseyed into a slasher movie in Winnie-the-Pooh: Blood and Honey, the film endeavoured to prove that there's room in the pop-culture honeypot for multiple takes on AA Milne's beloved bear. More horror flicks are coming, because of course they are. But, embracing the usually cuddly figure's sweet and innocent side, so is a supremely nostalgic, family-friendly stage musical from Disney. Winnie the Pooh: The New Stage Adaptation debuted back in 2021 Off-Broadway, then took the Hundred Acre Wood and its famous felt residents to Chicago, back to New York, on a tour of the US and to London. The next stop on the Mouse House-created show's itinerary: Australia, including the Sydney Opera House's Playhouse from Wednesday, July 19–Sunday, July 23. Hailing from American Australian producer, writer and director Jonathan Rockefeller, Winnie the Pooh: The New Stage Adaptation brings Pooh, Piglet, Eeyore, Kanga, Roo, Rabbit, Owl and Tigger to life with puppets — life-sized versions, which look as cuddly and fuzzy as anthropomorphic stuffed toys should. Also joining them is Christopher Robin, in a production that brings together a heap of songs from past Winnie-the-Pooh movies. Again, this is a firmly all-ages affair, so expect plenty of young Winnie-the-Pooh devotees in attendance.
Come June, you'll be able to enter the gateway to the Upside Down — if you dare. Keep an eye out for demogorgons, mind flayers and, maybe even, Hopper as you head into Sydney's latest pop-up bar. If you haven't guessed, the new themed watering hole is inspired by Stranger Things, so expect plenty of 80s pop culture references, too, when the Upside Down Bar takes over a secret location on Sunday, June 7. You'll see upturned tables, Eggos on the roof and a room inspired by Joyce Byers' house (complete with an illuminated alphabet on the wall) as you sit down for Stranger Things-themed cocktails. Sip on the likes of the Eleven's Eggos and Demorgorgon slushies, a caramelised pineapple Mouthbreather number and the Snack Pack, made with mezcal and passion fruit. While the bar's location is firmly under wraps for now, we do know that the bar will also have DJs, arcade games and even a "dark and dangerous mission" that you'll have the possibility to complete. The pop-up bar's opening is happening ahead of the much-anticipated fourth season of Stranger Things, which does not yet have a trailer or release date. But, we'll let you know as soon as it does. You can pre-register for tickets to the Upside Down Bar over here.
Oh, 2023. You've been an interesting one. With the cost of living through the roof hitting during a time when we were desperate to head out and enjoy our post-lockdown lives, it's been a real rollercoaster. If you want to send off this year in style, you're in luck. There are plenty of places celebrating New Year's Eve in Sydney with events big and small. After all, Sydney loves NYE. Whether you're eager to see the back of 2023 with a few champagnes in hand, or looking to start 2024 on a boogie-filled high with DJ sets and a good ol' d-floor session, a slew of Harbour City bars, pubs and restaurants are happy to help. We've compiled a list of the best Sydney spots to ring in the New Year with style — no matter your budget. While lots of events have officially sold out, there are still plenty of memorable parties that you can score tickets to at the last minute. And, if you've still got some fight in you, there are some cheeky New Year's Day kick-ons included. [caption id="attachment_798924" align="alignnone" width="1920"] Image: Cassandra Hannagan[/caption] FREE Cafe Freda's: The Oxford Street iteration of this Sydney institution opened on New Year's Eve 2019/20, so the day holds a special place in the Freda's team's heart. As such, the corner wine bar is one to throw an end-of-year celebration, and this year is no different with its free NYE/third birthday party. Going down from 5pm–2am, there will be DJ sets from a host of Freda's regulars. Entry is free, and it's walk-in only. Barangaroo House: DJ sets, cocktails, water views and tasty eats will be available across all three levels of Barangaroo House this New Year's Eve. House Bar, Smoke Bar and Rekodo will all be hosting parties, with each space celebrating a different era, including the 70s, 90s and noughties. Free entry to all three levels means you can move between spaces throughout the night. If you want to secure a spot, you can make a booking — plus, you can also pre-purchase a bottle of champagne for the midnight countdown. Parramatta Park: A family-friendly New Year's Eve celebration is popping up in Western Sydney's Parramatta Park. There will be food trucks, a 9pm fireworks display and a pop-up bar. You'll also be able to send off the year to hits like 'UFO' and 'Pictures' thanks to a headline set from Sneaky Sound System. The Bank: Put on your dancing shoes and get ready for a huge night of celebratory tunes at The Bank courtesy of a b2b set from Dom Alessio and Adam Lewis. The best part? Entry is free all night, and the party won't stop until 4am. Marly Bar: The Marly is going neon across all three levels this New Year's Eve. The beloved Newtown pub will be throwing a free UV NYE Party from 8pm–4am with DJs filling the dance floor on all three levels of the venue, including its underground rave cave Tokyo Sing Song. The Newport: Up north, you can spend NYE waterside with the Barney Cools DJs and two fireworks displays at The Newport. The venue's also offering $7 schooners of beer and $10 schooners of boozy pub squash. Get down early, entry is free all afternoon, with a $25 cover charge kicking in at 6pm. UNDER $50 The Abercrombie: After eight years in the wilderness, The Abercrombie reopened with its 24-hour license intact this time last year. One year on, it's throwing a huge first birthday party on Saturday, December 23, and backing it up with a New Year's Eve celebration on December 31. Catch Human Movement, Troy Beman, DJ Macaroni, Flexy Ferg and Raquel, among a huge lineup of DJs running over multiple levels of the club. Tickets are $34–42, which includes up to ten hours of partying, with the tunes continuing way past the countdown, all the way until 7am. The Lansdowne: The beloved City Road pub and live music venue is closing out the year with a party catered towards anyone who attended the recent Paramore tour or regularly attends Good Things. The Lansdowne's cleverly named NYEMO Heaven & Hell Emo Night will kick off from 8pm on December 31 with emo DJ sets, themed drinks and a prize for best dressed. Tickets are $30. Harbord Hotel: Local favourites Set Mo will be ringing in the new year at the Harbord Hotel to close out 2023. The party kicks off at the Northern Beaches favourite at 5pm, with sets continuing until 2am. Tickets are $35. Club 77: Sevs will be running its Sundays at 77 program for NYE with Berlin-based DJ Claire leading the lineup. You'll be able to spend your New Year's Eve in the heart of Sydney partying from 10pm–4am at the beloved underground rave cave. Tickets are just $10 if pre-purchased or $25 on the door. Crowbar: Sydney stalwart Crowbar is bringing two of the hottest rock bands out right now to Parramatta Road with duel headline sets by Dear Seattle and Teenage Joans. The Toothpicks and Great Job! will be in support, rounding out a New Year's Eve lineup primed for local pop-punk and indie-rock lovers. Tickets are $46. UNDER $200 Dear Sainte Eloise: Dear Sainte Éloise is hosting a special New Year's Eve party so you can bid adieu to 2023 in style. The Potts Point diner will be open from midday, serving a seafood-heavy menu and hard-to-find wines. The set menu, designed by DSE's new Head Chef Elias Selloum, kicks off with small bites like kangaroo tartare and oysters, before moving on to French Provençal-style bouillabaisse, stuffed with seafood galore. You'll also be sampling drops throughout your meal from DSE's well-curated wine cellar. Tickets are $130. Manning Bar: The party crew behind Cockatoo Islands' beloved MODE Festival will be taking over Manning Bar with an eight-hour openair rave. International DJs CCL, Maara and Objekt will be joined by local legends Moktar and Mazzacles for the Camperdown dance party. Tickets are available through Resident Advisory for $81. Ivy: Merivale's multi-storey mega club is hosting two NYE parties. Carl Cox is headlining Defected Sydney in the main space, while LF System will be bringing their global smash 'Afraid to Feel' to the Ivy Pool Bar for an NYE Pool Party. Tickets to Cox alongside Danny Howard and Riva Starr will set you back $153, while passes to the poolside shindig are on offer for $67. Lady Banks Rooftop: Bankstown's sky-high bar will be hosting dinner at 6.30pm featuring honey truffle focaccia, roasted chicken, cauliflower, salads, gelato and canapes. Before DJ sets kick off from 8pm, continuing the party until the early hours of the morning. If you're looking for a spot in Western Sydney with panoramic views stretching from the Blue Mountains to the CBD, this one's for you. You can secure a spot for $179. Odd Culture: The beloved King Street wine bar is hosting a moody candle-lit celebration in its mezzanine level. There will be a banquet dinner and a one-night-only menu of rare and vintage cuvees. A seat will set you back $150, which includes all of your food and a drink on arrival. The Old Fitz: Wooloomooloo mainstay The Old Fitz is hosting a jazzy end-of-year party with Coucou Zazous providing the soundtrack. For $120 you'll be treated to champagne on arrival; a set menu featuring oysters, raw tuna, wagyu bavette steak and chocolate mousse; and live music. BLOWOUT Dean & Nancy on 22: Maybe Group's sky-high hotel bar Dean & Nancy on 22 is hosting a New Year's Eve party tucked into the Sydney skyline. There are a few packages ranging from $200 per person to $2100 for a booth of six to seven. Each booking includes a signature cocktail on arrival, champagne at midnight and a curated menu featuring jamon iberico, kingfish ceviche, scallop ravioli and octopus. FBi Radio's Jack Shit and Liz Ham will be providing the entertainment for the night on the DJ decks. Make a booking at the Dean and Nancy website. Hickson House: The building housing The Rocks' Hickson House is no stranger to a celebration, with the working distillery and destination cocktail bar set in the former Saatchi & Saatchi garage – the location of many infamous warehouse parties. For $320, tickets to this extravagant Sydney New Year's Eve party include an array of canapes, DJs providing the music and a premium three-hour beverage package featuring the venue's own gin, as well as wine, craft beer and house spirits. Best of all, you'll also get access to The Rocks precinct with views of the Harbour Bridge fireworks from Hickson Road. Whalebridge: Waterfront French diner Whalebridge is making the most of its vantage point right by the Sydney Harbour Bridge with a huge NYE dinner. Guests will be treated to a shared four-course menu, champagne on arrival and a deluxe wine package. Steamed Murray cod, aged wagyu rib-eye, caviar and creme fraiche tars, lobster rock oysters and raspberry vacherin will all make appearances at the feast. Tickets to the harbourside celebration range between $600–1000, depending on where you're seated. View Sydney: When people think of prime viewing locations for the fireworks, their minds often go straight to the CBD, but there are plenty of panoramic views to be enjoyed on the other side of the bridge. View Sydney is making the most of its vantage point and throwing an end-of-year soiree. The no-hold-bar cocktail event features four food stations — seafood, Texas barbecue, Asian eats and dessert — plus a full beverage package including Manly Spirits cocktails, Australian wines and beers. This view-heavy party will set you back a pretty penny. Get set to drop $636 on your ticket if you want to secure your spot. Bennelong: Wondering what the most expensive New Year's Eve experience is in Sydney? From what we can tell, it's Bennelong, Peter Gilmore's iconic diner below the Sydney Opera House where a booking will set you back between $1600–2220. If you have that kind of money to splash on a single night, you'll enjoy a four-course menu from the Bennelong kitchen, a premium drinks package, a glass of champagne on arrival and at midnight, and live entertainment. W Sydney: Much-hyped wave-shaped hotel W Sydney is now open, and it's sending off 2023 in style at its rooftop bar. There are a few packages you can purchase here. $550 tickets will get you into Level 29 and include a four-hour beverage package, canapes, a live hibachi grill and oysters. If you want to celebrate one floor higher, entry to Level 30 will set you back $899, with an oyster and caviar bar and after-midnight snacks provided alongside free-flowing champagne. Browse all of the packages to determine how you want to spend NYE. NEW YEAR'S DAY Field Day: New Year's Day tradition Field Day is back with another genre-bending dance-ready lineup for the first day of 2024. RÜFÜS DU SOL, Central Cee, G Flip, Genesis Owusu, Sub Focus, Ross From Friends, Claptone and Destroy Lonely are all on the lineup alongside fast-rising local DJs like Logic1000 and Dameeeela, plus The xx's Romy bringing her Fred again..-backed dance project to Sydney. You can still nab tickets for $217. Club 77: After partying until 4am on New Year's Eve, Seventy Seven is backing it all up the next day with another late night. On January 1 the William Street club will be hosting Dave Stuart, Trinity and Magda Bytnerowicz, with music pumping until 4.30am. Tickets are $10 if pre-booked or $25 on the door. Greenwood Hotel: Noth Sydney fave Greenwood is welcoming in 2024 with four stages of dance music, including a headline set from none other than Basement Jaxx. NYD 2024 Day One: Reverence will see more than 30 electronic tastemakers behind the decks from 1–11pm. Tickets are $104. Manly Pavilion: If you want to start the year dancing by the water, head up to the Northern Beaches for a DJ set from Winston Surfshirt. Alongside the local funk and pop kings, there will be DJ sets all afternoon long, and your $60 ticket includes a complimentary drink on arrival. Woollahra Hotel: Anyone with a sore head on New Year's Day can head to the Woollahra Hotel for the pub's Monday meal deal. You'll be treated to $15 mixed-dozen dumplings, the perfect recovery brunch from a big night of celebrating.
There are many key components to a great Christmas movie and music is often one of them, no matter how you feel about the usual carols. Who hasn't had the Home Alone music stuck in their head since the 90s? No one who's ever watched it. Who doesn't know all the words to Love Actually's 'Christmas Is All Around'? Again, the same category applies. It's that fact that helped make Love Actually in Concert screenings a) a thing and b) a huge hit, but that isn't the only festive favourite that you can see on the big screen with a live score this December. In Sydney, at 4pm on Saturday, December 10 at the Darling Harbour Theatre at ICC Sydney, a three-decade-old gem is getting the same treatment: The Muppet Christmas Carol. It's time to play the music, light the lights and see Charles Dickens' classic play out in felt — and with Michael Caine as Ebenezer Scrooge — accompanied by a live score. This is the first time that the film will play in Australia this way, after debuting in the UK last year. Sure, you might've watched it a thousand times when you were a kid, but you obviously haven't seen it like this before. The movie follows Dickens's tale, with the miserly Ebenezer Scrooge given a change of perspective by the ghosts of Christmas Past, Christmas Present and Christmas Yet to Come. Here, however, Jim Henson's beloved creations join in, with Kermit the Frog playing clerk Bob Cratchit, Miss Piggy as Emily Cratchit, Gonzo narrating the story as Dickens (with help from Rizzo the Rat), Fozzie Bear as Fozziwig and Robin the Frog as Tiny Tim. Other Muppets show up, because of course they do. The live orchestra will perform the feature's original score as composed by Miles Goodman (Little Shop of Horrors), with songs by Oscar-winning songwriter Paul Williams ('Rainbow Connection').
This article is sponsored by our partners, Jameson Irish Whiskey. What's better than music, art, food and drinks? Music, art, food and drinks for a discount. So we’re pleased to announce that, together with Jameson, we’re offering you $10 off your ticket to St Patrick’s Live. It’s an international festival, organised by Jameson and held in cities all around the planet, but it’s coming to Sydney for the very first time this year — specifically, to Ivy on Sunday, March 16. Taking the form of an epic, all-afternoon party, it’ll feature four live music acts delivering everything from Aussie hip hop to ultra-energised versions of chart-topping hits; market stalls offering the work of independent artisans; and plenty of Irish whiskey. It’s St Patrick’s Day as you’ve never seen it before — in Australia, anyway. Jameson is feeling generous and is offering a limited number of free tickets to St Patrick's Live. To claim your tickets, just head to Moshtix. Left it too long and missed out on your freebie? You can get your ticket for only $40 when you use the discount code JAMESONCP. *Entry includes a complimentary drink before 5pm. Please enjoy Jameson responsibly.
Rough and tumble Sydney label R.I.P. Society have been hand delivering you the grungiest garage rock, darkest experimental fuzz and DIY post-punk electronica for five whole years — so they've got a few birthday toasts to give. Fronting up a chock-a-block lineup to The Studio, the beloved label has invited some of Australia's best to party down, with some iconic neighbours on top. New Zealand's legendary trio The Dead C will arrive for an exclusive Sydney headlining spot, along with label buds Feedtime, Bed Wettin' Bad Boys, Woollen Kits, Native Cats, Rat Columns, Cured Pink, Holy Balm, Ghastly Spats, Housewives, Constant Mongrel, Half High and Wallaby Beat DJs. Kicking off from 5pm on May 24, this is sure to be one rambunctious afternoon-to-midnight affair at the House. To celebrate the countdown to Vivid LIVE week, R.I.P. Society founder Nic Warnock has put together a solid playlist to kickstart your week and gear you up for the gig; from Melbourne's dark and stormy Constant Mongrel to Sydney's garage electro favourites Holy Balm with some wise words from Warnock himself. Crank it to 11 and bring your birthday wishes to the party. https://youtube.com/watch?v=-v_TibqZYRU Constant Mongrel — New Shapes "Constant Mongrel are redefining the rules of cool. Once, it was a huge indie music no-no to wear your own band's t-shirt while performing. Now, it's all the rage in some progressive Melbourne fashion circles thanks to Tom Ridgewell. New Shapes, new styles and later this year there will be a new 7" EP from Constant Mongrel on R.I.P Society records." Rat Columns — Another Day "A new addition to the R.I.P Society family is Rat Columns, the project of David West who's also the man behind the chic electronic project Lace Curtain and one of the three guitarists in Total Control. While this label has generally been moving towards the darker or the weirder side of the Aussie underground, Rat Columns play earnest, unashamed guitar pop. That's the type of life balance I wanna promote. Their first Sydney show is at the Sydney Opera House, lucky ducks." https://youtube.com/watch?v=mAram_OVcb4 Feedtime — I Wanna Ride "Feedtime are a band that feels like rock 'n' roll whilst creating a sound that's pure and unique to them. Feedtime sound fuckin' tough and but there's also a real depth and sensitivity to their music. 'Avant-garde pub rock' people have described them as, but it's not macho caricature stuff or in any way kitsch or whacky. Their songs are precise yet profound articulations of real life stuff, heavy stuff and everyday stuff. Hearing Feedtime for the first time, reading about their existence in Sydney, as well as how Aberrant operated as a record label was really inspiring." https://youtube.com/watch?v=DJg1h-3HPf8 Holy Balm — Holy Balm Theme "Holy Balm have been a staple in my experience of Sydney music. Through a do-it-yourself attitude and not being afraid to experiment and evolve in an organic manner they've become a empowering, positive experience both live and recorded. A great intersection of DIY post-punk and dance music." https://youtube.com/watch?v=so67hFjgv-A The Dead C — Outside "This is one of my favourite songs ever. Kind has a similar quality to Brian Eno's 'Here Come The Warm Jets', although much more crude and deconstructive. Still, I think this song is really beautiful. The Dead C's music shows that experimental music can be as emotive and invigorating as your standard three minute pop ditty." Catch the R.I.P. Society crew blasting amps at the Sydney Opera House Studio from 5pm on May 24. More details and stubs over here.
Sports fans, Christmas has arrived — the athletic version that comes around every four years (or, in this case five), that is. Events have begun at this year's delayed Tokyo Olympic Games, the opening ceremony officially kicks things off on Friday, July 23, and two-plus weeks of competition awaits. If you're fond of all of the above, there's really not much that could improve the next fortnight. Actually, one thing could make your Olympics-watching couch sessions even better. We have two words for you: free pizza. They're two of the best words that exist, especially when used together — and they describe exactly what Pizza Hut is offering Aussies during this year's games. In total, the fast food chain will be handing out up to 285,000 freebies. Exactly how many it'll dole out depends on one big thing: how many medals Australian athletes win this year. Pizza Hut will give away a heap of pizzas to celebrate the Olympics' opening and closing ceremonies, as well as a set amount each day during the games as well; however, it's also breaking some additional slices whenever an Aussie stands on the podium. That means you'll have multiple chances to grab a freebie. First up, there'll be 5000 up for grabs from 4pm on Friday, July 23 to celebrate the opening ceremony. Between Saturday, July 24–Saturday, August 7, another 1000 will be given away daily at 4pm as well. On Sunday, August 8, for the closing ceremony, Pizza Hut will bust out another 5000 at 4pm, too. And, whenever an Aussie wins a medal, it'll add 1000 more free pizzas to its giveaway at 4pm the next day for each gold we take home, another 500 for each silver and another 200 for every bronze. To score your 'za without spending a cent, you'll need to head to Pizza Hut's 'pizzas for podiums' website at 4pm each day. Unsurprisingly, you'll want to get in quick as it's a first in, first served affair. You can only enter twice per day — and, if you win, you'll be sent a voucher code for a large pizza with a pan base. You'll be able to choose from super supreme, barbecue meatlovers, pepperoni lovers, Hawaiian and cheese lovers, and you'll need to redeem before Tuesday, August 31 via a pick-up order. One entrant will also win a year's worth of free pizza — well, Pizza Hut's idea of a year's worth, with one free pizza on offer for 52 weeks — if you need any extra motivation to enter. Pizza Hut will be giving away free pizzas from Friday, July 23–Sunday, August 8 during the Tokyo Olympic Games. For further information, head to the chain's website.
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 will return 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. [caption id="attachment_789145" align="alignnone" width="1920"] Nomad, Nikki To[/caption] 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. [caption id="attachment_689482" align="alignnone" width="1920"] Rockpool Bar & Grill in Sydney[/caption] Good Food Month will run from Saturday, January 1–Monday, January 31. Tickets are on sale from 9am on Tuesday, November 30.
Known locally as the Addison Road Markets, Marrickville's weekly organic market is a favourite among Sydneysiders near and far. Visitors come from across the city for this one, so Marrickville locals are especially lucky to have it located within their postcode. The market takes place each Sunday from 9am–3pm and boasts vibes aplenty. Apart from all the fruit, veg, eggs, pastries, breads, cakes, tarts, quiches and pies — all of which are organic — the market also offers heaps of food stalls. So, while doing your weekly shop, you can also tuck in to everything from pho, ravioli and lamb rolls to raw vegan treats, speciality coffee and loaded yoghurt cups. Also on offer: plants, homewares, vintage threads, vinyl, soaps and more. You name it, they've got it.When you're not perusing the many stalls, have a seat in the adjoining grassy area for live music and other entertainment. Be sure to get in early to get the best pick of the bunch though, as the market's popularity also means that stalls sell out. Marrickville Organic Food Market takes place each Sunday from 9am–3pm.
On a cold winter's night, if there's a better way to warm up than heading to a bustling Sydney bar or an expansive concert venue — we've yet to find it. With singing and dancing back on the cards and so many artists rearing to hit the stage again after a year of canceled and disrupted tours, there's an overwhelming amount of gigs to catch this season. In order to help you narrow down where all the best dance floors and sing-a-longs will be, we've picked out a few choice highlights from Sydney and regional NSW's live music calendar. Snatch up tickets before they inevitably sell out.
Despite the Philippines’ proximity to Australia, we don’t get many opportunities to explore their bold, unusual food. But the Shangri-La Hotel’s Cafe Mix is breaking the mould. Their annual Philippine Food Festival has proved such a cracker that it’s back for it's third consecutive year, bringing you old traditional favourites and brand new creations to savour. For eight delectable days between October 2-10, Cafe Mix will be taken over by a colourful, aromatic buffet of dishes unique to the Philippines. Served up at lunch between midday and 2.30pm, and at dinner between 6pm and 10.30pm, it’ll allow you hours of laidback sampling at your own pace and according to your inclinations. Just quietly though, you don’t want to miss the kare-kare, a classic Philippine stew enriched with oxtail and peanut butter, and coloured with orange-red annatto seeds. Or the sizzling pork sisig, a dramatic, spicy dish, seasoned with chilli and calamansi (a half-kumquat, half-orange fruit native to the Philippines). And then there's the oysters, crabs and prawns — as you can imagine, a nation whose home consists of 7000 islands knows exactly how to get the most out of its seafood. The festival already has a dedicated and ravenous following, so you’d be smart to book yourself a spot by calling (02) 9250 6000 or emailing dine.slsn@shangri-la.com.
Once home to Bingo nights and Karaoke, Taxi Club has been treated to a tidy makeover and is being taken on by Sydney’s indie social scenesters - we’re always looking for a new place to party, right?! This week the ladies of Duke Magazine are transforming the venue into a Gangster's Paradise! Still have those mustard keppers and pink bandanas in your parent's loft? Dust them off and prepare yourself for the best 90s r&b and hip hop. Sirens, Radge, Perfect Snatch, National Treasure and more are all playing – All I can say is someone better spin Mary J Blige.
Look, it was only a matter of time before this happened. Following on from the success of similar places in New York and Amsterdam, Australia's first avocado pop-up cafe is coming to Sydney. And it'll be avocado everything, seven days a week. Don't act surprised — we created this monster. The pop-up — named Good Fat, because everyone knows that's the best health benefit/justification for eating copious amounts of avo smash — will opens its doors on November 2 in Surry Hills with about 20 items on the menu that incorporate avocado. Sydneysiders will be able to indulge in creations such as the avocado breakfast skin (an avocado smoothie bowl served in its own skin) and a Cornetto-inspired avo ice cream cone. If you haven't already twigged, the whole thing is a promo for Australian Avocados, a non-profit representative body for the Australian avocado industry. But even so, avocados are a brand we're happy to support with our love and money. If you feel the same, the pop-up will be open will be open for breakfast, lunch and dinner until November 30 and all dishes will be under $20.
The inner-city suburb of Redfern isn't exactly beachside, though you'll be able to pretend as much now that Redfern Surf Club has arrived on the corner of Botany and Henderson Roads. Masterminded by the former general manager of The Cliff Dive and Oxford Art Factory, Yannick Maslard, the venue is an ode to the quintessential Aussie 'local club' — a laid-back, lighthearted neighbourhood haunt where everyone is welcome. He has pulled together a bunch of mates and bar regulars to makeover the heritage-listed, one-time bank, and the result is a verdant indoor courtyard, decked out with plants, knick-knacks and even a taxidermy 'bin chicken'. A pool room is filled with surf-centric works by photographers Luke Shadbolt, James Adams and Nick Lawrence, and classic surf flicks screen on a retro TV set. And it's hard to miss the neon-drenched shrine to legends like Prince, Phil Collins and fictional surf god Bodhi (AKA Patrick Swayze in Point Break). Classic cocktails have been reimagined in a nod to the backyard barbie, and are headlined by lineup of canned cocktails — just wait until you get acquainted with the Passiona, lime and vodka concoction, which is served, yes, in a Passiona can. Alongside The Grifter Brewing Co's pale ale, which is the bar's house brew, you'll find an all-Aussie lineup of seasonal beers showcasing Sydney's best-loved breweries. For those who prefer grapes over gruit, a diverse list of natural drops are available by the carafe — for those lazy summer afternoons to come. Venue images: Patrick Stevenson; cocktail: Luke Shadbolt.
UPDATE, December 23, 2021: Don't Look Up released in select Australian cinemas on Thursday, December 9, and will be available to stream via Netflix on Friday, December 24. Timing may be everything in comedy, but it's no longer working for Adam McKay. Back when the ex-Saturday Night Live writer was making Will Ferrell flicks (see: Anchorman: The Legend of Ron Burgundy and Step Brothers), his films hinged upon comic timing. Ensuring jokes hit their marks was pivotal to his scripts, crucial during editing, and paramount to Ferrell and his co-stars. Since 2015, McKay has been equally obsessed with timeliness. More so, actually, in his latest film Don't Look Up. As started with The Big Short, which nabbed him a screenwriting Oscar, his current breed of politically focused satires trade not just in laughs but in topicality. Skewering the present or recent state of America has become the filmmaker's main aim — but, as 2018's Vice so firmly illustrated, smugly stating the obvious isn't particularly funny. On paper, Don't Look Up sounds like a dream. Using a comet hurtling towards earth as a stand-in, McKay parodies climate change inaction and the circus that tackling COVID-19 has turned into in the US, and spoofs self-serious disaster blockbusters — 1998's double whammy of Deep Impact and Armageddon among them — too. And, he enlists a fantasy cast, which spans five Oscar-winners, plus almost every other famous person he could seemingly think of. But he's still simply making the most blatant gags, all while assuming viewers wouldn't care about saving the planet, or their own lives, without such star-studded and glossily shot packaging. Although the pandemic has certainly exposed stupidity on a vast scale among politicians, the media and the everyday masses alike, mining that alone is hardly smart, savvy or amusing. Again, it's merely stating what everyone has already observed for the past two years, and delivering it with a shit-eating grin. That smirk is Don't Look Up's go-to expression among its broad caricatures — in the name of comedy, of course. Trump-esque President Orlean (Meryl Streep, The Prom) has one, as does her sycophantic dude-bro son/Chief of Staff Jason (Jonah Hill, The Beach Bum). Flinging trivial banter with fake smiles, "keep it light and fun" morning show hosts Brie Evantee (Cate Blanchett, Where'd You Go, Bernadette) and Jack Bremmer (Tyler Perry, Those Who Wish Me Dead) sport them as well. But PhD student Kate Dibiasky (Jennifer Lawrence, X-Men: Dark Phoenix) and her astronomy professor Dr Randall Mindy (Leonardo DiCaprio, Once Upon a Time in Hollywood) aren't smiling when she discovers a Mount Everest-sized comet, then he realises it's on a collision course with earth and will wipe out everything in six months and 14 days. And they aren't beaming when, with NASA's head of planetary defence Dr Teddy Oglethorpe (Rob Morgan, The Unforgivable), they try to spread the word. The world is literally ending, but no one cares. Conjuring up the premise with journalist/political commentator David Sirota, McKay turns Don't Look Up into a greatest-hits tour of predictable situations bound to occur if a celestial body was rocketing our way — and that've largely happened during the fights against climate change and COVID-19. The President's reactions stem from her clear-cut inspiration, including the decision to "sit tight and assess" until it's politically convenient or just unavoidable, and the later flat-out denial that anything is a problem. The character in general apes the same source, and bluntly, given Orlean is initially busy with a scandal surrounding her next Supreme Court nominee, and that her love life and the porn industry also spark headlines. The insipid media and social media response, favouring a rocky celebrity relationship (which is where Ariana Grande and Kid Cudi come in), is also all too real. The list goes on, including the memes when Dibiasky gets outraged on TV and the worshipping of Mindy as an AILF (Astronomer I'd Like to Fuck). A Steve Jobs/Jeff Bezos/Elon Musk-style tech-company head (The Trial of the Chicago 7's Mark Rylance, putting in the movie's worst performance) also gets involved — poking fun at putting capitalism ahead of the planet's best interests — as does a stoner skater (Timothée Chalamet, The French Dispatch) enamoured with Dibiasky. The list goes on here as well, because Don't Look Up is as overstuffed as it is toothless. Satire is meant to use irony and exaggeration to highlight failings and flaws, but McKay pads out the bulk of his 138-minute film with first draft-style sketches and figures that say the bare minimum, then hops quickly from one to the other in the hope that something lands. Yes, amid its on-screen text explanations, montages of stock clips, a superfluous pop song and overactive editing, Don't Look Up has a comic timing problem, too. And the scenes it does hover on, including the grating White House confrontations, could've easily been cut in half. McKay has zero faith in the world's ability to face existential and apocalyptic threats (understandably), and no hope his audience would notice if he didn't slickly spoon-feed surface-level commentary (insufferably), but he places plenty of responsibility upon DiCaprio, Lawrence and Morgan. The film's key trio aren't given much to work with, but everyone else — aside from the underused Melanie Lynskey (Yellowjackets) as Mindy's wife June — plays a one-note gag. Mindy is sweaty and swayed by attention; Dibiasky is defined by her two nose rings, flame-hued hair and the Wu-Tang Clan lyrics she's introduced singing; and Oglethorpe is the only competent government employee. It's a credit to all three actors that they turn in convincing performances and make their characters the most compelling part of Don't Look Up, although no one is anywhere near their best. The entire planet definitely isn't at its finest in Don't Look Up, which is the whole overstressed point; however, in weakly holding up a mirror to truths everyone's already painfully familiar with, it didn't need to embody the same concept itself. Forget following in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb's footsteps, or Wag the Dog's, or mustering up an iota of Succession's astuteness (McKay is one of the latter's executive producers) — Anchorman felt shrewder and more incisive. Maybe Don't Look Up might've worked if it had pre-dated the pandemic. It undoubtedly would've been improved by ditching the puffed-up snark, as its closing scenes demonstrate; it's a far better movie when it switches to earnestness and even takes a few cues from Lars von Trier's immensely superior Melancholia, as unearned as the tonal change proves. Perhaps a humanity-is-damned flick that crashes itself is McKay's ultimate joke, though, because that's just the doomed world we find ourselves in. Image: Nico Tavernise/Netflix.
Remember cassette tapes? Well Ariel Pink does, because since he began writing music at age ten he’s recorded over 500 songs on hundreds of them. They featured drum sounds created with his mouth and armpits, and a few of them were sold at Aron’s Records before Melrose Avenue went all hip, and in his spare time Pink focused on his semi-abstract grotesque surrealist drawings. That was before Pink was "discovered" by Animal Collective and got majorly famous, but even his first studio album sounds like it was discovered on Venice Beach inside an abandoned tape player jammed up with bits of sand. Gritty, ghostly and nostalgic, Before Today just has the added bonus of bizarre instrumentals thanks to the rest of the guys who form Ariel Pink's Haunted Graffiti. On Friday they’ll be joined by fellow Los Angeles bedroom producer Geneva Jacuzzi, known for her crazy performances and lyrics about things like blood being thrown on to fire. If you thought witnessing an armpit drum would be rather impressive, this is one live show you won’t want to miss.
Pole dancing, contortions, roaming dwarfs, live music and Green Fairy Absinthe cocktails served by muscled up topless waiters — the opening night of Sydney artist BrightSide’s debut solo exhibition doesn’t use the word “Extravaganza” lightly. Though anyone showing up after the launch night shenanigans will still find their senses adequately engulfed. BrightSide, aka Katie Bright, presents her perennial love for fancy dress in a series of images loosely based on characters from both cartoons and from her imagination that she identifies with. Cartoon villains and fairytale heroines come to life with a Lichtenstein vibrancy, fused with elements of sleaze and corporate logos. Purposefully pigeonholing her identity by using these characters to act as reflections of herself and observations of her desires, BrightSide asserts that fairytales have skewed the vision of romance. Welcome to the BrightSide Extravaganza features these engrossing images screenprinted onto mirrors, lighting installations and live performance. Whether you want to find your own pathway to self-discovery or just see a giant picture of Cruella De Vil careening down a highway with crazed eyes and gritted teeth, Welcome to the BrightSide Extravaganza is sure to leave an impression.
If you’re bad at dinner table conversation, this event is for you. Honi Ryan is an interdisciplinary artist from the Blue Mountains and has been taking the world by (a very quiet) storm with her Silent Dinner Party performance art project. At this Sydney Fringe incarnation, guests will be treated to a three-course meal prepared by Studio NEON at Marrickville Town Hall. The catch is, you can’t utter a word or sound during the event. You also aren’t allowed to read, write or use your mobile phone. Talking around the table is a global human ritual — this is a social experiment that will shake up social norms for the sake of artistic experience (not to mention delicious food). This event is one of our top ten picks of the Sydney Fringe Festival. See the other nine here. Image: Dollar Photo Club.
There are few things worse than shopping to music louder than tribal print-blocking, but only when the music is club edits of Nicki Minaj. Love Your Face is a wallet-friendly vintage pop-up that also loves your ears, and has rounded up a slew of great local acts to soundtrack their closing party on Saturday. Whittle away your twenties (nothing costs more than one of them) to the murky sounds of darkwave duo Buzz Kull, the sunny solo venture of Cuthbert and the Night Walkers’ Richard Cuthbert and the reggae-tinged indie rock of rambunctious five-piece CalliThump. Arrive early to hear recent Highway 125 signee Dominique and newfangled retro throwback songstress Iluka, the latter of whom counts French cinema and silent film as influences. Also, free entry and complimentary sangria. Hear some tunes, drink some drinks and pop your name into the jar by the counter for a chance to get kitted out head-to-toe in Love Your Face vintage.
Brooklyn psych experimentalists and Laneway sophomores Yeasayer will play a headline show at the Metro Theatre when they head back this way next January. The band spent summer here last year after the release of their last album Odd Blood, and now have a brand new 11-track offering crammed with sounds ranging from Italo-pop to warped electronica and R&B. That offering is called Fragrant World, and each track is a different unconventional yet accessible blend of wide-ranging influnces — "No Bones" is an excellent amalgam of astral spasms and glitchy synths that is still strangely danceable. Yeasayer's live performances are equally captivating, whether you're blissing out under the midday sun or in the entrancing darkness of the Metro Theatre. If you won't be doing the former, get your license to do the latter here. https://youtube.com/watch?v=ml9oNH4UjzQ
The Venetian Twins would have to be one of the more singular shows of 2012. I wouldn't normally quote Terry Durack, but his review of Surry Hills restaurant Nourishing Quarter is apt here. He said it was "quite possibly the most original restaurant in town, if 'original' is defined as doing your own thing because you don't know how to do anything else." The Venetian Twins may just be its theatrical counterpart. And that’s not meant as a pejorative remark; it's just that I've never seen anything like it. The Venetian Twins is a rambling Australian musical comedy of errors, based on Carlo Goldoni's 1745 play by the same title. It's Shakespeare's Twelfth Night meets Jack Hibberd's Dimboola. Nick Enright of Blackrock fame adapted the libretto, so one would be entitled to expect great things. One should expect quirky things. The story follows a pair of twins, Tonino and Zanetto (Jay James-Moody in both roles) as they create mayhem in Venice. Zanetto hails from Jindyworobak and Tonino from Verona. It's a classic thrills spills, mistaken-identity scenario where all is resolved with romance and justice. The performances are variable, but generally entertaining. Marisa Berzins playing Beatrice is positively loopy. She goes from mildly eccentric pre-interval to full-blown crazy towards the end of the show. It seems she has had some rather extreme requests placed on her by director Mackenzie Steele, and hats off to her for committing to them. James-Moody playing Tonino and Zanetto carries off a technically difficult feat with excellent comic timing. Stephen Anderson playing Florindo would be convincing had he some control over his right eyebrow. The strongest element of this unusual show is the set. Sean Minahan has managed to evoke both a 19th-century Parisian pantomime set as well as some sort of Aussie outback, with old hessian wheat bags cladding the walls. He has given the cavernous New Theatre some shape and prettiness. The musical was written in the '70s, when Australian playwrights were just starting to tell Australian stories. Perhaps at the time it was radical to see a romantic hero from Jindyworobak singing on stage, but today the story has about as much truck as Banjo Patterson's poems. Nevertheless, it is worth seeing for its wild abandon alone. Image by Bob Seary.
From their now-famous Taco Tuesdays to Puerto Rico Day parties, The Norfolk's always been big on celebrating other countries' stuff. (Or they just know you'll take any excuse to scoff someone else's patriotic fare and a gratuitous foreign beer — culture, yo). Next Friday is the Fourth of July and they're taking cues from the Americans. Specials include $10 footlong hot dogs (that's a lot of hot dog), $5 Budweiser and $20 Americana jugs. We're not in America, so think of it as an acknowledgement of the best parts of the USA's national day, without the fireworks, parades and beer pong competitions.
Cool World is the second 2012 exhibition offering from new space on the block, Alaska Projects. It's a group show curated by Sydney-based artist, Mitch Cairns and basically as Mitch says, "We are aiming for a handsome painting show." Being wary of the artist-as-curator tag Mitch has attempted to keep the recipe simple by inviting nine painters that he would love to see in a show together. From that each artist has been asked to submit a work that they themselves love. Surely nothing could go wrong? And yet Mitch warns, "it just might not be that interesting to other people. It is really about my taste." The truth is though kids, Mitch Cairns has taste. He thinks about art, about painting, about artists, and about painters like it is his world. And it is. It is his cool world. So I beg of you, if you care to be educated about how good artists work and the trap doors they prop open, pop down to Alaska Projects for the opening this Tuesday 31 January. Of the ten artists showing nine regularly exhibit their work in Sydney yet interestingly Mitch stumbled across the only outsider, Mike Schreiber (an American artist) on the internet. Intrigued by Mike’s work Mitch sent him an email and a mutual love-in ensued. So I say, support love. It might be just about all we need.
At a time when journalists in Australia are prohibited from reporting on the goings on at Nauru and the Australian Border Force has threatened to patrol the streets to check Australians' visa paperwork, here is your chance to hear first-hand the stories of five asylum seekers who have reached our shores and made a new life in Western Sydney. If You Come to Australia was created during a residency at Urban Theatre Projects and is performed by a cast of diverse Australians to protect the identities of those whose stories are being told in this verbatim theatre piece over five nights. This event is one of our top ten picks of the Sydney Fringe Festival. See the other nine here.
UPDATE, Friday, December 1: Talk to Me is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. An embalmed hand can't click its fingers, not even when it's the spirit-conducing appendage at the heart of Talk to Me. This is an absolute finger snap of a horror film, however, and a fist pump of a debut by Australian twins Danny and Michael Philippou. As RackaRacka, the Adelaide-born pair have racked up six-million-plus subscribers on YouTube via viral comedy, horror and action combos. As feature filmmakers, they're just as energetic, eager and assured, not to mention intense about giving their all. Talk to Me opens with a party that's soon blighted by both a stabbing and a suicide. It segues swiftly into a Sia sing-along, then the violent loss of one half of the Aussie coat of arms. A breakout hit at the 2023 Sundance Film Festival, where it sparked a distribution bidding war won by indie favourite A24, it's constantly clicking, snapping and ensuring that viewers are paying attention — with terror-inducing imagery, a savvy sense of humour, both nerve and the keenness to unnerve, and a helluva scary-movie premise that's exceptionally well-executed. The picture's outstretched mitt is the Philippous' Ouija board. That withered and scribbled-on paw is also a wildly unconventional way to get high. In a screenplay penned by Danny with fellow first-timer Bill Hinzman, but based on Bluey and Content executive producer Daley Pearson's short-film concept — yes, that Bluey — shaking hands with the distinctive meat hook is a party trick and dare as well. When the living are palm to palm with this dead duke, in flows a conjuring. A candle is lit, "talk to me" must be uttered, then "I let you in". Once heads are kicking back and the voices start, no one should grasp on for more than 90 seconds. Those are the rules as told by Hayley (Zoe Terakes, Nine Perfect Strangers) and Joss (Chris Alosio, Millie Lies Low), who've been getting the ultimate buzz by letting supernatural interlopers take over their bodies, and are also passing that sensation around to their mates at gatherings. When Mia (Sophie Wilde, The Portable Door) learns about Talk to Me's urban legend-esque possession parties, it's via internet videos. On the anniversary of the worst day of her life — her mother's death, seemingly self-inflicted — she's already fled the silence that lingers with her father Max (Marcus Johnson, Irreverent) for her best friend Jade's (Alexandra Jensen, Joe vs Carole) family, and she's equally up for escaping further. Jade's no-nonsense mum Sue (Miranda Otto, The Clearing) knows that Jade and Mia are sneaking out. What she doesn't glean is that they're taking Jade's younger brother Riley (Joe Bird, First Day) with them, or that they're headed to a haunted hoedown. Here, being consumed by sinister spirits, not consuming booze, is the main thrill. That, and filming whatever twisted chaos happens when they connect with the otherworldly. It isn't all fun and frights and games, though; when 14-year-old Riley takes part, traumatic consequences spring. There's a touch of Flatliners to Talk to Me, but the Philippous summon up something far more eerie, powerful and engaging than that average 90s effort and its terrible 2017 sequel/remake. Both perturbing and entertaining to watch, their séances understand why that exact blend — unsettling yet absorbing — appeals to Mia and her friends, and why they're so speedily addicted. These altercations with the beyond aren't just a way to push the limits. They're a rush for both the possessed and their pals, who laugh hysterically while bearing witness, record every moment, share it all instantly and, when it's their go, try to one-up every prior spooky visit. As RackaRacka, the Philippous have captured plenty of eyeballs with raucous vids; now they ponder what the next step is for today's teens who've already seen everything online, are used to living their lives and setting their reputations digitally, and are as desperate for a jolt out of their daily routine as everyone in adolescence. Even better: sharing directing credits, and benefiting from lively cinematography by Aaron McLisky (Mr Inbetween) and sharp editing by Geoff Lamb (another The Clearing alum), Danny and Michael know how to convey that try-anything-once response to teen malaise. Talk to Me starts with a bang — with banging on a locked door, then a freakout, then a gutwrenching turn — but its feverish montage of possessions is one of its best and most immersive moments. Mia and company, even including Jade's pious boyfriend Daniel (Otis Dhanji, June Again), are spirited off on a trip, and the Philippous stage and shoot it as such. No one watching will've gotten deliriously blitzed by giving some skin to the creepiest limb you'll ever see (with the biggest of kudos to the production design team), then becoming a vessel for ghosts, but Talk to Me perfects the feeling of being young, partying, reckless, thinking you're invincible and being up for giving something absurd a shot. Playing those devil-may-care/devil-may-flow-through teens, but also always playing recognisably messy and relatable Aussie high schoolers, is quite the committed cast. Everyone gives their physical all to the hauntings — getting taken over by ghouls isn't just a unique experience, but a corporeally demanding one — as aided by pitch-perfect practical effects, including the canny use of dark contacts to turn each actors' eyes black. But thanks to Mia's backstory and the grappling with grief that comes with it, Wilde wades through the most emotionally complex territory. The more that her character keeps taking the hand's portal to limbo, the more that the paranormal bleeds into Mia's daily life, and the weightier that Wilde's performance gets. Talk to Me battles survivors' guilt, carting around baggage and internal demons alongside its shadowy forces, with Wilde consistently thoughtful at the heart of it all. When Riley joins the party antics despite Jade's protests, Bird is just as crucial. Ghouls gnaw, and so does Talk to Me. The Philippous swirl unease, angst and ominousness together with every tool at their disposal — including Cornel Wilczek's (Clickbait) menacing score — then let the end result chomp on their viewers. As deranged sights scamper and shock, and Mia's complicated feelings with them, Talk to Me gets its alarm, panic and distress burrowing deep, yet never stops having warped fun. The film's finale couldn't better embody that tricky mix: it's smart and satisfying to the point of inspiring clapping, and it's as disquieting as everything that precedes it. This won't be the end for the movie's directors, of course, or likely for Talk to Me's world. Indeed, this instant cult-classic flick might too leap into reality: once you've taken this horror ride, people clutching a hand and freaking themselves out with the next Ouija-style board game feels destined to cross over.
Back in 1950s Australia, The Blake Prize was established in order to encourage a higher calibre of religious art. As our society has grown more culturally diverse, so has the prize. It has come to mirror multiculturalism and its many strains of spirituality. That said, if The Blake Prize does not secure a major sponsor, this may be the last year it is held. The works of 52 finalist are on display at the UNSW Galleries, loosely organised according to theme. Moving away from traditional ideas of religiosity, this year’s artists are more concerned with the rituals of everyday life and the nature of mortality. The winners, in particular, draw on very personal stories. Among the first lot of works, Warwick Thornton and Bindi Cole reflect on the intersection between Aboriginal spirituality and Western Christianity. While Thornton’s dramatic photograph is fiery and hellish — a response to mission settlements in central Australia — Cole’s crucifix is blazing with bold text and communicates a more personal predicament. Both are powerful and compromised; they each illustrate a tension between two belief systems and their histories. Other artists engage with contemporary human rights issues, namely Australia’s treatment of asylum seekers. Both Tim Gregory and Mike Barnard look (or attempt to look) beyond sovereign borders, each responding to dehumanising photographs. Looking like luminous green night vision, Barnard’s small painting reproduces rare footage from the sinking of the SIEV 69 in 2009, which killed 13 Sri Lankan asylum seekers. The barely discernible vessel speaks volumes about the onshore blindness to lives lost at sea. There are a number of satirical works upending the cynical preconceptions that circulate around particular cultures. For instance, Cigdem Aydemir's endurance performance is a series of films showing a Muslim woman in stereotypically Australian settings and poses, wearing a smile for as long as she can. Humorous in its artificiality, the work reflects on the media’s incessant politicisation of Muslim women. And Megan Cope's work is an amusing take on the idea of genuine Aboriginality, concocting a ‘blaktism’ ceremony that involves literally painting oneself brown and culminating in a contemporary rave party. The Blake Prize itself has been awarded to Richard Lewer for his low-fi animation Worse Luck, I’m Still Here — a worthy winner. This moving work revolves around a Perth pensioner, struggling with the mental deterioration of his wife. There is a raw honesty to Lewer’s simple materials – complimenting the tone of the narrative perfectly. Emotive and visually innovative, it anticipates a conversation that needs to happen. Straddling secular and religious, The Blake Prize has come to encompass a broad understanding of what it means to be human, to have aspirations and relationships — the fundamental starting point of any religion. Featuring a host of some of our best contemporary artists, there are many thoughtful and inventive works I have not mentioned. In spite of current funding difficulties, we can only hope the prize returns next year.
UPDATE, December 16, 2020: Richard Jewell is available to stream via Netflix, Binge, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. All it took was a concert and a backpack for Richard Jewell's (Paul Walter Hauser) life to change forever. It's the summer of 1996, and the aspiring cop is thrilled to be working as a security guard at a gig during the Atlanta Summer Olympic Games. But as songs like the Staple Singers' 'I'll Take You There' fill the city's Centennial Park, Jewell spots an unattended bag under a bench. He swiftly informs the police on duty, who figure he's overreacting but evacuate the area anyway. As the crowd begins to disperse, the bomb explodes. While one person is killed, another suffers a fatal heart attack and 111 others are wounded, the toll would've been much higher if Jewell hadn't sounded the alarm. That's the real-life story that monopolised news headlines 24 years ago. It's also the tale that Jewell, with his desperate desire to work in law enforcement, was overjoyed to have attached to his name. And, it's the narrative that Richard Jewell tells, although Clint Eastwood's involvement should make it obvious that it doesn't end there. As demonstrated with gusto in the latter years of his five-decade directorial career, Eastwood is drawn to heroes. He's not just fascinated by people acting bravely, but by true tales of fortitude in the face of pressure, scrutiny, admonishment and even contempt by society, authorities and bureaucracy. American Sniper's flag-waving tribute to the deadliest marksman in US military history, Sully's recreation of the Miracle on the Hudson and subsequent investigation, and The Mule's account of an octogenarian forced to become a drug courier to make ends meet — they all fit the profile, as does Jewell's swift slide from saviour to suspect. Played with equal parts zealousness, assertiveness, awkwardness and friendliness by I, Tonya and BlacKkKlansman's Hauser, Jewell fit the FBI's profile, too. With no other real leads to chase, agent Tom Shaw (Jon Hamm) becomes certain that the security guard's demeanour, portly physique and obsession with cops makes him the culprit. That Jewell lives with his mother (Oscar-nominee Kathy Bates) doesn't help. Nor does the arsenal of guns in his bedroom ("it's Georgia," Jewell notes). So when Shaw slips his theory to The Atlanta Journal-Constitution reporter Kathy Scruggs (Olivia Wilde) — a woman happy to trade sex for tips and just as dubious in her ethics in general, the movie intimates, a perspective that's been refuted by those who knew her — Jewell's transformation from hero to accused perpetrator becomes official. With Jewell, his devoted mum and no-nonsense attorney Watson Bryant (Sam Rockwell) on one side and Shaw, Scruggs and the institutions they represent on the other, Richard Jewell becomes an us-versus-them battle — between an ordinary guy vilified instead of celebrated for doing an extraordinary thing, and the forces conspiring against him. With his threshold for subtlety waning over his past few films, Eastwood's feature is that blunt, as is the worldview that comes with it. His conservative politics are well-known, so lambasting the over-reaching government and decrying fake news should come as no surprise. Still, the lack of nuance with which Eastwood tells this tale — working with a script by Billy Ray (The Hunger Games, Captain Phillips and Gemini Man), and adapting a 1997 Vanity Fair article by Marie Brenner — casts a shadow over the movie. Jewell went through something that no one should have to endure. Eastwood doesn't downplay that ordeal, including the fact that Jewell's status as a suspect was widely publicised — even though he was never charged — but the clearing of his name wasn't. And yet, when it comes to portraying the FBI and media, Eastwood does exactly what they both did to his protagonist. Law enforcement and the press are treated so simplistically in Richard Jewell, especially Scruggs, that Eastwood slants the film in one direction and doesn't care to look elsewhere. You could read the filmmaker's version of Scruggs as another of his celebrated working-class characters doing whatever it takes to get by. Wilde's brash, committed portrayal of the now-deceased journalist certainly aims for that interpretation. But there's just not enough depth, balance and empathy on Eastwood's part to support it. Scruggs is a clear villain here — so much so that Eric Rudolph, the actual perpetrator of the attack, barely rates a mention. If Richard Jewell proved bombastic across the board, then its treatment of Scruggs mightn't stand out as much as it does. But Eastwood takes great care to show the complexity of Jewell's situation, laying out the details in a manner befitting any weighty police procedural or 'wrong man' thriller. His staging of the bombing is as tense, gripping and superbly crafted as anything in his 38 films behind the lens — and he smartly anchors the movie around Hauser's multifaceted performance as a man teeming with contrasts. What lingers, though, is the glaring contradiction at the heart of the feature. Richard Jewell advocates against one-note judgements while flaunting its own. It champions the truth about someone unfairly pilloried by the media, yet spins its own questionable story about a real-life figure. Yes, this is a film about a hero, but it didn't need to be a movie about a cartoonish villain as well. https://www.youtube.com/watch?v=bpbKh4FqR2g
Ah, bubbly, it's worked hard to cement itself as one of the, if not the, quintessential drinks of celebrations. It's earned a celebration in its honour, one could argue, all that hard work being popped and poured to toast the success of those who're drinking it. Global Champagne Day falls on the fourth Friday of October, which this year is the 24th, but among the many locations to celebrate all things bubbly is one of Sydney's most scenic spots: Manly Wharf. Here, three of the onsite venues are dishing out bottles of Moët & Chandon, Veuve Clicquot and Louis Roederer for $99 over an extended period around the occasion. These are the kinds of drinks that are best paired with sunsets, oh and oysters, which are going for $3 a pop. The three venues putting on this particular party are Hugo's, Felons Seafood and Felons Manly. Catch the ferry over from the city to enjoy an early spring sunset, or bus your way down if you call the Northern Beaches home. All of the above are already great spots to cheers over a cold drink, a plate of fresh seafood in front of you and a crew of great mates around you, but you'll have ten days to cheers to champagne, with this offer on from Friday, October 17 to Sunday, October 26. Walk-ins are available, but bookings would be recommended if the week is ending and the sun is shining. Global Champagne Day at Manly Wharf runs from October 17–26. For more information or to make a booking, visit the website.
UPDATE, April 26, 2021: Sorry to Bother You is available to stream via Google Play, YouTube Movies, Amazon Video and iTunes. How do you make a movie about the perils of apathy and complacency? A film that holds a mirror up to today's gleefully consumerist, corporation-driven society? A portrait of a world where money means power, and where both mean exploiting the many to enrich the few? If you're The Coup frontman turned first-time filmmaker Boots Riley, you also make a satirical comedy set in an alternate version of present-day Oakland, and a science-fiction fantasy that combines surreal images and scenarios with a savage message. You expose and skewer the status quo when it comes to race, class and wealth — and you tap into the anxiety that's become the prevailing mood of the 21st century. In short, you make Sorry to Bother You. Discussing the state of the world with with pals Salvador (Jermaine Fowler) and Squeeze (Steven Yeun), Cassius 'Cash' Green (Lakeith Stanfield) is offered a nugget of wisdom about the reason that nothing ever changes. "If you get shown a problem, and you have no idea how to control it, then you just decide to get used to the problem," he's told. Consider Sorry to Bother You the counterpoint — an audacious, absurd, amusing and highly entertaining rebuttal of simply accepting, assimilating, trying to conform and aiming to please. Riley takes Cash down a path that he can't merely grin and bear, in a picture that recalls Get Out and BlacKkKlansman in a vital way: it refuses to be shrugged off, ignored or overlooked. Get comfortable, because it's a wild ride. That said, being comfortable and content is a thorny notion in a film that paints the masses as workhorses for the rich, has everyone loving a reality show called I Got the S#*@ Kicked Out of Me!, and makes its protagonist rap for the braying approval of a largely white party. When viewers first meet Cash, he's anything but comfortable. In fact, he's waving about a fake 'employee of the month' plaque at a job interview, living in his uncle's (Terry Crews) garage with his artist girlfriend Detroit (Tessa Thompson) and barely managing to get by. He still gets the telemarketer gig, because they happily admit they'll hire anyone, but hawking encyclopaedias by phone is as soulless and soul-destroying as it sounds. Then a colleague (Danny Glover) gives Cash a tip: "use your 'white' voice". Taking his advice, he starts smooth-talking customers with tones that resemble Arrested Development's David Cross. Success follows, with Cash skyrocketing through the ranks to join the company's elite employees on the luxuriously appointed top floor. While his basement-dwelling ex-coworkers strike for better conditions, Cash is earning more cash than he's ever dreamed of, as well as the attention of hard-partying frat-boy CEO Steve Lift (Armie Hammer). He's also making multi-million dollar sales spruiking Lift's WorkFree concept, which promises ordinary folks a roof over their head and three meals a day if they sign a lifetime labour contract. Corporatised slavery is just the beginning of Cash's trip down the rabbit hole, and Stanfield is the perfect guide. On a resume that boasts Get Out, Atlanta and being one of the most memorable things about The Girl in the Spider's Web, Sorry to Bother You stands alongside Short Term 12 as the actor's best work. Here, he's everyone, including the marginalised and overlooked, and the minority communities forced to adjust to the prevailing world order. He's the everyday man unwillingly thrust into the spotlight, or laying awake worrying about existence, or just attempting to do what's right. For a while, he's also someone who gets shot from the bottom to the top and is willing to stomach his Faustian bargain. He's in great company, with Thompson, Yeun and Hammer all standouts. But Stanfield is Riley's anchor in a sea of chaos. And what chaos there is. Energy, zeal and fury, too, with the movie jam-packed with ideas, anger, insights and off-the-wall inclusions. Indeed, when a Michel Gondry-esque claymation sequence pops up, it's just one of the picture's stunning sights. Within such busy frames, there's little about modern society that Riley doesn't dissect and lambast, because, unlike the masses, he's not willing to look the other way. His lead character might adopt a white voice to survive and thrive, but the writer-director's voice is all his own (it's also literally heard on the soundtrack, which is partly supplied by The Coup). Like Cash, who's visually dropped into the lives of the people he calls, Sorry to Bother You's audience is submerged in the impassioned mindset of the film's creator. And Riley's not sorry to bother anyone. https://www.youtube.com/watch?v=PQKiRpiVRQM
A great fringe festival thrives on surprises. It showcases anything and everything, and it loves inducing whiplash when people peruse its program. RuPaul's Drag Race Down Under 2022 winner Spankie Jackzon, then reimagined Radiohead songs, then a recreation of Titanic? Absurdist Polish theatre, then a dance piece about love, then a game with the grim reaper? That's the clash of shows you'll find on the 2023 Sydney Fringe Festival lineup. This year's fest takes place from Friday, September 1–Saturday, September 30, and started dropping highlights back in June. From that initial reveal, the musical-comedy version of The Marvellous Elephant Man the Musical, Ancient Greece-set comedy GODZ and the all-ages-friendly CIRCUS — The Show were already on the lineup. The full program doesn't hit till early August, either, but Sydneysiders have a few more performances to now look forward to. Jackzon is bringing solo show Just the Tip to Sydney Fringe, playing Darling Quarter's new Hello Darling tent with a combination of drag, music and comedy. Also at the same venue: fellow Drag Race alum Beverly Kills, Timberlina and Friends: A Drag Cabaret and the burlesque variety stylings of Decadence and Debauchery. Thom Yorke fans will want to check out Radiohead Uncovered: How to Disappear Completely. Here, audiences will be treated to 24 original choral and instrumental arrangements featuring 12 voices, as well as computer-generated imagery, live camera projections and 13 short films. Each of the latter has been crafted by local and international filmmakers especially for this show — all worshipping the English band. For the second year in a row, Sydney Fringe will also pay comic tribute to the movie that got Celine Dion's 'My Heart Will Go On' stuck in everyone's heads forever. Yes, that means that Titanic is sailing into this year's fest again — Titanic: The Movie, The Play, to be exact, this time into the Spiegeltent Festival Garden at the EQ Showring in Moore Park. If you missed it last year, it recreates the tragic romance of Kate and Leo as two lovestruck ship-dwellers attempting to overcome their different backgrounds, ignoring any rules about getting hot and steamy in someone else's car, and trying to avoid a pesky iceberg. And, you're meant to laugh along. Even now before the entire program drops, the list goes on, with The Mother hailing from Warsaw's Kropka Theatre, then Love/Love/Love/Love/Love featuring New Zealander Tessa Redman and Lilies and Dust getting teams sleuthing in a pop-up puzzle room to save a dead cat's soul. Or, there's also a trio of Sydney theatre pieces in Blacklisted, Betty Is a Butcher and Plenty of Fish in the Sea — the first about borders and belonging, the second a black comedy and the third pondering looking for romance. Throw in US play Monsters of the American Cinema, ABBA-themed queer bingo and reflections on being raised in a cult, and Sydney Fringe 2023 won't be lacking in vastly dissimilar events for audiences to choose from. Sydney Fringe Festival 2023 will take place from Friday, September 1–Saturday, September 30, with the event's full program set to be announced in the coming months. For further information in the interim, head to the fest's website.
If you mixed Thelma and Louise with Aileen Wuornos, blog culture, strippers and Jane Fonda, you’d probably get something nowhere near as aggressively raunchy as Workhorse Theatre Company's inaugural production. That Pretty Pretty, also titled The Rape Play, doesn’t so much delve into the dark corners of the human psyche as it does push them into the light with the barrel of a gun before blasting them into pieces that smack the audience in the face like wet fish. Playwright Sheila Callaghan was named one of Variety magazine's 10 Screenwriters to Watch in 2010, and certainly all eyes are on her as she rips the lid off modern issues like how we sensationalise war, treat women in the media and come to terms with society’s ideals. With two parallel stories, the play follows a pair of ex-strippers on a rampage across the US seducing and killing right-wing pro-lifers before documenting their gruesome exploits on their blog. This blog serves as inspiration for screenwriter Owen, who bangs out a script in a hotel room while his right-hand man Rodney goes around committing various sordid acts. When Owen decides to incorporate the strippers into his play, he causes the boundaries between script and reality to become blurred, and only a visit from Jane Fonda can prevent disaster.
Between the hustle and bustle of St Vincent's Hospital and a selection of universities and schools, Green Park provides the perfect opportunity for respite for city dwellers. Park up under a shady tree and watch the neighbourhood pups play. Throughout the 20th century, public concerts at the park's bandstand were popular, before the space was converted to a cafe in the 90s (which is now closed). Green Park is also the site of Sydney's Gay and Lesbian Holocaust Memorial, an inverted pink triangular prism backed by black pillars.
The National Art School is Australia's most important art institutions. From its home in the old Darlinghurst Gaol, the independent fine art school fosters local and international artistic talents through its short courses, residency and scholarship initiatives and jam-packed roster of exhibitions. In 2006, the school refurbished the historical A-Wing of the former gaol, which was built in 1841, and unveiled the National Art School Gallery. It is here that graduate and post-graduate student exhibitions are held, plus up to four major exhibitions each year.
For French teen Isabelle (Marine Vacth), sex is a huge deal, a world of fascination and dread, but her first underwhelming sexual encounter with German lunk Felix (Lucas Prisor) on a summer holiday leaves her nothing but cold. She imagines herself impassively watching the scene from a distance, completely bereft of feeling. She is next seen secretly working as a sex worker in Paris and leading something of a double life, vaguely deflecting questions about her romantic life and appearing to her friends a quiet, unremarkable student. Taking on the name Lea, she uses a website and a second phone to meet clients. There is something about the orderliness of the work that seems to appeal to her, a clarity about what will happen and what it will mean. Yet she seems to go about it with an air of dispassionate practicality, learning the tricks of the trade and methodically stashing money in her comfortable family home. As with previous Francois Ozon films (Swimming Pool, 8 Women), Young & Beautiful often uncomfortably positions the viewer as a voyeur; it begins with her brother spying on her as she loosens her bikini top at a beach and often balances queasiness with elegance. Also familiar is the structural formalism: it's presented as a story in four parts, with each quadrant focusing on a new season and matched with a Francoise Hardy tune. Neat construction aside, Young & Beautiful hangs on a breakthrough performance by the striking Vacth, a former model, who doesn't so much fill in the blanks of the essentially enigmatic protagonist but instead makes both her moments of provocation and melancholy absorbing. Working as a kind of counterpoint to the moments of finger-wagging didacticism in Lars Von Trier's recent Nymphomaniac, Young & Beautiful has no firm conclusions it wants to make about Isabelle's choices and is only cursorily interested in how or why she starts being paid for sex. Even as the story takes a darker turn as Isabelle begins being recognised by her clients and possibly becomes attached to Georges (Johan Leysen) — a mild-mannered, elderly john — writer-director Ozon largely eschews histrionics in favour of understated and gorgeously rendered ennui. There's also a pivotal cameo from Charlotte Rampling as Georges' wife, Alice, and sterling work from Géraldine Pailhas as Sylive, Isabelle's mother. It's a polished, stylishly ambivalent work, one that provides no easy answers for either its audience or its heroine. https://youtube.com/watch?v=cnaIFp_KrB4
When Darth Vader told Luke Skywalker that they're more than just mortal enemies, it became one of the most famous lines of dialogue in movie history (and one of the most mis-quoted). If you've seen Star Wars: Episode V — The Empire Strikes Back, you'll know that it's a powerful, memorable moment that changes the shape of the entire space saga. Even if you haven't, you know what we're talking about. Now, imagine just how epic it'll feel when you're watching the flick on a big screen and listening to John Williams' iconic score played by a live orchestra. Yes, The Force is strong in Sydney once more, with Sydney Symphony Orchestra staging the next in its Star Wars screening and performance on July 27 and 28 at the ICC Sydney Theatre. Jedis, wookiees and droids alike can expect a night of tussles between the Rebels and the Empire, Luke learning his true parentage, Han flirting with Leia and getting frozen in carbon, Chewbacca being awesome, R2-D2 being adorable and C-3PO being annoying (well, he is). Plus, it's the flick that marks the first appearance of Lando Calrissian and the first time 'The Imperial March' is heard. If you're thinking that it's a great time to be a Sydney fan of the George Lucas-created franchise, then you're right.The Last Jedi is still fresh in everyone's memories, Solo: A Star Wars Story is only two months away and these types of special events keep on coming — we've got a good feeling that Return of the Jedi will eventually get the same treatment as well. Image: Robert Catto.
If you only know two things about South Korea's film and television industry, then you likely know that it's been responsible for Parasite and Squid Game over the past couple of years. The nation's big- and small-screen output spans much further than that, of course — and, since 2010, Australia has boasted a film festival dedicated to its cinematic prowess. That'd be the Korean Film Festival in Australia, which started out as a Sydney-only event, expanded to Melbourne in its second year, then hit Brisbane in its third outing. Since then, it has made its way to other cities, too, with the just-announced 2022 lineup heading to Canberra as well. Across August and September — starting in Sydney from Thursday, August 18–Tuesday, August 23 at Event Cinemas George Street, and then hitting Melbourne's ACMI from Thursday, September 1–Monday, September 5; Canberra's Palace Electric from Thursday, September 1–Saturday, September 3; and Brisbane's Elizabeth Picture Theatre from Thursday, September 8–Sunday, September 11 — KOFFIA will screen 13 impressive titles that showcase Korean filmmaking's finest. And while that lineup mightn't be huge numbers-wise, it's still filled with massive names, including two of the biggest movies from any country currently doing the rounds of the international and Australian festival circuits. If you haven't caught up with it at Sydney Film Festival, or don't have it on your Melbourne International Film Festival schedule, make a date with Broker, the latest release from acclaimed Japanese filmmaker Hirokazu Kore-eda. The 2018 Shoplifters Palme d'Or-winner has made a movie in Korea — his first Korean-language film, in fact, and it's still exploring the director's favourite topics. That'd be the ties that bind and the connections of family, following two people who illegally take an abandoned infant from a 'baby box facility'. In another drawcard, Broker stars Parasite's Song Kang-ho, who won Cannes' Best Actor Award for his efforts. Also a must-see: Decision to Leave, a noir romance that saw Korean filmmaker Park Chan-wook win Cannes' Best Director gong. Anything that the Stoker and Oldboy director helms is worth a look, but the fact that it has been six years since his movie — 2016's The Handmaiden — makes his latest even more exciting. The rest of the KOFFIA lineup spans opening-night pick Special Delivery, a crime-action film from Park Dae-min that stars Parasite's Park So-dam; mystery Hommage, which again features a Parasite alum — this time Lee Jeong-eun — and charts the searching for missing footage from one of the first feature films directed by a South Korean woman; and In Our Prime, with Oldboy's Choi Min-sik as a North Korean defector and mathematical genius working as a school security guard. Or, there's The Roundup with Train to Busan's Don Lee as a cop chasing a killer; the 80s-set Escape from Mogadishu; and Spiritwalker, about a man who loses his memory and wakes up in a different body every 12 hours — and the list goes on. KOREAN FILM FESTIVAL IN AUSTRALIA 2022 DATES: Thursday, August 18–Tuesday, August 23: Event Cinema George Street, Sydney Thursday, September 1–Monday, September 5: ACMI, Melbourne Thursday, September 1–Saturday, September 3: Palace Electric, Canberra Thursday, September 8–Sunday, September 11: Elizabeth Picture Theatre, Brisbane The Korean Film Festival in Australia runs across August and September, touring to Sydney, Melbourne, Canberra and Brisbane. For more information or to buy tickets, head to the KOFFIA website.
I want to ride my bicycle, I want to ride my bike, I want to ride my bicycle, I want to ride it where I like… Yeah, it was Queen’s mantra back in the day, and will definitely be ours come next Sunday. All potential song thievery/plagiarism issues aside, Teneriffe will come alive on the weekend as bike riders flock to attend We Like Bikes. Whether you’re a toddler on a tricycle, a hipster on a fixie, or a fitness fanatic on a high-speed five-gear bike, you will fit right in. Hell, you could turn up on a penny-farthing and not be judged. In fact, you would probably be applauded. Organised by Brisbane City Council in conjunction with Bicycle Queensland, We Like Bikes is part celebration and part learning experience for those with an affinity for transportation that comes adorned with a bell. Activities on the day are as eclectic as a show by the Vulcana Women’s Circus (infamous for their five person bike), lessons on maintaining your bike by Turnstyle, and of course the Hot Rod bike competition where Brisbane’s flashiest fight it out. Plus it’s a given that there will be live music and delicious fresh food – served from a bicycle cart obviously. So cancel all plans, pedal your way to Teneriffe, and have a fun day out in the sun.
The Southern Hemisphere's first-ever Ace Hotel opened in Sydney back in May. As expected, it's offering super-sleek accommodation in the heart of the city, but the Ace also boasts a range of dining options including a top-notch lobby bar and Mitch Orr's stunning new restaurant, plus fun pop-ups and residencies from the likes of Summer Camp and FBi Radio. The latest limited-time takeover of the hotel is a holiday market coming to its Foy Lane cafe and wine bar Good Chemistry. This end-of-year market arrives at the laneway venue for three days from Thursday, December 8–Saturday, December 10. The stallholders have been curated by local artisans Elke Studios and Muck Floral who will both be on-site selling their signature jewellery and ceramics, and one-of-a-kind bouquets respectively. Muck Floral will also be getting into the festive spirit with native Wooly Bush Christmas trees available. [caption id="attachment_881327" align="alignnone" width="1920"] Gohar World Candles[/caption] Joining them will be Rare Books Paris offering rare design books out of Japan and out-of-print magazines, summer-ready t-shirts and accessories from NK Essentials, and Gohar World's hyper-realistic food candles. Pick up a pink Life Well Lived t-shirt for your cousin, impress your design-loving uncle with a rare magazine or fill the Christmas table with a pineapple upside-down cake candle. The market will be live from 4–8pm on the Thursday and 10am–5pm on the Friday and Saturday. [caption id="attachment_881323" align="alignnone" width="1920"] Studio Elke[/caption] Top image: Nikki To
It's the American cable TV network everyone knows by name in Australia, even though it doesn't air here. We all know its famed television static intro clip, too. That'd be HBO, which keeps carving out a place in TV lovers' hearts because it just keeps delivering must-see television programs. We've all just finished streaming our way through The White Lotus, after all — and next comes Scenes From a Marriage. As its name makes plain, Scenes From a Marriage steps inside a relationship, and finds that it's hardly a picture of domestic bliss. It stars two supremely watchable leads: Oscar Isaac and Jessica Chastain. The former was last seen on our screens saving the galaxy and fighting evil in Star Wars: Episode IX — The Rise of Skywalker, and will also show up in Dune when it finally hits cinemas. The latter last popped up in IT: Chapter Two and the straight-to-digital Ava. And if pairing them up sounds familiar, that's because they've already navigated a complex and fraying marriage in 2014's A Most Violent Year. Given that their last collaboration turned out phenomenally, seeing Isaac and Chastain team up again looks to be a treat. And if you know your classic Swedish TV, you'll know they're following in footsteps other than their own, too. If that doesn't apply to you, this miniseries is adapted from an iconic work by one of the best Swedish filmmakers ever — the late, great Ingmar Bergman. Chastain plays Mira, a tech executive who is unhappy in her marriage to Isaac's Jonathan. He's keen to save their relationship, but marital troubles are never that straight forward — as this series promises to explore through the couple's private conversations. HBO is positioning its version of Scenes From a Marriage as a "re-imagining", which means that it shouldn't fastidiously stick to the original's beats, and it'll also jump to contemporary times. It'll still explore love, hatred, desire, monogamy, marriage and divorce, though. As the just-dropped full trailer shows, it's obviously going to get emotional. Writer/director Hagai Levi (In Treatment, The Affair) does the honours behind the lens — and you'll be able to watch and stream the full series via Foxtel in Australia from Monday, September 13, with new episodes airing weekly And yes, thanks to not just The White Lotus, but to everything from Watchmen, Chernobyl and The Undoing to I Know This Much Is True and Mare of Easttown, HBO has had a particularly great run with its miniseries recently. Obviously, that's yet another reason to be excited about Scenes From a Marriage, too. Check out the trailer below: Scenes From a Marriage will screen on and stream via Foxtel in Australia from Monday, September 13.
If you're already planning summer road trips, here's one that gives you music and beaches. Happening in the pretty North Coastal twin towns of Forster-Tuncurry on Saturday, January 12, Grow Your Own will bring together a stack of Aussie talent. Leading the program are Sydney rockers DMA's and The Preatures, alongside Hockey Dad, who hail from Windang, just south of Wollongong. Also travelling from down south is Totty, who recently signed to the Dune Rats label, while singer-songwriter Mallrat will come down from Brissie to perform a set from her debut EP, In The Sky. Look out, too, for Jack River (aka Forster local Holly Rankin) who is not only performing, but running the event as festival director. "We're deeply excited to present Grow Your Own's biggest line up yet, with acts coming from all over the country as well as many from our own backyard," she said. "Our homegrown ethos runs through every cell of the festival, right down to the fences and the food." In between getting down to the music, check out a myriad of art installations, bars and offerings from local growers and producers. Tickets go on sale this week and come in at under $100. Images: Ben Everden.
A decade has sashayed away since Bianca Del Rio won the sixth season of RuPaul's Drag Race. After emerging victorious over Australia's own runner-up Courtney Act, the drag queen and comedian has been conquering Down Under stages ever since. Among multiple tours over the past ten years, the fabulously quick-witted talent last brought her Hurricane Bianca whirlwind this way in 2022 — and she'll next break out her devilish snark and timing in 2025. The global favourite keeps building upon her massive past decade or so, with the dimple-cheeked performer doing everything from tours upon tours to hitting the West End stage in the musical Everybody's Talking About Jamie and also popping up in the film version as well. Then there's 2016 comedy Hurricane Bianca and its 2018 sequel Hurricane Bianca: From Russia with Hate, plenty more appearances on various Drag Race seasons and specials, web specials, music videos and even an episode of Celebrity Family Feud. Accordingly, you know what to start watching in preparation for Del Rio's Dead Inside gigs in Sydney — although, as you'll know if you've seen her live before, there's nothing like seeing her in the flesh. Del Rio's 2025 visit will break out the cutting insults — plus her larger-than-life persona in general — across two nights from Friday, February 7–Saturday, February 8 at the State Theatre.
It has been eight months since Petersham bid farewell to its iconic 1950s-style diner Daisy's Milkbar. And while they were always going to be big shoes to fill, the suburb might just have found a worthy successor in the Stanmore Road site's newest resident, The Sunday Baker. A cheery bakery cafe with a striking pink facade, this one's helmed by a mother-daughter-daughter trio and it's specialising in fun, feel-good food. Inside, you're greeted by an upbeat pastel colour palette, with an offering of brunches, lunches and signature sweet treats to match. Floral bouquets top the tables, while the words 'you bake me happy' adorn one wall. It's the suite of house-made baked goods that takes centre stage here, with creative options like golden Gaytime cupcakes and Iced VoVo-inspired mini cakes beckoning from the front cabinet. That said, you'll find plenty more tempting creations on the all-day cafe menu, from maple baked beans served with coconut yoghurt and savoury granola, to the 'Boujee B&E; roll featuring smoky tomato relish and Japanese mayo on a soft milk bun. There's also a raft of fun choices for pint-sized diners, and dishes aplenty for vegan and gluten-free guests. This newbie is throwing some serious support behind its inner west producer fam, too, showcasing locally-made wares right throughout the menu. Keep an eye out for brined delights from I Made A Pickle, artisan tea by T Totaler, relishes and jams courtesy of Dulwich Hill's Drunken Sailing Canning, and coffee from Newtown-born roasters Campos amongst them. Find The Sunday Baker at 340 Stanmore Road, Petersham. It's open Tuesday to Sunday, from 7am–4pm.
If you love a hearty luxe feed paired with delicious beverages, you should make your way to this exclusive event at Bistro George at Jacksons on George. Head chef Steven Sinclair has developed a gin-infused four-course feast to celebrate the launch of Roku Gin Sakura Bloom Edition — the first in Roku Gin's Seasonal Festive Collection — on Wednesday, October 30. Roku, which translates to 'six' in English, is made with six Japanese botanicals. Each is plucked at the peak of its seasonality — as is the Japanese practice of Shun. Sinclair shares this passion for using ingredients when they are at their best, and as spring is here, he has a lot of options at his fingertips. He's going a step further with this menu and has inserted Roku Gin into every dish. The four-course meal starts off strong with Sydney rock oysters and a zingy Roku Gin and tonic granita to prepare your palate for what's on offer. Next up is a Roku Gin-cured Ora king salmon gravlax with fresh green apple, dessert lime for a pop of freshness and a warm sourdough crumpet. This is served with an S&T, a classic gin and tonic made with the Roku Gin Sakura Bloom Edition. If you love the vodka pasta trend, Sinclair elevates it with his Rigatoni al Roku Gin with fermented chilli and parmigiano reggiano. Taking a step away from traditional spring-themed dishes, the main dish is a dry-aged Wollemi duck with duck neck sausage dressed in a luscious sauce made with Roku Gin, queen garnet plum and juniper. These main dishes are paired with a Pink Sakura cocktail. It is made with the limited-edition gin with apricot, honey-fermented blueberries and lemon. To finish up, guests will be served a blood orange and Roku Gin tart, topped with creme fraiche and Alto olive oil. It is paired with Bistro Blossom, a toast to the evening's festivities made with Roku Gin Sakura Bloom Edition, lychee, rhubarb and anise. In addition to the creative gin-fused menu and paired cocktails, guests will go home with a full-size sakura-scented perfume from Grandiflora. It was crafted by florist-turned-perfumier Saskia Havekes, founder of Grandiflora (50ml, valued at $220), who used the limited edition gin as the template for the bespoke fragrance. This fragrance will only be available at the exclusive Roku Gin and Grandiflora events happening throughout spring in Sydney. Tickets to this exclusive dining event are limited. Be sure to book in fast to secure your spot. Find out more information on the event website. Roku Gin Sakura Bloom Edition is available at Dan Murphy's stores nationwide. Find out more info and purchase on the website. Images: Supplied
Though the sun is still shining high, we're sorry to say that cooler nights are just around the corner. But now is not the time to wallow. Instead, you've got to give these last licks of summer all you've got. This is especially true on the date front. We've put together a list of outdoor adventures for you and your date to enjoy before the hot days and balmy nights disappear. Go for a picnic by the water, a sunset cliff walk or a film under the stars. These aren't your usual go-to date destinations, and each and every single one is primed for BYO. Just don't wait on it — the autumn chill will be here before you know it.
Grab your leg warmers, throw on some lycra and get your skates on, literally, at the frostiest, quietest event in the Vivid lineup. Yes, the Silent Disco Ice Skating Festival is back for another round of peaceful gliding fun. If you've always wanted to relive Blades of Glory, here's your chance. From May 26 to June 9, a purpose-built ice rink will transform Chippendale's Central Park Mall. Take to the floor, put on your headphones and skate along to live DJ sets, with Bobby Gray/BBG — aka one half of dance music duo SVSSY — and DJ Urby among those spinning tracks. The silent disco fun kicks off at 4pm daily; however anyone just keen for some ice time, sans tunes, can head along from 10am. Regardless of the time of day, capacity is limited to 45 people at a time, with sessions running for 30 minutes starting on the hour, every hour. Sounds cool as ice, doesn't it? Or even better, really, given that Cool As Ice is actually the name of a Vanilla Ice-starring '90s rom-com that somehow doesn't involve ice skating. Throw in the fact that it's all free, and it's a winter wonderland indeed. The Vivid Silent Disco Ice Skating Festival runs from 4pm daily between May 26 and June 9. General ice skating is available from 10am. For more information, check out the event website.
Hanami and Japan go hand in hand, but what if you could indulge in the art of flower viewing a bit closer to home? Well, that's where the Sydney Cherry Blossom Festival comes in. It's an annual celebration of everyone's favourite pink flora in Sydney's west. Between Saturday, August 20–Sunday, August 28, the Auburn Botanic Gardens will transform its Japanese Gardens into a beautiful, blooming wonderland. Across the nine days, you'll be able to ramp up your appreciation of the fleeting natural phenomena that is cherry blossom season by viewing the eye-catching blooms in the lead-up to spring. Tis the season, after all. And taking in the spectacular scenery isn't the only thing you'll be doing. There'll also be an array of Japanese food trucks serving sakura burgers, onigiri, cherry blossom-themed waffles or bubble tea, and cakes from Tokyo Lamington. There will also be a range of activities like a putt-putt golf course, music from Parramatta foodie DJ Levins, a mocktail bar and roaming appearances from Hello Kitty. Tickets cost $11.75 for general admission and are free for Cumberland residents and children 16 years and under. The event will run from 9am–5pm daily with each visitor booking in a 45-minute timeslot to attend. Images: Destination NSW.
A Sydney institution, White Rabbit Gallery has been running free exhibitions showcasing contemporary Chinese art for over a decade. From focusing on all things luminous to deep dives into the art of storytelling, the White Rabbit team continues to wow Sydneysiders with thought-provoking collections. The Chippendale favourite's latest is A Blueprint for Ruins, running until May, and examines the pitfalls of modernity and a lack of humanity that can sometimes be felt in global cities. Artist Hu Weiyi, whose giclee print is being displayed in A Blueprint for Ruins, writes: "it's as if every abandoned building, about to disappear, is attempting to sing its last note, and eventually they will come together to form a requiem for an era". The traditional and the hyper-modern collide across the exhibition, conjuring an eerie feeling as it explores places where the people that occupy them are often forgotten. As you wander through the multi-storey space, you'll discover glossy neon-lit rooms, intricate porcelain artworks, footprints on paper, antique lamps, bronze artefacts and video projections. As with any White Rabbit exhibition, it's best to visit yourself, bringing an open mind as you discover the meticulously curated artworks and create connections of your own. Luckily, entry is completely free, and the gallery is open 10am–5pm Wednesday–Sunday, so you've got plenty of opportunities to do just that. You can also turn the trip into a real double-header by placing your name into the ballot to score tickets to Phoenix Central Park, the gallery's neighbouring concert venue. The current season at this intimate hall features free performances from Mulalo, FRIDAY*, Tim Hecker, Maple Glider, Tex Crick and Lydia Lunch. Images: Hamish McIntosh.
Revenge is a dish best served sandy in Dune: Part Two. On the desert planet of Arrakis, where golden hills as far as the eye can see are shaped from the most-coveted and -psychedelic substance in author Frank Herbert's estimation, there's no other way. Vengeance is just one course on Paul Atreides' (Timothée Chalamet, Wonka) menu, however. Pop culture's supreme spice boy, heir to the stewardship of his adopted realm, has a prophecy to fulfil whether he likes it or not; propaganda to navigate, especially about him being the messiah; and an Indigenous population, the Fremen, to prove himself to. So mines Denis Villeneuve's soaring sequel to 2021's Dune, which continues exploring the costs and consequences of relentless quests for power — plus the justifications, compromises, tragedies and narratives that are inescapable in such pursuits. The filmmaker crafts his fourth contemplative and breathtaking sci-fi movie in a row, then, after Arrival and Blade Runner 2049 as well. The vast arid expanse that constantly pervades the frames in Dune: Part Two isn't solely a stunning sight. It looks spectacular, as the entire feature does, with Australian cinematographer Greig Fraser (The Creator) back after winning an Oscar for the first Dune; but as Paul, his widowed mother Lady Jessica (Rebecca Ferguson, Silo), and Fremen Stilgar (Javier Bardem, The Little Mermaid) and Chani (Zendaya, Euphoria) traverse it, it helps carve in some of this page-to-screen saga's fundamental ideas. So does the stark monochrome when the film jumps to Giedi Prime, home world to House Harkonnen, House Atreides' enemy, plus Arrakis' ruler both before and after Paul's dad Duke Leto (Oscar Isaac, Spider-Man: Across the Spider-Verse) got the gig in Villeneuve's initial Dune. People here are dwarfed not only by their mammoth surroundings, but by the bigger, broader, non-stop push for supremacy. While there's no shortage of detail in both Part One and Part Two — emotional, thematic and visual alike — there's also no avoiding that battling against being mere pawns in an intergalactic game of chess is another of its characters' complicated fights. When the tales that Herbert started penning almost six decades ago — the first Dune book hit shelves in 1965 — made their 2020s-era cinema debut, it was by splitting the writer's introductory trip to Arrakis in half. As the film's title card made plain, Villeneuve always hoped-slash-planned that a second movie would follow. It was a savvy gamble, and it's still paying off. Even in just the opening recent Dune flick (David Lynch got there first in the 80s), breaking the 896-leaf text in two for cinema allowed the story's intricacies to unfurl unhurried. It also ensured that its figures gained flesh and complexity beyond propelling the plot. Crucial to Villeneuve's take on Dune, and to his work in general, is seeing and feeling the minutiae; Paul's path and inner conflict, and Chani's reaction to it in particular, wouldn't cut as deeply otherwise. Without personal stakes, neither would the overall narrative, with its musing on what it means to seek command and dominance — or perhaps shirk it — as well as the resulting ripple effects. House Atreides' move from the lush, ocean-filled Caladan to Arrakis fuelled Part One. Relocating came via decree, not choice — and the bloodthirsty Harkonnens, led by Baron Vladimir (Stellan Skarsgård, Andor) with his brutish nephew Beast Rabban (Dave Bautista, Guardians of the Galaxy Vol. 3) doing his bidding, were about as happy with the change in planetary control as expected of their usual vicious demeanour. Before the movie was out, management had reverted back by force, leaving Paul and Jessica in hiding after House Atreides was betrayed and decimated. As scripted by its director with the also-returning Jon Spaihts (The Mummy), that's where Dune: Part Two picks up, with many Fremen still wary of aiding the two outlanders. But Stilgar is unwavering in his certainty that the new saviour that's been heralded for generations — the Lisan al Gaib, as incited by the Bene Gesserit, a string-pulling sisterhood sect — is Paul. Although 1998 album You've Come a Long Way Baby doesn't contain Fatboy Slim's overt reference to Dune, aka 'Weapon of Choice' with its "walk without rhythm and it won't attract the worm" lines, that record's moniker does describe Paul's journey throughout Dune: Part Two. Also, while Hans Zimmer (Top Gun: Maverick) is on score duties again, commandingly so, thinking about 'Weapon of Choice' is unavoidable when Villeneuve has added Christopher Walken (Severance) to the cast as Emperor Shaddam IV. So, as the House Corrino head and leader of the known universe believes that the Atreides bloodline has been vanquished — daughter Princess Irulen (Florence Pugh, Oppenheimer) isn't as confident — Paul trains to be one of the Fremen's guerrilla-esque Fedaykin fighters. He conquers riding sandworms like chariots, and also Chani's heart, even as she's unfailing in her contention that a messiah is another form of dictator and promising one is purely a method of subjugation. Wresting back Arrakis from the Harkonnen, partly by sabotaging their spice-mining operations, is one of Paul's aims. Again, revenge over his slain father is another. Dune: Part Two makes its time with the Fremen, both in the desert and in cave cities, so rich and textured and human that its departures elsewhere are jarring. That's by immaculate and meticulous design, of course, with the aforementioned shift from Arrakis to Giedi Prime — where the twisted Feyd-Rautha (Austin Butler, Elvis) is another nephew to the Baron, and even more savage and ruthless, especially in a helluva unsettling yet entrancing gladiatorial scene — proving especially impactful. The two settings are desolate in their own ways, but there's no trace of warmth or hope in the black-and-white realm where the Harkonnens only know callousness. As the Bene Gesserit, via Jessica, her superior Gaius Helen Mohiam (Charlotte Rampling, Benedetta) and the resourceful Lady Margot Fenring (Léa Seydoux, Crimes of the Future), keep trying to bend the galaxy to the matriarchal group's will, grappling with power is a desolate endeavour, too. In a telling that earns its 166-minute length due to its sheer weight, through being so nimble in laying out its story and anchoring more possible chapters (there's another five Herbert novels, and others on top since his death), Paul's is a tale of being haunted by his role, future and its implications. Unsurprisingly for a film where dialogue is not just spoken aloud but also communicated telepathically, there's a compelling interiority to Chalamet's second Dune turn. It's pitch-perfect, and in line with everything that Paul is wrestling with; he's equally excellent in action-hero mode in crisply staged and shot heists and frays, doing the Benjamin Millepied (Carmen)-choreographed sandwalk, giving rousing speeches, being plagued by visions and swooning amid the spice with Zendaya's Chani. In one of her best performances yet, she's the second of the feature's standouts and its emotional centre. Every feeling that's pumping through Chani's veins, from love and dedication to skepticism and disappointment, the audience experiences as well. The third: Butler's ferocious effort, which gets everyone shaking in a far different manner to his Academy Award-nominated stint as the king of rock 'n' roll. Indeed, with portrayals this potent, and everything seen and heard matching — the feature's technical feats are again impeccable and astounding — Dune: Part Two leaves its viewers saying thank you, thank you very much not only to this grand marvel and its predecessor, but to the potential for more spiciness to come.
