Since it premiered at the 2024 Venice International Film Festival, earning Nicole Kidman the event's Best Actress prize in the process, two scenes from Babygirl have received the internet's ample and avid attention. In one, intern Samuel (Harris Dickinson, The Iron Claw) orders CEO Romy Mathis (Kidman, The Perfect Couple) a glass of milk, unprompted on her part, in a public bar at after-work drinks with their colleagues, keeping his eyes affixed in her direction from across the room as she sips it. In another, George Michael's 'Father Figure' soundtracks a slinky hotel-suite dance — a romp that's equal parts seductive and awkward — that's given by Samuel as Romy watches on. As it charts the duo's heated affair, and the yearning for satisfaction that's driving it so deeply, Babygirl is filled with moments that linger. It's teeming with sequences that other movies to follow are bound to nod to, remake, covet and wish that they had conjured up first, too. It starts with one, with Romy and her theatre-director husband Jacob (Antonio Banderas, Paddington in Peru) getting intimate at home in bed, then Romy rushing to another room to finish the job alone. Another pivotal scene arrives early, as the picture's central pair initially meet on a New York City street. They're both headed to the same place — it's Samuel's first day at Romy's robotics automation company, in fact — but before she knows who he is or that he's working for her, she's spellbound by how he calms down a dog that lunges her way. With her third feature behind the lens — her debut, 2019 Dutch drama Instinct, inspired Kidman to get in touch; 2022's Bodies Bodies Bodies, her second, saw the filmmaker give horror-comedy a delightfully entertaining spin — writer/director Halina Reijn clearly knows how to get viewers to submit. Watching Babygirl means surrendering swiftly to a smart and savvy exploration of desire, identity, control and vulnerability. It means being plunged into Romy and Samuel's thorny relationship, and all of the emotions that it swirls up, as Kidman and Dickinson turn in magnetic, raw and fearless performances. It also means being taken in by a reimagining of the erotic thriller with an unyielding female gaze. And yes, Reijn is well-aware, as viewers also should be, that a film like this, that addresses the orgasm gap and follows a woman seeking sexual fulfilment, mightn't feel so bold and rare in a perfect world where more such movies existed. Part of Babygirl's complexity is the dynamic of submission and domination between Romy and Samuel. Often daring, confident, assertive and brazen, he's largely in the latter role, but he can also be vulnerable and uncertain. At the office, in their professional realm, at the business that she founded and now leads, she has the power. One thing is certain chatting with Reijn and Dickinson, however: making a picture that's not just an erotic thriller, but a comedy of manners in its own way, a clear fantasy, a relationship drama, a kinky romance and a workplace thriller as well, they both happily submit to Kidman worship. When he chats with Concrete Playground, Dickinson has his pile of discs from the Criterion Closet, aka every cinephile's dream location, within reach. Taking us through his picks, he holds each DVD up: "one of them is our dearest Nicole," he beams with To Die For in his hand. Reijn's admiration for Kidman started as an actor herself, with her performing career dating back to the 90s. For challenging theatre parts, the Black Book and Valkyrie star would think about the Aussie talent, and attempt to channel her bravery. "She's god," Reijn tells us. Dickinson's role in Babygirl joins a resume that features one of the all-time great big-screen debuts, with his also-hypnotic turn in 2017's Beach Rats instantly marking him as a certain star. His filmography since constantly proves that true; after parts in TV's Trust and as a Disney prince in Maleficent: Mistress of Evil, the 2020s have kept him busy. See: everything from franchise entry The King's Man and the page-to-screen Where the Crawdads Sing to whodunnit See How They Run, Palme d'Or-winner Triangle of Sadness, Emma Corrin (Nosferatu)-led TV must-see A Murder at the End of the World and the World War II-set Blitz. With Beach Rats, The Souvenir: Part II, Scrapper and now Babygirl, he's also enjoyed a stellar run working with female filmmakers. "I've always been really lucky with the films that have come my way and the directors that have come my way, and a lot of them being women, and I've just been grateful for that," Dickinson advises. "Whether it's coincidence or not, I think that a lot of these women you're talking about have a deep access to a certain sensitivity, and an understanding and a humour, that maybe other people don't have. I guess I'll go where they go — and I'll go where they lead me." A couple of trends pop up with Babygirl for Reijn as well. Kidman sits at the heart of them. Casting her female lead in a New York-set, and Christmas-set, erotic thriller about a complicated marriage, Reijn sees the film as a female-skewed response to Eyes Wide Shut, which ticks all of the same boxes. As Australian viewers can't avoid noticing, there's more than just one Aussie touch to Babygirl, too, with Talk to Me's Sophie Wilde playing Romy's assistant Esme and 'Never Tear Us Apart' by INXS on the movie's soundtrack. "It is coincidental, but I don't think it is coincidental," Reijn notes. How did the writer/director shape Babygirl from hearing from a story about another woman from a friend? How did she purposely invert the status quo of 80s and 90s erotic thrillers — and also approach juggling her movie's eager mix of tones? Why was Dickinson initially a little reluctant to sign on, and what did he tap into as Samuel? What goes into a great dance scene for him? We also spoke with Reijn and Dickinson about all of the above, plus much more. On How Babygirl Evolved From Reijn Hearing From a Friend About a Woman Who Had Been Married for 25 Years Without Orgasming with Her Husband Halina: "Honestly, what happened was my response to it. Which was 'what, that's insane!' — something like that. And I went home and I was like 'wait, why did I react like that?'. It was almost like I was judging it. I was like 'no, that can't be true'. Then I started to think about my own experiences that I often had thought about in the past, that it took too long for me to orgasm at the hands of a man — and that I was very insecure, and that I had faked it on occasion just to make him feel better or to just get it over with, or because I was so ashamed and I didn't dare to really ask for him to change the way he was doing it or whatever. Then I started to talk to other women. I was losing it because I was so afraid to do it, but I just forced myself to talk to my girlfriends, to ask them like this, like 'can I ask you something?'. And then it turned out that a lot of my friends had similar stories. Then I started going online to research it, and then I just found out there's a huge orgasm gap. And we're not talking about it. Not enough, not in Hollywood movies. And part of the problem is that the stories that we see, for all the pornography that we see, but also the Hollywood movies — TV is a little bit ahead of us — Hollywood movies are letting women have orgasms in ways that are not possible physically. Even movies that are arthouse, even movies that are supposed to be half produced by women. So I felt it was time to really talk about that — and as a symbol for women in general, for women not orgasming or women not daring to ask for what they want on a deeper existential level, and women not having space enough to even explore themselves." On the Run of Projects That's Led Dickinson to Babygirl — and What It Means to Enjoy Such a Diverse Range of Work Harris: "It's been just a dream, and I've been so lucky that people have let me do this as a job still. I pinch myself every day with the realisation that I get to act and play all these different people, and get to do it with people that I admire. Triangle of Sadness was a huge thing for me. Being part of that was a real turning point. And same with Scrapper and The Iron Claw — all of those things you mentioned are just all in such different worlds. That's the goal for me, is to step into really different, unusual worlds that challenge me as a performer and force me into new versions of myself as well — new skins. Not to sound pretentious, but that's all I ever wished for, is just to have a versatile set of experiences and roles. And I've really been able to, I've been offered that, so I'm grateful." On How Reijn Fleshed Out Babygirl's Narrative Around a Woman in a Sexually Unfulfilling Long-Term Marriage Halina: "I think it all came from the question that I had, because I felt as women, we are so conditioned to become what others — or what we think others — want, and want us to be. So what society expects of us: that we should be perfect mothers and perfect career women and perfect daughters and perfect lovers, and have a perfect vagina and a perfect face. And look young. I felt that all of that, and the idea that we're playing all these different roles and that we're performing all of these different roles and forget to be our authentic self, that made me ask the question: is it possible to love all the different layers of myself? Because if I would accept the darker sides of myself, I would maybe be able to be more my authentic self and let go of all these ideas of perfection. So that is where all the ideas came from. I just thought 'what is the best profession, then, for her to have?'. It's all about chaos and control, really, and so I thought it would be very appropriate for her to be a CEO of a robotics company. Because she's a product of the sexual revolution, she grew up in cults and communes, she was named by a guru — and her whole life is an answer to that, which is the white picket fence, total control. And I thought it's kind of like the beast against machine, if you want to exaggerate it. And the whole movie is informed by that contradiction between control, surrender — the beasts, the civilised layer of ourselves." On What Dickinson Drew Upon to Play a Character Swinging Between Control and Surrender Harris: "Everything. Insecurity and pain and anger and love, it's all part of it, isn't it. It all boils down to what it means to be a human — and I think just normal everyday stuff as well. But the stakes for them, the stakes for them were higher. The stakes of the relationship and the affair, they were high. Confusion as well. Navigating something that you don't understand. Navigating feelings of your own that you don't understand." On How Reijn Knew That Dickinson Was Babygirl's Samuel Halina: "The moment that Nicole said 'I want to do this', first I couldn't sleep for joy and I was overexcited and full of adrenaline. But the next thing is, of course, who's going to play that young man opposite her? Who's going to be able to not only be challenging her as an actor, but be dominating her in these scenes? Someone like her, a total icon and one of the best actors on the planet, how are you going to find a young person to be able to match that? And then, weirdly, during that time I saw Triangle of Sadness. And I had never seen him before. I was so intrigued. And then I went home, and that night I saw Beach Rats, and I was mesmerised. Already Triangle of Sadness had me completely intrigued. But Beach Rats — and then I just saw all of his work, anything he did, the shortest movies, the old movies, everything. I a) got obsessed — and then I also found out that he was very tall, which might sound weird, but it is very important me. As an actress, I've had so many scene partners where I didn't feel that I could show my full strength because I was afraid that they couldn't hold it, not only physically but also emotionally. And so I felt 'this is just a perfect guy, he is the perfect age'. I was lucky enough to get a Zoom with him after he read the script, and and that only made me more confident that I had to have him. But it took me a couple of conversations with him because he was quite — he's very British, he's a very strong-willed person, and I really had to convince him that my movie would be an exploration of consent and power and surrendering control in a layered, complex way, and it was not going to be 50 Shades of Grey. And then he said 'yes', and both me and Nicole knew, even without — she didn't even meet him — we both knew it was going to work out. They met at the most-crazy place, they met at the Met Gala, because they were both there. I texted them both, I was like 'try to find each other'. And I was like a mother sitting here in my apartment — 'aaah, I hope it's going to work out'. Then they both texted me that they felt the other person was amazing, and then we were off to the races." On What Convinced Dickinson After His Initial Reluctance — and What He Was Keen to Explore Harris: "I think it was that initial fear that made me want to do it. And Halina, Halina, I trusted Halina, talking to her and understanding her vision for it and her approach. It made me trust her. It made me intrigued. I wanted to be in her world. I think the character itself was really complex. The opportunity to play someone that was kind of unreliable in their approach, they share information that is unreliable, I liked that. I liked that there was unanswered questions around who he was and where he came from and how he got there. I enjoyed those ambiguities. Also his manner and his directness, and his chameleon-like capabilities. They were all qualities that intrigued me about him. And getting to have fun within those scenes, play the humour and play the embarrassment, I thought it was all very nuanced and human stuff — so always exciting for an actor to jump into." On Reijn Casting Her Long-Held Source of Inspiration in Kidman Halina: "She contacted me after my first movie and that was, of course, a moment of total insanity for me. I thought I was having a psychosis when she contacted me, because I literally carried her around in my heart for so long as a torch against fear. Because I was part of a theatre group that made very, very radical theatre, so I had to do very scary things and I would always channel her. So it was insane to me when she called me. And then we just immediately hit it off, because I think what really connects us — and I mean, for me she's god, so I would never compare myself to her — but what is similar is that we both, however, in life we all have ego, we all have fear, we all have vanity, we all have all these worries about small things, but when she starts to act, or when she embarks on a creative journey, her vanity and ego is at the door; I think that is for me exactly the same. So whatever I am in my daily life, which is a totally a flawed, weird clown, when I start to be creative, there's ego death. There's complete ego death. And that is what connects us and makes — it's almost like a twin soulmate feeling. She calls it sometimes that we communicate through telepathy. And so working together became this really strange, almost-spiritual experience, in which we both just felt such an urgency to tell this story, and such dedication — and also to the humour of it and the playfulness of it and the lightness of it. And to bring warmth to this story, and to hopefully inspire women to liberate themselves a little bit more. That's what I think connects us." On What Excited Dickinson About Collaborating with Kidman Harris: "She's just got such an incredible body of work. She's so impressive. And everything that she's done, she's worked with some of our finest directors. I just was massively excited to get to watch her work, but also work alongside her and really get a chance to be close to that as a performer. But separate to that, she's just a lovely person. She makes everyone around her feel very encouraged and collaborative and creative, and that's just all you could ever ask for in this scenario. It's a difficult subject and it's some vulnerable stuff, and you want someone that's going to go there all the way with you." On Reijn's Embrace of the Eyes Wide Shut Connection, Knowing That Audiences Would Bring Their Knowledge of Kidman's Filmography to the Movie Halina: "When she came onboard, when she said 'I want to play this character' — and what also happened, so first of all, that, of course that it was going to be her, but then the strike happened. And I wrote the whole movie for summer, so I wrote that the second home is going be in The Hamptons, and they were going to be swimming in the ocean. It was completely, in that sense, a very different energy field. Then, because of the strike, we had to reschedule to Christmas. And A24 called me and said 'after the strike, the moment the strike ends, you need to rewrite, you need to rewrite the whole thing. It needs to be Christmas'. And then, of course, I thought Eyes Wide Shut, because it's the best Christmas movie ever. [caption id="attachment_652177" align="alignnone" width="1920"] Eyes Wide Shut[/caption] But I also thought about Eyes Wide Shut that it was funny that, if you look at Eyes Wide Shut, of course it has a lot of similar themes about midlife crisis, about sexual exploration, about monogamy versus polygamy, and all of these things — but she only tells him her fantasy, then we go on the whole journey with him, almost as a revenge, as a kind of Pandora's box is opened and now he has to go on this journey. It's an amazing journey but what is her journey? We don't know. We don't go there. We just hear her talk about it. We get some flashes. So I thought it is actually an answer in a way, but I only thought this after the fact, to be honest with you — it's an answer to Eyes Wide Shut. It is a female's journey into what is sexuality, what is monogamy, what do I really want and how hard is it to talk about that in an intimate, very long-term relationship, and how easy, weirdly, is it to be with a stranger and to reinvent myself with this young, strange man? That paradox is amazing to me. I am very grateful that there is some sort of strange magical connection between those movies." On How Dickinson and Kidman Brought Both Chemistry and Awkwardness — and Attraction and Uncertainty — to Romy and Samuel Harris: "Well, we didn't do loads of work. We had some rehearsals, but we really tried to focus on just getting the reality there and finding the nuance. But mostly it just came from not discussing stuff and just trying it. And we didn't talk a bunch. We didn't get to know each other loads. We just did it and tried it and didn't get in the way of ourselves too much, and I think that ended up working out for the best." On the Babygirl's Tonal Balancing Act Harris: "It's always tricky figuring out the tone, what kind of thing you're in. But it starts to fall into place, especially when you have a very strong, assertive voice with a director like Halina — you end up just trusting them and trusting their vision for it, and you fall into place. And it becomes the film it's supposed to be. All of that stuff that you try, it gets mixed up into the pot and then the dish gets made. You throw it all in, you throw the ingredients and you see which ones come out the other side." Halina: "I thought it was incredibly hard to — I really, as an actress, I'm retired now, but I got so many scripts in my life that I didn't understand the tone. It was like 'what do they want?'. So I felt it was my duty to make it very clear, especially because I take this challenge of 'oh, I'm going to make my own genre' —well, then you better know what you put on the page. So I really try to capture the tone in my writing — and on purpose, because this is how I feel. This is where we stand, I feel, as women. We just got the right to vote. Until 1987, we had to have a male guardian with us to get a business loan. It's still proven that if we lose ten pounds of weight, that we get a promotion in our work easier than if we get a master's degree. We're nowhere. So I wanted to show that in how I use genres. So I start out with these very masculine sexual thriller references,of the 90s. And then I venture into a world where everybody turns out to be ambiguous, and it's way more relatable and human and complex and nuanced. I'm using, on purpose, I'm swapping gender — like the scene in 9 1/2 Weeks where Kim Basinger is stripping to a Joe Cocker song and Mickey Rourke is sitting there watching her, I wanted to really copy that scene, but then reverse the gender, swap the gender, where Nicole is sitting there and he's dancing to 'Father Figure'. And all these little Easter eggs, so that you can continually be confused about who has the power, who's chasing who, who's blackmailing who — and is the woman in control, or is she the mascochist, or is her masochism super dominant? And that is where the comedy of manners element steps in and it becomes more of a fable and a fairy tale. And yes, what was hard about it is that I wanted it to be funny. And sex and humour is not always easy to connect, just like horror and humor in Bodies Bodies Bodies was a hard balancing act. But I just love that kind of challenge. Not everybody gets it, because some people feel that when people are laughing in the audience at Babygirl, they feel they don't want that. They want people to not laugh about it because they take it so seriously. But it's meant to make you laugh. It's meant to show you how we're all helpless as humans. We're just trying to control the chaos, but we can't. And that's what my movie is about, it's about pure vulnerability. So it was a balancing act, but I really enjoyed it." On What Goes Into a Memorable Dance Scene, Such as Babygirl's Seductive-Yet-Awkward Hotel Moment, for Dickinson Harris: "Well, I think you said it: seductive, awkward. You don't want it to be too rehearsed. You want it to be silly. You want it to be meaningful. You want it to be awkward. You don't want to be like some Magic Mike planned thing — it's got to feel authentic to the character. But also, I think in that particular scene – well, there's the two dance scenes. There's the rave, which is something different, that's just total hedonism. And then in the hotel, it's almost like a little mating call. He's feeling it out. He's performing to her a little. He's embarrassed. But he's also kind of enjoying the freedom of it. It's like a little bit of liberation for him as well. So there was a lot a lot going on in that scene." Babygirl opened in cinemas Down Under on Thursday, January 30, 2025.
First, the obvious fact: everyone watched plenty of films over the past year. We all ploughed through our streaming queues, checking out everything and anything that each and every platform served up — and we did it for the bulk of 2020. What we didn't do, however, is spend as much time watching big-screen blockbusters. Cinema closures and postponed release dates will do that. Accordingly, unless Tenet whips up a huge box office windfall across the rest of December or Wonder Woman 1984 does hefty business when it releases at the end of the month, 2020's top movie moneymakers worldwide will end up being Chinese action epic The Eight Hundred and, from way back in January, the abysmal Bad Boys for Life. In one rare pleasant side effect of 2020, the lack of supersized Hollywood flicks has meant that a plethora of smaller movies have reached audiences since cinemas reopened Down Under. Some of them might've hit the silver screen anyway, but some wouldn't have — and there are gems in both categories. Alas, even with more on-screen real estate available for these type of films, they didn't all draw crowds. There are many reasons for that, because this hasn't been an ordinary year. But if you're wondering which absolute must-sees you didn't catch in 2020 but should've — including titles released both before and after the pandemic changed this year forever — we've run through the ten best flicks that didn't set the box office alight, but you should add to your catch-up viewing list. https://www.youtube.com/watch?v=mRMPdhQBlWs QUEEN & SLIM No one knows how a Tinder meetup will eventuate, but the events that unfurl in Queen & Slim don't fit into anyone's idea of a dream date. One of the points of this crime drama — which also doubles as a romance and a road movie — is that, for Black Americans, being hassled by the police for no reason isn't an unlikely outcome of a simple night out. After an unnamed criminal defence attorney (Jodie Turner-Smith, Jett) and a Costco employee (Daniel Kaluuya, Widows) chart the above path, they're forced to go on the run across the US, with law enforcement on their trails. The debut feature from music video director Melina Matsoukas (a Grammy-winner for her work on Rihanna's 'We Found Love' and Beyonce's 'Formation'), Queen & Slim knows that it's leads will always evoke comparisons to Bonnie and Clyde. In fact, the script by Master of None star Lena Waithe namechecks the figures in its dialogue. But as its titular characters' lives change drastically, this potent film combines a powerful message, dynamic performances and intoxicating imagery into one supremely stylish, textured and outrage-filled package. It'd be nice to say that Queen and Slim's world changes, too; however, they've always been forced to inhabit a space where their very existence was precarious due to racism, prejudice and police brutality, as every second of this haunting movie stresses. Read our full review. https://www.youtube.com/watch?v=1Qn70iqo-4Q MONOS Set in a camp of teen guerrillas, Alejandro Landes' Sundance's Special Jury Award-winning third film Monos follows gun-toting rebels that have barely said goodbye to childhood, but are still tasked by their unseen leaders with holding an American woman (The Outsider's Julianne Nicholson) hostage. Unsurprisingly, even with nothing around but fields, jungle, a cow to milk and occasional enemy fire, little goes according to plan. The relentlessness of modern life, the ongoing unrest in Colombia, and the ceaseless trials and tribulations that plague all teens facing adulthood — they all sit at the centre of this stunning South America-set thriller. Echoes of William Golding's Lord of the Flies are evident (and Joseph Conrad's Heart of Darkness, the book that inspired Apocalypse Now, too), but Monos firmly tells its own story. Engagingly lingering between a dark fairytale and a psychological treatise on war, combat and humanity's dog-eat-dog nature, the result is one of the definite standouts of recent years (of 2019, when it premiered overseas and did the rounds of the local festival circuit, and of 2020, when it finally released in Aussie cinemas). That status is assured thanks to everything from the eye-popping landscape cinematography to the needling tension of Mica Levi's (Under the Skin) score and the commanding performances from the young cast. https://www.youtube.com/watch?v=biHUTtV4K40 IN FABRIC Anyone can make a movie about a haunted house, as many a filmmaker has shown. Peter Strickland could, too — but a feature about an eerie piece of clothing is far more intriguing, fascinating and entertaining. Viewers should expect nothing less from one of cinema's inimitable auteurs, of course, with the lauded British writer/director not only conjuring up narratives that no other helmer ever would or could, but also consistently bringing them to the screen with a distinctive sense of style and mood. It was true of his last two festival circuit hits, Berberian Sound Studio and The Duke of Burgundy. That observation remains just as accurate with In Fabric, aka his haunted dress flick. In London clothing store Dentley & Sopers, bank teller Sheila (Marianne Jean-Baptiste, Fatman) finds the perfect red dress for her first blind date. It both fits and looks a dream; however, despite her initial delight, she discovers that the fabulous frock has quite the dark side. Fashion items can live many lives, so that's just the start of In Fabric's story — and, also starring Game of Thrones' Gwendoline Christie, I, Daniel Blake's Hayley Squires and The Mighty Boosh's Julian Barratt, this sartorial-focused horror-comedy is a lurid, imaginative and mesmerising gem. It's also the kind of movie you haven't seen before, and won't again. https://www.youtube.com/watch?v=atKsEdLKPLo&feature=emb_logo THE WOMAN WHO RAN Combine alcohol, conversation and a scene-stealing cat in one equally melancholy and charming movie, and not only is South Korean great Hong Sang-soo firmly in his element, but he delivers exactly the type of film that has won him a legion of fans. Given how prolific the director is, it'd be easy to assume that he'll soon run out of ways to combine his usual trademarks. Or, to expect that he'll eventually exhaust all of his ideas. But Hong's features never stop finding new ways to twist his favourite touches, themes and inclusions together (see also: Hill of Freedom, Right Now, Wrong Then and Yourself and Yours). In The Woman Who Ran, booze flows freely. Drinking plenty of it is Gamhee, as played by Hong regular Kim Min-hee (On the Beach at Night Alone). She's enjoying her first time away from her husband in five years, visiting friends around Seoul while he's off on a business trip. In Hong's typical fashion, much of The Woman Who Ran unfurls as the characters simply chat — about their lives, hopes, dreams, problems and, with a pesky neighbour in the movie's funniest moment, about feeding stray felines. His penchant for long takes, playful repetition and expertly timed crash-zooms are all used to winning effect, in a movie that slots perfectly into his busy oeuvre and yet always feels uniquely insightful. Also, and it cannot be stressed enough, look out for one helluva kitty. Read our full review. https://www.youtube.com/watch?v=srPas4PqCkw BEATS Beats knows how to start with a bang, letting the sounds of Ultra-Sonic's 'Annihilating Rhythm Part 1' echo from the screen in its opening moments. It's a savvy move — if viewers are going to understand just what electronic music means to the film's protagonists, early 90s-era Scottish teenagers Johnno (Cristian Ortega, One of Us) and Spanner (Lorn Macdonald, Shetland), then they need to not only see and hear it, but feel it deep in their souls. The delight on the duo's faces as they listen to the song down the phone to each other says more than swathes of dialogue ever could. Whether you're a fan of the same kind of tunes or not, you'll instantly be brought into the moment and the elation with them. And, from there, you'll ride every up and down this black-and-white film delivers, as the stage-to-screen adaptation from filmmaker Brian Welsh (The Rat Pack) peers into the broader scene just as the UK government was passing legislation to effectively ban raves. Johnno and Spanner are desperate to attend the very events the powers-that-be are trying to stamp out and, when they get their chance to head to what might be their first and last dance music festival, they go for it. Featuring a thumping soundtrack of old-school tracks, Beats serves up an insightful exuberant coming-of-age film from there, as well as a as a thoughtful and reflective social-realist drama. https://www.youtube.com/watch?v=lYl1DVIgbAg SHIRLEY Elisabeth Moss has had a great year. While the Mad Men and The Handmaid's Tale star has enjoyed a fantastic past decade, she turned in two of her best performances yet in 2020. First came The Invisible Man, which twisted the classic horror tale in modern directions, including exploring gaslighting and the lack of willingness to believe women. Then, in Shirley, she stepped into the shoes of horror and mystery novelist Shirley Jackson. This is a movie by Madeline's Madeline director Josephine Decker, though, so it as never going to be a standard biopic about the The Haunting of Hill House author. Indeed, Shirley is drawn from a fictional novel by Susan Scarf Merrell, focusing on Jackson's home life with her husband Stanley Hyman (Michael Stuhlbarg, Call Me By Your Name) during a 1964 period when teaching aide Fred Nemser (Logan Lerman, Hunters) and his wife Rose (Australian The Daughter star Odessa Young) come to stay. An agoraphobic, Jackson's routine is unsettled by her new houseguests, although an unexpected connection springs with unlikely kindred spirit Rose. In telling this story, Decker is far more interested in capturing the essence of Jackson and her sensibilities than slavishly sticking to facts, and her film all the better for it. Indeed, this subjective and engaging character study is daring, disarming, dark and, unsurprisingly, anchored by a pitch-perfect lead performance. Read our full review. https://www.youtube.com/watch?v=RMB7SpEvxOI RIDE YOUR WAVE When 19-year-old surfer Hinako (voiced by former Japanese pop idol Rina Kawaei) frolics around a seaside spot with her boyfriend Minato (fellow local pop star Ryota Katayose), it's a scene that's familiar from many a film. In the picturesque Japanese city of Chiba, the pair chat, laugh, stroll and see the sights, as plenty of couples have in similar situations. Actually, this duo does so twice. The first time plays out exactly as expected but, occurring well into Ride Your Wave, the lovestruck duo's repeat romantic rendezvous has a twist. In the kind of image that can only really be brought to the screen via animation, Hinako isn't spending time with Minato in the flesh the second time around — instead, she's dragging around an inflatable porpoise filled with water that, when she hums the pair's favourite song, manifests her boyfriend's spirit from beyond the grave. While Ride Your Wave hails from a different filmmaker to big Japanese hits Your Name and Weathering with You, this Masaaki Yuasa-directed film falls in the same heartfelt, gorgeously animated, emotionally sweeping realm. It clearly also has an element of the supernatural to it, focuses on a star-cross'd romance, and delves into love and loss as well. Sweet, charming, sensitive and a joy to look at, it's especially thoughtful when it ruminates on the latter, tackling tough emotional terrain with unflinching, heart-swelling honesty Read our full review. https://www.youtube.com/watch?v=hroo3-sKc0w HONEY BOY Following a child star's journey both as a 12-year-old actor (The Undoing's Noah Jupe) in a hit TV show and as a young man (Waves' Lucas Hedges) grappling with his time the industry, Honey Boy boils down easily to a one-sentence description — but this isn't an easy or straightforward film. Just what its protagonist Otis experiences at both ages, and how his youthful time with his ex-rodeo clown and Vietnam veteran dad James Lort (Shia LaBeouf, The Peanut Butter Falcon) leaves an imprint, proves complex, messy and resonant in this intimate feature. It feels personal, too, because it should. LaBeouf isn't just playing any father figure. He's stepping into the shoes of a version of his own dad. And, he's starring a movie that he wrote, that's based on his own journey from Even Stevens to Transformers and beyond. Brought to the screen by first-time feature director Alma Har'el, Honey Boy is raw, reflective and expressive as it wanders through LeBeouf's heart and soul, and it's an intense but rewarding work from everyone involved. This isn't an idealised, nostalgic look backwards, or a work of unfettered anger. Honey Boy, like LaBeouf himself, pinballs between multiple extremes. It should come as no surprise that this frank and sincere movie was penned while LaBeouf was in rehab himself — where Otis heads as well — and that it always feels like he's confronting issues he knows will never completely be resolved. Read our full review. https://www.youtube.com/watch?v=IZvrlkF4TjM&feature=emb_logo LUCKY GRANDMA Lucky Grandma might be the second American-produced film about a Chinese grandmother in as many years, but no one should mistake Sasie Sealy's feature debut for The Farewell. Both offer up something special, and their similarities are truly only superficial. Here, the titular elderly woman (Tsai Chin, Now You See Me 2) is first seen chain-smoking and glaring her way through a fortune teller's appointment. When Grandma Wong is told that luck is coming her way on a specific day, she's quickly on the bus to Atlantic City. And when she spies a hefty stash of cash in the bag belonging to the gentleman sitting next to her on the return ride home, she barely hesitates. This string of events comes with consequences, however, with local Red Dragon gangsters soon following her every move. To cope, the feisty senior enlists the help of their rivals, and pays the towering Big Pong (Hsiao-Yuan Ha) to stick by her side as her bodyguard. Chin, who has featured in everything from You Only Live Twice to The Joy Luck Club, is such a gruff, no-nonsense treasure to watch in Lucky Grandma — and Sealy smartly lets audiences peer her way closely and regularly. Sometimes, Lucky Grandma is a drama about a widowed woman trying to make the most of what's left of her life. Sometimes, it's a crime caper that's hopping around Chinatown with glee. In Sealy's hands, that combination always works. Read our full review. https://www.youtube.com/watch?v=wLmvs9Wrem0 COLOR OUT OF SPACE If you're going to task anyone on this earth with finding a blazing rock that has plummeted from the heavens and crashed down at a remote New England property — and in a big-screen adaptation of a short story by horror and sci-fi writer HP Lovecraft at that — you may as well give the job to Nicolas Cage. If you're going to ask any actor to run an alpaca farm and profess their love for the animals, too, you also know that he's just perfect. Thanks to its story about the fallout from said meteor, which turns the sky an otherworldly shade, unleashes both radiation and shape-shifting aliens, and sparks quite the wave of strange events, a film version of Color Out of Space would always garner interest. Cage has made some out-there and seemingly intentionally terrible movies in his career, especially over the past two decades, but this weird and wonderful effort doesn't fall into that category. It's bettered by his presence, because no one does unhinged and manic quite like the Vampire's Kiss, Face/Off and Mandy actor; however, filmmaker Richard Stanley (The Island of Doctor Moreau) turns this wild tale into an off-kilter, hallucinatory, kaleidoscopic, vibrantly pink and purple-hued spectacle. It occasionally lets it get a little too lost in its own delirium and can threaten to become a bit weighed down, but letting Color Out of Space's gleefully bonkers sights, sounds and story developments wash over you is all part of the experience. Read our full review.
Watching I Hate Suzie Too isn't easy. Watching I Hate Suzie, the show's first season, wasn't either back in 2020. A warts-and-all dance through the chaotic life, emotions and mind of a celebrity, both instalments of this compelling British series have spun as far away from the glitz and glamour of being famous as possible. Capturing carefully constructed social-media content to sell the fiction of stardom's perfection is part of the story, as it has to be three decades into the 21st century; however, consider this Stan- and Neon-streaming show from Succession writer Lucy Prebble and actor/singer/co-creator Billie Piper, and its blood pressure-raising tension and stress, the anti-Instagram. I Hate Suzie's unfiltered focus: teen pop sensation-turned-actor Suzie Pickles, as played with a canny sense of knowing by Piper given that the 'Honey to the Bee' and Penny Dreadful talent has charted the same course. That said, the show's IRL star hasn't been the subject of a traumatic phone hack that exposed sensitive photos from an extramarital affair to the public, turning her existence and career upside down, as Suzie was in season one. In episodes named after emotions — shock, denial, fear, shame, bargaining, guilt, anger and acceptance — the eight-part initial go-around stepped through the fallout, as unsurprisingly frenzied as it was. Suzie's professor husband Cob (Daniel Ings, Sex Education) reacted with fury and selfishness; their young son Frank (debutant Matthew Jordan-Caws), who is deaf, got swept up in the tumult; and manager and lifelong friend Naomi (Leila Farzad, Avenue 5) endeavoured to save Suzie's career. As I Hate Suzie's name makes plain, sentiment didn't often flow Suzie's way — from Cob, the media, everyone pulling the strings behind her professional opportunities, and also the world at large. In I Hate Suzie Too, she has a new manager Sian (Anastasia Hille, A Spy Among Friends) and a new chance to win back fans, returning to reality TV after it helped thrust her into the spotlight as a child star to begin with. Dance Crazee Xmas is exactly what it sounds like, and sees Suzie compete against soccer heroes, musicians and more. But when I Hate Suzie Too kicks off with a ferocious, clearly cathartic solo dance in sad-clown getup, the viewers aren't charmed. In fact, instantly damaging her already fragile self-esteem, Suzie is the first celebrity voted off. Although arriving a couple of years later, season two takes place six months after the first, which ended with Suzie all over the papers — again — and facing another life-changing development. Spanning three episodes, I Hate Suzie Too is a chronicle of a comeback that isn't quite allowed to be, because that's the relentlessness of being in the public eye when you're a woman who's deemed to have erred. Suzie herself simply wants to work to be able to share custody of Frank, the fight over which is cruel and demanding at the hands of the still-vicious Cob. She wants to dance, too, because that was always her first love. What she gets is the unceasing pressure to be flawless, as dictated by everyone else around her, but with zero interest in what'd truly make her content, safe, secure and fulfilled. Fearless, audacious, honest, dripping with anxiety, staggering in its intensity, absolutely heart-wrenching, always unflinching: with Prebble and Piper reteaming not just after season one, but also 2007–11 series Secret Diary of a Call Girl, all of these terms fit. This is a head-in-your-hands dark dramedy, a reaction incited by everything that comes Suzie's way as well as the choices she makes in response. The demands and decisions don't stop. Everyone always needs something, and needs Suzie to make a call. In this season, that still includes her mother (Lorraine Ashbourne, Bridgerton), father (Phil Daniels, House of the Dragon) and younger sister (Elle Piper), who are now joined by Suzie's first ex-husband Bailey Quinn (Douglas Hodge, The Great), plus former footballer-turned-streamer Danny Carno (Blake Harrison, The Inbetweeners) — both fellow Dance Crazee Xmas contestants, and reasons that the press' attention hones in again and again. With its claustrophobic cinematography constantly staring Piper's way — and, more than that, usually getting closer than anyone would feel comfortable with — I Hate Suzie Too apes what Suzie's fans and detractors are always doing: surveilling intently. No one performs well under such meticulous examination, with the series pondering the exacting standards placed upon well-known figures and the hypocritical reactions when they don't handle the scrutiny faultlessly. Steely eyed but empathetic, it's an exploration of mental health as well, and the fraying space that takes over when the world's wants take precedence over your own. "The team are choosing between you looking needy and you looking miserable,' Suzie is told about Dance Crazee Xmas' behind-the-scenes footage, to which she replies "well, those are my two states". I Hate Suzie Too shows how untrue that comment is, and how deeply it has been internalised. When she starred in a 2016 UK stage production of Yerma, Piper won six Best Actress awards for her performance — all six that she could — but, on-screen, she's never been better than she is in I Hate Suzie's two seasons. All that up-close peering at Suzie's face is revelatory, conveying every twitch of thought and emotion as she navigates the persistent onslaught of everything everywhere all at once, and attempts to package and repackage herself to be all things to all people. The focus and adaptability required on Piper's part is stunning, especially given I Hate Suzie Too's fondness for long, unbroken shots onstage and careening through backstage corridors. She's equally phenomenal whenever Suzie does snatch a quiet moment to herself, usually brimming with uncertainty, and she's heartbreaking when she's just trying to be a mum to her son. Like Suzie, Piper benefits from her own popstar background in I Hate Suzie Too, with Dance Crazee Xmas' dance numbers — for an audience and in rehearsals alike — proving the powerhouse centre of the series' latest run. Spectacularly choreographed and performed, and incisively paired to Suzie's inner state like a musical, they almost tell this season's tale without anything else needed around them. And, they help emphasise that this story isn't Suzie's alone. Too many women in the spotlight, and in general, have been held to unrealistic ideals, then pilloried for not meeting them. Much lingers when I Hate Suzie Too comes to an end in a whirlwind of distress, that fact included. Check out the trailer for I Hate Suzie Too below: I Hate Suzie Too streams via Stan in Australia and Neon in New Zealand.
Two inner west train stations are slated to receive $40-million makeovers as part of their integration into the Sydney Metro project. The upgrades at St Peters and Erskineville stations will help improve accessibility at both sites, and will see them become part of the T4 Illawarra train lines from 2024. This change will provide direct access for inner west residents to Martin Place Station and Sydney's eastern suburbs. The planned upgrades follow an announcement in February that Transport for NSW would be introducing hundreds of extra weekly services to the city's train network. The $1 billion plan to increase the capacity of the rail network is set to include a significant increase in services running through the T2 and T8 lines, both of which run through the inner west, as well as a 6000-passenger capacity increase to the T4 line. When they join the T4 line, trains running through St Peters and Erskineville will no longer continue past Central and Town Hall on to the City Circle (Wynyard, Circular Quay, St James and Museum), but will instead connect from Central to Martin Place, Kings Cross, Edgecliff and Bondi Junction. Both St Peters and Erskineville stations will be fitted with new lifts and canopies in anticipation of increased train services when the Metro opens. Erskineville Station will receive four lifts, a new pedestrian footbridge, new amenities and toilets, a new entrance at the southern end of the station and platform tactiles to help customers with vision impairment. Similarly, St Peters Station will be fitted out with two new lifts, as well as new amenities including a family accessible toilet, platform tactiles and upgrades to the pedestrian pathways. Planning approval is still required, but construction is slated to start later in 2021. Some early work at St Peters Station will take place on Saturday, April 17 during a scheduled train shutdown. You can find out more info on the train shutdown on the Transport for NSW websit. The St Peters and Erskineville Station upgrades are expected to be complete in 2023, in time for the opening of the Metro in the area the following year. For more information about the Sydney Metro City and Southwest project, head to the Sydney Metro website. Images: artist interpretations of the St Peters and Erskineville station upgrades.
Australians have always liked cheese, and we have everything from dedicated fromageries and festivals dedicated to the dairy foodstuff to cheese wheels filled with pasta and bottomless raclette sessions to prove it. Our stomachs are working overtime to digest all the lactose — and, honestly, we've never been happier. And the love affair continues with this latest cheesy announcement. Bon Fromage — a festival specifically celebrating European cheese — is returning in 2020, and it's making a few changes. Like plenty of events this year, it's moving online and going national. So, more cheese for everyone, obviously. The whole thing will be taking place from Saturday, November 21–Sunday, November 29. First and foremost is cheese, cheese and more cheese — which you can order in gourmet tasting packs until Sunday, November 15. They'll then be delivered to your door, ready for you to devour. And if you're wondering what you'll be feasting on, each pack comes with half a kilo of cheese made in France, plus a recipe booklet and cheese tasting notes. But the virtual cheese festival isn't just about eating so much cheese that you puke. Masterclasses will be held on different varieties of cheese, the history of cheese, cooking with cheese and, we assume, the correct way to draw a cheese fondue bath for yourself. You can also obviously use the who event as an excuse to buy some cheese yourself and watch along.
Transport for NSW has announced that the first phase of the City and Southwest line of the Sydney Metro will open to the public in August, 2024, and that the new fleet of fast trains has begun testing the lines connecting the nine new stations between Sydenham and Chatswood. In the coming weeks before opening, empty trains will simulate a full-service timetable to put the new stations and the staff operating them through their paces. This is the last phase of over one year of tests — which will total a whopping 11,000 hours of assessments once completed later this month — to fine-tune the systems and infrastructure that will make Sydney's new state-of-the-art under-city train line a significant asset to commuters from both north of the harbour and south of the CBD. The tests include simulations of potential emergencies so station staff are thoroughly drilled on how to respond to unplanned events and disruptions to services. Transport for NSW has also revealed a sneak peek at some of the new stations waiting patiently beneath Sydney's streets, including Waterloo, Barangaroo, and Martin Place. Shots of the new train interiors also reveal bulkhead-free, single-decker carriages with digital displays and teal and grey upholstery. However, while the inner city lines are all but ready to receive passengers, the Metro project is far from finished. The next phase will expand the service from Sydenham to Bankstown, which will involve a 12-month suspension of the current T3 Bankstown train service while tracks and systems are converted to the new fleet's specs ahead of an expected 2025 opening. A major milestone has also been reached at the Western Sydney Airport portion of the Metro extension. All tunnels required for the extension, which will service the planned Badgerys Creek Aerotropolis, have been successfully bored, keeping construction on track to reach completion by 2026. [caption id="attachment_963805" align="alignnone" width="1920"] Barangaroo Station[/caption] [caption id="attachment_963806" align="alignnone" width="1920"] Barangaroo Station[/caption] [caption id="attachment_963807" align="alignnone" width="1920"] Martin Place Station[/caption] [caption id="attachment_963808" align="alignnone" width="1920"] Victoria Cross Station[/caption] The Chatswood to Sydenham section of Sydney Metro's City and Southwest line will open in August. Visit the Sydney Metro website for more details.
We love our friends. Really, we do. But sometimes we just need a little me time. And when the urge for a few solitary hours strikes, one of our favourite things to do is take ourselves out on a little solo lunch or dinner date. But, with many restaurants and bars set up for dates or groups, finding a place to go solito can often be a bit of a challenge, tempting you to get that alone time by skipping lunch with the colleagues to eat a wilted salad at your desk or holing up at home with takeout and a series. To make sure that doesn't happen, American Express has helped us find nine spots, all Amex-accepting, where eating by yourself is both totally acceptable and incredibly fun. Equipped with single tables or bar seating, and with food so good you wouldn't want to share it anyways, these places make solo dining perfectly, deliciously comfortable. Whether you want a quiet break from the office during a particularly hectic day or are on the hunt for a bar you can go to when you don't feel like being with the mates, we've found the perfect place. Bring a book and you'll be well-prepared to linger over dessert and a few glasses of vino. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Located along Hassall Street, just steps from Parramatta Train Station, this local mainstay is an obvious choice for a casual midweek meal, after-work drinks (aim for happy hour between 5–7pm when selected beers, wines and spirits are just $5.20) or to kick on after an event at Bankwest Stadium. The expansive pub offers both a beer garden and a sports bar, with live games played throughout the bar and on the three-metre outdoor LED screen to boot. From the kitchen, it's slinging all the pub grub, from schnittys, parmas and burgers to beer-battered fish and chips and buffalo wings, and from Monday–Thursday, you can grab lunch with a beer or wine for just $17. And you can really kick-on late night here, with the bar open until 6am on Fridays and 4am on Saturdays.
If you've ever dreamed of one day owning a house full of gin where boutique and international bottles line the walls, this place might help tide you over until it becomes a reality. Barman Grant Collins has taken over one of the 18th century townhouses on Chippendale's Kensington Street and transformed it into a delightfully pokey gin bar. And, just like your hypthetical palace of booze, it's filled with gins — 75 types, to be precise. These can all be ordered on their own, or mixed into one of 25 on-menu cocktails. Of course, the staff can make you all the classics and, if you're not feeling gin, the back bar stocks vodka, rum, tequila, whisky, beer and wine.
Update: December 11, 2018 — Summer can get expensive. You're splashing out on presents for friends and fam, and the number of parties going on has increased tenfold. So, we're big fans of happy hours during this season — especially when they go for three hours. Bistro Rex has just launched l'aperitif, which run from 3.30–6.30pm every day at the Potts Point restaurant and features $5 wines (white, red and rosé), $5 Young Henrys natural lagers, $10 cocktails — including negronis and a spritzy chamomile number — and a range of $10 snacks. Bistro Rex, the latest French dining room to hit Potts Point, is hard to fault. More than that, it offers a casual alternative to some of Sydney's more theatrical restaurants: an unpretentious space serving timeless French food on simple white plates. The eatery doesn't feel a need to distract diners with design, but the space is still impressive. You're dining in Macleay Street's former Commonwealth Bank building, so there are large pillars between the tables, marble accents, and wood-framed mirrors high on the walls. It's all pretty luxurious — especially with the Chesterfield booths in the corner — but there's more than enough casual seating to balance it out, with rows of wooden tables and a few spots to dine at the bar. Because you're in a French restaurant, order the chicken liver parfait ($21). It's not particularly rich here; instead it's light, creamy, and served with sweet and sour jelly. The scallops with cashew and curry leaf ($26) are silky and complemented by the sweetness of leek on the plate. Chefs Jo Ward and Michelle Powell obviously know what they're doing with seafood, because the market fish of the day (on our visit, it's snapper) is perfect, flaking easily when the cutlery hits and swimming in just the right amount of sauce. The steak frites with Café de Paris ($39) is served spot-on medium-rare and drenched in butter — it's a classic combination, and why would you alter it? Main meals are on the heavier side, so order the Nashi pear salad with celery, chicory and hazelnuts ($16) to lighten things up a bit, and match your dish to a glass off the predominantly French wine list (the front page can be ordered by the glass, carafe or bottle). On the pass there's a single truffle in a glass dome — ask for it to be shaved over anything and everything. . None of the four options on the dessert menu are particularly eye-catching on paper, but all are delicious once they arrive — and are an unexpected highlight of the meal. Skip the cheese course and order the hazelnut parfait with dacquoise banana cream ($14); it's served with a chocolate biscuit shard and topped with banana cream, which balances the sweet and slightly savoury. The apple tarte Tatin ($14) arrives warm, sweet and sticky – there's a refreshing quenelle of choc-mint ice cream on the side. If you're not a dessert person, try the old-fashioned that's been lightly stirred with cold-brew coffee ($14). You could take your parents, friends, love interest or colleagues to Bistro Rex. Come for lunch on the weekend. Come for dinner on a Tuesday. Bring everyone. Order dessert.
The Taste Riverina Festival sees the region's producers come together in a month-long celebration of local food from October 1 through 31. The curated program spans agricultural tours, cooking demonstrations, food treks and beer and wine tastings, along with your requisite degustation dinners, farmers markets and cafe specials available around town. Riverina is know for its diverse range of local produce, including rice, citrus, olive oil, lamb and beer — to name a few. The region's plentiful vineyards will be offering up cellar door tastings paired with music and food to boot. There will be whole meals dedicated to salami and the Ploughman's Lunch, along with a food and art fusion exhibition. Bush tucker tours, pool parties and pub crawls round out the jam-packed program that is sure to leave your belly satisfied.
Sydney CBD's Clarence Street is set to add another much-hyped venue to its already stacked hospitality offerings. Nestled within the YCK Precinct, the bustling city street will welcome an expansive new venue from the team behind Ragazzi — a 120-seat trattoria called Palazzo Salato. The Love Tilly Group, which is also behind Fabbrica, Love Tilly Devine and Dear Saint Eloise, has previously operated in the world of intimate wine bars and small-scale eateries. That's all changing with Palazzo Salato, the acclaimed hospitality group's largest and most-ambitious offering yet. Set to open in April, this inner-city haven for all things pasta will pull inspiration from New York's Gramercy Tavern and the trattorias of Rome into the heritage-listed former Redoak Boutique Beer Cafe building. Expect a multi-space venue featuring a walk-in-only bar overlooking Clarence Street, a lavish dining room and a 20-seat space dedicated for private bookings. [caption id="attachment_891216" align="alignnone" width="1920"] Alex Major, Scott McComas-Williams, Adam Fogwell, Bora Biyiklioglu, Julie Barbero, Matt Swieboda, Gabriele Lackerer Villabruna and Jordan Grocock.[/caption] "I realised this was the site for our first proper restaurant the moment we walked into the space," Group Executive Chef Scott McComas-Williams. "For the first time, we have a kitchen with enough room to swing a cat, allowing us to produce some of my favourite hand-shaped pastas like agnolotti dal plin, scarpinocc and fagottini while still being able to grill, roast and braise cuts of meat, veg and fish from our long-time producers." An impressive 500-bottle wine list has been curated to compliment the classic Ragazzi-style pasta menu, pulling together drops from across the world. Expect a wide span of varieties and blends, ranging from the expected through to vintage 60s and 70s amari and rare Italian wines. "While we've previously focused on a single country's wines at each venue — for example Australian at Love, Tilly Devine and France at Dear Sainte Éloise — this one will, excitingly, be a lot more international," says Love Tilly Group's Matt Swieboda. [caption id="attachment_747368" align="alignnone" width="1920"] Ragazzi, Nikki To.[/caption] Inside, the heritage-listed space will be transformed with brass pendants, leather banquettes and luxe velvet backrests. Framed artwork and silk prints will add a burst of colour, while the branding featuring otherworldly characters will inject a playful touch to the restaurant. An all-star roster of hospitality mainstays heads up the venues. Alongside McComas-Williams, Executive Chef Alex Major (ex-Head Chef at Ragazzi) and new Head Chef Vincenzo Romeo (ex-Casoni) are behind the exciting new venture. Former Ragazzi Restaurant Manager Adam Fogwell and Bora Biyiklioglu (Hong Kong's Honky Tonks Tavern and Shady Acres) lead the front of house, and Bar Manager Jordan Grocock has moved over from The Baxter Inn to head up the drinks offerings with Love Tilly's Group Sommelier Jabe Febvre and the venue's Head Sommelier Julie Barbero (formerly London's Frenchie Covent Garden and France's Michelin-starred La Chassagnette). The Clarence Street bar and trattoria will be the first to open in April, followed by the large bar and dining room with access from Kent Street later this year. View this post on Instagram A post shared by Palazzo Salato (@palazzosalato) Palazzo Salato is set to open at 201 Clarence Street, Sydney in April.
Trying to work out how many kilos of lamb shoulder you'll need to feed six? Not sure what type of sausage to use in that pasta recipe? Don't know the difference between grain- and grass-fed? One of the best parts about going to a Sydney butcher (aside from getting the freshest cuts of meat) is having a chat with the knowledgeable staff. Butchers know their product, from the whole beast to small goods, and will be able to answer all your carnivorous quandaries. And whether you're shopping for minced meat, French-trimmed cutlets or a rack of ribs, you'll want to talk to your butcher about free-range, local and ethical options, too. To help you find the best Sydney butcher near you, we created this list of our favourite local spots scattered all over our fine city. Recommended reads: The Best Bakeries in Sydney The Best Boutique Bottle Shops in Sydney The Best Cheese Shops in Sydney The Best Delis in Sydney
Baker Bleu Double Bay is under new management, if you can call it that, as the Melbourne-born bakery's partnership with renowned Chef Neil Perry and his wife Sam has come to an end. Now, Baker Bleu founders and directors Mike and Mia Russell will take over full ownership of the location. Launched in 2022, Neil had previously described Baker Bleu's output as the "best bread in Australia," becoming part of a joint venture to lead the bakery's expansion beyond Melbourne. Yet Neil and Sam will now renew focus on their neighbouring hub of restaurants — Margaret, Gran Torino and Next Door. "Sam and I are very proud of the role we've played in Baker Bleu's growth and in making the Double Bay store the success it is today. As Mike and Mia look to expand and take the business in a new direction, we've decided to part ways and focus on our restaurants in Double Bay," said Neil Perry. "We are grateful to Neil for bringing us to Sydney in 2022," adds Mike. "During this time, we created something truly magical with Neil and Sam, and we feel privileged to continue to be in the neighbourhood alongside their world-class restaurants." With all other Baker Bleu locations owned by Mike and Mia Russell — Caulfield North, Cremorne and Hawksburn — the Double Bay location now joins the fold, as well as any future stores. That also includes the soon-to-launch South Yarra location, arriving in late September. Situated in a prime position opposite the Royal Botanic Gardens, this takeaway-only outpost has moved into the former home of Baker D Chirico. Open daily, visitors can expect the full Baker Bleu range, from sourdough breads to hand-rolled bagels, alongside Market Lane coffee and pantry staples like cultured butter and small-batch jams. Baker Bleu Double Bay is open daily from 7.30am–3pm at 2 Guilfoyle Ave, Double Bay. Head to the website for more information.
The Oaks Hotel is a North Shore institution and one of the most famous pubs in Sydney. The mega-barn of a pub also got a huge renovation back in 2019, during which the pokies got the boot, and in came the sleek new cocktail bar, restaurant with in-house butcher, sports bar and boutique bottleshop. The glorious beer garden also got some love, now boasting a large pavilion and terrace where you can get all cosy during the colder months. The regular events programme at The Oaks Hotel is also stacked. Monday nights are all about schnitty deals. Tuesdays are for trivia. Wednesdays are Playstation Nights. Thursdays are when you can get around local craft beer tastings. Fridays and Saturdays see live music take over the sports bar and beer garden. And Sundays are just Sundays. Any day of the week, you'll also be able to order from the long food menu. Expect pub classics like the regularly changing pot pie served with chips and peas or the sausages and mash potatoes that are drenched in thick meaty gravy. Alternatively, you can go for cleaner, elevated dishes. Try the salmon poke bowl, salt and pepper Szechuan squid or some of the five different cuts of steak served with your choice of homemade sauce. There are even separate pizza, mussels and grill sections of the menu. This makes it ideal for big groups. Everyone will find something in their foodie wheelhouse at Sydney's Oaks Hotel. Appears in: The Best Pubs in Sydney
The spooky season may still be underway, but the festivities will turn Christmassy before you know it. Even if it shocks the system, early gift shopping never hurts anybody. It's a good thing the good people at Cambridge Markets have organised artisanal events all over Sydney until Christmas week. The season kicks off in the south with the Cronulla Christmas Market, which will take over Don Lucas Reserve from Saturday, November 16 to Sunday, November 17, from 10am–4pm. The following weekend (Saturday, November 23), across town in Rhodes Foreshore Park, will be the Rhodes Christmas Festival from 10am–4pm. Later that week, in the western suburbs, head to Centenary Square after work on Thursday, November 28, for the Parramatta Christmas Festival (from 3.30–7.30pm). Heading into December, the Royal Randwick Racecourse will host a Christmas festival from 1.30 to 7.30pm on Friday, December 6. If you can't make it to Randwick, check out the Ryde Christmas Market at Anderson Park instead on Sunday, December 8, from 10am–4pm. On Saturday, December 14, Burwood Park will host the Burwood Christmas Market from 12pm–9pm, which will also feature live music and a fireworks show. On the home run to Christmas, you really should have your gift shopping done by now. However, you've still got some opportunities on Saturday, December 21. In Sydney's south, the Green Square Christmas Market will run from 10am–4pm, while further west, you'll find the Wentworth Point Twilight Christmas Market from 6pm–10pm. Looking at this hefty list, you've got more than enough opportunities to get your Christmas fix. Whether it's gift shopping, a family day out or a wholesome date with your S/O, get your calendars and tote bags ready — it's market time. Cambridge Christmas Markets are coming to various locations all over Sydney. For more information on dates and times, visit the Cambridge Markets website.
There's no denying that Bondi is loaded with excellent lunch spots. But being spoilt for choice can make selecting the ideal dining destination difficult. Don't get it twisted, we know this is a good problem to have — we're simply firm believers that finding the best lunch spot truly depends on who you're sharing your meal with. Whether you've got a mate from interstate you want to impress with quintessential views of Bondi Beach or you're after a venue that will cater for a group of your best mates with ease, we've found a spot that'll tick all your lunch box requirements. Read on to find out where we take our favourite humans for a foolproof feast by the beach.
Hands up if you're guilty of repurchasing that same wine or six-pack every time you head to the bottle-o. The bigger chain stores are pretty reliable for restocking our old favourites, but if you're keen to branch out and discover some new drops by local producers, you may need to look a little further. So, we've created this Sydney bottle shop and boutique cellar guide to shine a light on some of the city's more specialised liquor stores — the ones that are passionate about new and innovative production methods, ingredients and flavours. Whether you're heading to a friend's place for dinner, joining a house party or eating out at one of your favourite BYO-friendly restaurants, these bottle shops are packed to the brim with excellent natural wines, quirky craft beers and specialty liquors. From family-owned and decades-old joints to new up-and-comers, these Sydney booze retailers will help you impress your mates on a night out (or in).
The power of Back to the Future isn't really a curious thing. As viewers have known since 1985, the Michael J Fox-starring sci-fi/comedy is timeless delight. But as well as making film lovers weep with joy for almost four decades, the iconic movie is now making other folks sing — the cast of the newly minted Olivier Award-winning Back to the Future: The Musical, that is. Exclaiming "great Scott!" is obviously the only fitting response to this development — and there's clearly plenty to get excited about. Yes, Back to the Future: The Musical is a real thing that exists, and has been racing towards clocktowers on-stage in the UK since early 2020 (around a pandemic hiatus or two, of course). Yes, it just picked up the Olivier Award for Best New Musical. Yes, the show does indeed follow the Marty McFly and Doc Brown-led story we all know and adore, but with songs, including renditions of Chuck Berry's 'Johnny B Goode' and Huey Lewis and the News' 'The Power of Love' and 'Back in Time', naturally. Now, the news that might have you speeding 88 miles per hour towards Britain: for now, Back to the Future: The Musical is solely treading the boards in Britain. But if a trip to London is on your agenda between before Sunday, October 23, the show is playing at the English capital's Adelphi Theatre until then. View this post on Instagram A post shared by Back To The Future: Musical (@bttfmusical) If you won't be making a visit overseas by plane or DeLorean, start crossing your fingers that the production eventually makes its way Down Under — or pop on your own white lab coat, start tinkering around with electronics and whip up your own time machine to try to make it happen. Also featuring music and lyrics by OG Back to the Future composer Alan Silvestri and acclaimed songwriter Glen Ballard (Ghost the Musical), plus a book by Bob Gale — who co-penned all three Back to the Future film scripts with filmmaker Robert Zemeckis — Back to the Future: The Musical was nominated for seven Olivier Awards. It only won the big one, but emerged victorious over heavy-hitters and fellow screen-to-stage shows Moulin Rouge! The Musical and Frozen. Check out the trailer for Back to the Future: The Musical below: For more information about Back to the Future: The Musical, or to buy tickets for its London season, head to the show's website. If an Australian and/or New Zealand season is announced, we'll let you know faster than you can speed towards a clocktower. Top image: Sean Ebsworth Barnes.
Woolloomooloo favourite Flour and Stone is loved among locals and visitors alike for its top-notch pastries, delicious sandwiches and overall simple comfort food. Its counter treats are baked daily and change regularly, with sweet options including a strawberry and rosemary brûlée, a quince and custard tart, a delightfully crunchy rocky road and blueberry scones with jam and cream. If you're after something more savoury try a cheese and chive scone (only available Tuesday, Thursday and Saturday), a leek and gruyere cheese tart or a spanikopita. [caption id="attachment_747204" align="alignnone" width="1920"] Samantha Mackie[/caption] For something more substantial it also offers a great range of sandwiches, including a sage roasted pumpkin with taleggio, walnut, cavolo nero, bechamel and cayenne pepper; a leg ham option with gruyere, smokey wholegrain mustard and aioli on sourdough; as well as a poached chicken variety with mayonnaise and granny's pickles. The pies here are famous too, with people making the trek from all over Sydney to enjoy one. Options include chicken, leek and tarragon; beef Rendang; dahl-tadka; and a scrumptious pork and caraway sausage roll. Images: Destination NSW/Alan Benson/Samantha Mackie. Appears in: The Best Bakeries in Sydney for 2023
Having earned cult status (and TikTok stardom) among the seafood lovers of the USA and Melbourne, Cajun-style restaurant The Boiling Crab is coming to Sydney, bringing its famed signature crab boil offering to Haymarket. Monday, August 13 will see the chain open an expansive restaurant on Harbour Street, a couple of years on from making its first Australian splash in Victoria. Just like its siblings in the south, the new Sydney outpost invites you to don a bib and gloves, turf your inhibitions, and get messy digging into saucy piles of seafood and accompaniments. The menu delivers a sumptuous choose-your-own-adventure scenario. First, select your hero seafood — perhaps some Aussie lobster, Moreton Bay bugs, king crab legs, clams or baby octopus — which is priced by weight, then steamed or boiled in your choice of seasonings, sauces and spices. The latter ranges from 'non-spicy' up to 'XXX (I Can't Feel My Mouth!)', and you can round it all out with extras like gumbo, corn on the cob, whole baby potatoes and cajun-spiced fries. It's delivered to you in the bag, ready to be spilled onto your paper-topped table and devoured with abandon. Fans of the fried stuff can supplement their feast with a hefty lineup of crispy things served by the basket. You'll find hot wings in a variety of coatings, soft shell crab served atop a pile of chips, fried calamari and the crunchy Sha-Bang Bang Shrimp, available in three levels of heat. You'll be quenching your thirst throughout with a crisp imported brew, margarita or michelada — or you can BYO drinks for $3 per person. The Boiling Crab will open at the Ground Floor, 68 Harbour Street, Haymarket on Monday, August 13 — open 12–10pm Monday–Sunday.
The Lodge Bar is an intimate cocktail and wine bar on Darling Street, Balmain that has been welcoming patrons for more than a decade. Its wine list constantly evolves but promises stunning drops from Aussie producers alongside Italian, French and Spanish vino. If you're more of a cocktail connoisseur, the bartenders can serve up all the classics, as well as The Lodge Bar signatures like an applewood-smoked Manhattan (made with bourbon, red vermouth and angostura bitters housed in an applewood-smoked dome) and tropical-leaning Caribbean Fizz (made with Bacardi, Licor 43, Cointreau, pineapple, passionfruit, lemon and a touch of sugar). The Lodge Bar's food menu is brimming with sharing plates from cheeseboards to churros. Feeling like something a little indulgent? How about the sardine rillettes with cream cheese, onion and chilli paste? What about NY-style waffle fries sprinkled with spicy paprika salt and served with burger sauce? Or chunky pork and fennel meatballs with sugo and crusty sourdough bread? Make it an event with two shots of frozen Belvedere vodka. Open from Wednesdays to Saturdays, The Lodge is host to a happy hour on each of those days, with deals on cocktails, wine and beer.
Come From Away has already proven an enormous success on Broadway and in London's West End. It has a heap of Tony and Olivier awards to its name as well. And, it has graced the stage in Melbourne, Brisbane and Sydney over the past few years, so Australian audiences have been able to experience its charms. Haven't yet been able to see the acclaimed musical? Already attended, but keen to give it a rewatch? Whichever fits, you'll soon be able to watch it from your couch, because the popular production is bringing its remarkable true tale based on real post-September 11 events to streaming from Friday, September 10. Apple TV+ has announced that it'll be adding a filmed version of the hit musical to its online catalogue. Yes, there's a difference between a filmed version and a film. Come From Away joins Hamilton in falling into the first category, because this streaming release features a recorded version of the play as shot at New York City's Gerald Schoenfeld Theatre. So, you'll be watching footage of a live version of the musical, featuring the Broadway cast (including original and current ensemble members) and directed by Tony-winner Christopher Ashley. If you aren't familiar with the musical's plot or the actual events that inspired it, it's quite the exceptional story. In the week after the September 11 attacks in 2001, 38 planes were unexpectedly ordered to land in the small Canadian town of Gander, in the province of Newfoundland. Part of Operation Yellow Ribbon — which diverted civilian air traffic to Canada en masse following the attacks — the move saw around 7000 air travellers grounded in the tiny spot, almost doubling its population. Usually, the town is home to just under 12,000 residents. To create Come From Away, writers and composers Irene Sankoff and David Hein spent hundreds of hours interviewing thousands of locals and passengers, using their experiences to drive the narrative — and, in many cases, using their real names in the show as well. The result is a musical not just about people coming from away (the term that Newfoundlanders use to refer to folks not born on the island), but coming together, all at a time when tensions were running high worldwide. Since being workshopped in 2012, having a run in Ontario in 2013, then officially premiering in San Diego in 2015, Come From Away has become a global smash. After opening on Broadway in 2017, it was still running before the theatre district closed due to COVID-19. The musical wowed crowds in the West End, too — and, when it first opened in Melbourne in July 2019, it became the Comedy Theatre's most successful musical in the venue's 91-year history. Along the way, the show has picked up a Tony Award for best direction of a musical, six other nominations, and four Olivier Awards out of nine nominations. Apple TV+ hasn't released a trailer for its filmed version of the musical, but you can check out a clip from the Melbourne production below: https://www.youtube.com/watch?v=-zmvy1p2FOE&feature=emb_title The filmed version of Come From Away will be available to stream via Apple TV+ from Friday, September 10. Images: Jeff Busby.
Before Sydney went into its current lengthy lockdown, whipping out your phone, opening the Service NSW app and using it to check in at venues had become a normal part of everyday life. When the city begins to reopen again — when 70-percent of New South Wales residents have had both their COVID-19 vaccinations, which is expected around mid-October — you'll be falling back into that habit. And, ideally, that's how you'll also show that you're fully vaxxed as well. Crucial to NSW's roadmap out of lockdown is loosening rules and restrictions for folks who've received both vaccination doses — as also applies with the state's current outdoor gathering rules, which came into effect in mid-September. So, unsurprisingly, the government wants to streamline the process of showing that you've been double-jabbed. Today, Wednesday, September 22, NSW Minister for Digital and Minister for Customer Service Victor Dominello announced that the state will pilot an update to the existing Service NSW app that integrates vaccination certificates — which are provided by the Federal Government via its immunisation register. The aim is to start to test the update in regional NSW with 100–500 people from Tuesday, October 6, for two weeks. "Hopefully, the subject of that pilot will be strong, and as a result of that we can then open up to the rest of the state," Dominello said at NSW's COVID-19 press conference. As promised - here is an update on the vaccination integration with the Service NSW app. 1. Display - this is a draft. We have added an additional privacy feature with the show more/show less status 👍🏼 pic.twitter.com/eiUkXlBVu6 — Victor Dominello MP (@VictorDominello) September 22, 2021 At present, you can access your COVID-19 vaccination certificate via the Medicare Express app, and then either keep logging in there when you need to show it, or save it to your Google or Apple wallet. "What we will be doing is integrating that, and providing people with the option of then having it in their Service NSW app to make it really easy when they're checking into venues across NSW," the Minister said. "That way, you don't have to open up several different apps just to get into a venue. You open up one app, the Service NSW app. On that app, it'll enable you to check in, and at the same time on that same screen it'll show your vaccination status," he continued. You will need to consent to give the app authority to access your immunisation record, so it won't happen automatically. First, though, the NSW Government is still working with the Commonwealth Government regarding access to the latter's data, and is also consulting with industry on the design of how it should work. It's also planning to implement security features, such as a hologram just like on digital drivers licences, as well as another QR code. It's expected that the app might be able to be used to show your vax status when state borders reopen as well. Whether the update to the app will be ready to be rolled out statewide when Sydney comes out of lockdown isn't yet known. But, if it isn't, you'll be able to show proof of vaccination via the Medicare Express app, or your Google or Apple wallet, until it is. For more information about the Service NSW app, or to download it if you haven't already, head to the government department's website.
If Twin Peaks can return after 25 years, then holding out hope for Mindhunter's comeback eight years since its second season remains perfectly reasonable. According to star Holt McCallany (Mission: Impossible — The Final Reckoning) — the Bill Tench to Jonathan Groff's (Étoile) Holden Ford — there might be reason to be optimistic. He's shared the tidbit that David Fincher (The Killer) could continue the acclaimed serial-killer series, but as three movies rather than a new season. Mindhunter debuted in 2017, then released its second season two in 2019 — both of which were exceptional. Since then, however, viewers keen for more of the show's look into the origins and operations of the FBI's Behavioural Science Unit haven't been showered with good news. Netflix let the cast's options expire in early 2020. In 2023, Fincher himself said that there'd be no more. But McCallany now notes that the door to reviving Mindhunter is open, even if only slightly. "I had a meeting with David Fincher in his office a few months ago, and he said to me that there is a chance that it may come back as three two-hour movies," said the actor in an interview with CBR. "But I think it's just a chance," he continued. "I know there are writers that are working but, you know, David has to be happy with scripts." Fincher not only executive produced and directed episodes of Mindhunter for Netflix, but did the same on House of Cards — and on Love, Death & Robots as well. His last two movies, Mank and The Killer, were also made for the streaming platform. Next up on his filmography is a follow-up to Quentin Tarantino's Once Upon a Time in Hollywood, as penned by QT, directed by Fincher, starring Brad Pitt (Wolfs) as Cliff Booth and backed by Netflix. Both as a true-crime series and a streaming series in general, Mindhunter has always stood out from the crowd. Combine Fincher, the serial-killer domain that he dug into earlier in Seven and Zodiac, non-fiction book Mindhunter: Inside the FBI's Elite Serial Crime Unit and a whole heap of real-life cases, and you get the greatest show that the streamer has ever made. Its focus: the folks who interview mass murderers to understand how they think, then use the learnings to help stop other killings, with the series drawing on its factual source material to dramatise the Behavioural Science Unit's beginnings. In its first two seasons, McCallany and Groff starred alongside Anna Torv (Territory) — and IRL notorious figures such as Ed Kemper, David Berkowitz and Charles Manson were part of the narrative, with help from Cameron Britton (Mickey 17), Oliver Cooper (Burt) and Damon Herriman's (The Bondsman) performances. There's obviously no word yet as to when Mindhunter could return if it does return. Check out the trailer for Mindhunter's first and second seasons below: Mindhunter's first and second seasons are available to stream via Netflix. We'll update you about any Mindhunter movies if and when more details are revealed. Via CBR. Images: Merrick Morton/Netflix.
Sydney is spoiled with a wealth of bars that also offer up top-notch eats alongside their drinks. Uncanny is the latest to join this list, as a King Street cocktail bar offering a selection of delightful Mediterranean share plates. Located just across from Newtown Station in the former digs of Gurdys, the cocktail bar comes from a family of experienced hospitality veterans — Julien, Michel and Laura Bouskila — who have joined forces to open their first venue. "Uncanny came to be through a mutual excitement and desire to create a venue that felt like a home away from home," co-founder Laura Bouskila says. Step into the cosy and inviting venue and you'll be greeted by an array of family photos, movie posters and knick-knacks, all of which come from the Bouskila family home. As with the best cocktail bars in Sydney, you can order all of your standards alongside a selection of house specials. Uncanny's creations stretch from the sweet to the strong, playing on classic mixes. The Julio Ricter takes a mezcal margarita and adds a salt and za'atar rim; while The Ritz features thyme-infused Aperol with sparkling rosé and soda. And, each time you come in you can expect something new, with the bartenders having regular competitions to come up with new exciting creations. While the drinks hit the spot, the food is the big drawcard. The standout is the bed of hummus with hot pieces of lamb reminiscent of donna or shawarma on top. Laura recommends you pair this with the Julio Ricter fo the ultimate Uncanny experience. Elsewhere on the share-friendly menu is eggplant and pomegranate molasses, harissa and sumac potatoes with chilli aioli, 24-hour marinated chicken shwarma and sautéed harissa prawns. Plus, you'll also find trivia, live music and open mic comedy at the bar on three Tuesdays of each month. Originally slated to open in June of 2021, the pandemic hit the bar pretty hard, with delays and closures continuing until the start of this year. "Since opening again in January, we have not looked back," continues Laura. "We are so grateful and excited that the Newtown community is loving the vibe of Uncanny." Images: Elyse Genrich.
New year, new vacation season, new gorgeous destination — and new round of chaos at HBO's favourite luxury resort chain, too. After proving not only a huge hit but the best new show on TV in 2021, The White Lotus is returning for a second spin from the end of October. And, as happened in the show's first run, holidaying at the titular chain comes with a whole heap of mayhem for the new batch of guests. Trust Tanya McQuoid-Hunt, aka the character that newly minted Emmy-winner Jennifer Coolidge was born to play, to sum it up in the just-dropped trailer for season two: "it's just been a series of very bad decisions." She's the only main figure on this new getaway, and she's travelling to the just-as-exclusive White Lotus hotel in Sicily with her husband Greg (Jon Gries, Dream Corp LLC) and assistant Portia (Haley Lu Richardson, After Yang) — however the former isn't happy that the latter is with them. Also, Tanya thinks that Greg might be cheating. While the Hawaii-set first season of The White Lotus also starred Murray Bartlett (Physical), Connie Britton (Bombshell), Steve Zahn (Where'd You Go, Bernadette), Sydney Sweeney (Euphoria), Fred Hechinger (Fear Street), Brittany O'Grady (Little Voice), Kekoa Kekumano (Aquaman), Alexandra Daddario (Songbird), Jake Lacy (Mrs America) and Natasha Rothwell (Insecure), a new cast of faces is joining Coolidge and Gries this time around — all with their own vacation issues. Checking into season two: F Murray Abraham (Mythic Quest), Michael Imperioli (The Many Saints of Newark) and Adam DiMarco (The Order) as three generations of one family; Aubrey Plaza (Best Sellers) and Will Sharpe (Defending the Guilty) as a newly wealthy couple vacationing with pals played by Theo James (The Time Traveller's Wife) and Meghann Fahy (The Bold Type); Tom Hollander (The King's Man) as an English expat away with Leo Woodall (Cherry) as his nephew; Beatrice Grannò (Security) and Simona Tabasco (The Ties) as locals; and Sabrina Impacciatore (Across the River and Into the Trees) as this White Lotus' manager. Mark Monday, October 31 in your diary, as that's when HBO's biting satire will return for its second season, including via Binge in Australia and Neon in New Zealand. Yes, we know that that's the same date as Halloween, but prepare for something twistier, more scathing and more playful than trick-or-treating — at least based on The White Lotus' exceptional first go-around, which just swept Hollywood's TV night of nights in September. Once again, creator/writer/director Mike White (Brad's Status) is behind the series — and also once again, the social satire will follow a week in the lives of titular resort's guests and employees. Season two will span seven episodes, however, prolonging the holiday fun/mess. Check out the trailer for The White Lotus season two below: The second season of The White Lotus will be available to stream Down Under via Binge in Australia and Neon in New Zealand from Monday, October 31. Read our review of season one.
The annual Improv Everywhere mp3 experiment proves we've come a long way since the Napster debacle of the early noughties. Interestingly, the New York-based prank collective started in 2001, around the same time Napster was given a court injunction to stop the distribution of copyrighted music on its network. But the eighth installment of the annual prank has made good use of mp3 downloads, casting aside any former copyright stigmas for the convergence of thousands of people in one picturesque setting. This year's prank took place along New York's Hudson River with over 3,500 participants downloading two types of mp3s, each with instructions that culminated in a mass 'silent disco' at Nelson Rockefeller Park during sundown. The participants of this year's prank began as two groups and were asked to wear two different coloured shirts, representing the theme of two tribes coming together. Once the two groups were instructed to meet at Nelson Rockefeller Park, on-the-spot jumping, indiscriminate high-fives to random passers-by, handshaking, slow dancing and linking of the arms took place. The Improv Everywhere prank collective has orchestrated over 100 pranks since 2001, and are behind the now iconic Frozen Grand Central flashmob which has been viewed by 27,513,992 people since 2008. https://youtube.com/watch?v=lrCnh9sT_mc
Watching any film by Apichatpong Weerasethakul, it's easy to pick that the Thai director is also a visual artist, even if you didn't already know going in. In every one of his features to play in cinemas, including his Palme d'Or-winner Uncle Boonmee Who Can Recall His Past Lives, Asia Pacific Screen Awards Best Film recipient Cemetery of Splendour and the Tilda Swinton (The Room Next Door)-starring Cannes Jury Prize awardee Memoria, peering deeply is rewarded. So is soaking in imagery that no other filmmaker could conjure up, as well as being immersed in his movies at a patient, reflective pace. The above films, a trio from among Weerasethakul's four most-recent releases, all had dates with the big screen in Australia — but A Conversation with the Sun (Afterimage), his next creation, isn't showing at a picture palace. Instead, the acclaimed director has crafted the cinematic installation especially for the Museum of Contemporary Art Australia in Sydney. [caption id="attachment_1013105" align="alignnone" width="1920"] Chayaporn Maneesutham[/caption] 2025 marks a decade and a half since Uncle Boonmee Who Can Recall His Past Lives collected one of the world's most-prestigious film prizes thanks to its 2010 Cannes victory. This is also the year that A Conversation with the Sun (Afterimage) graces the MCA, displaying from Sunday, September 14, 2025–Sunday, February 15, 2026. Musing on cinema and its emotional impact, fittingly, as well as memory, making images and time's passing, the large-scale work is a collaboration with Rueangrith Suntisuk and Pornpan Arayaveerasid, who hail from Bangkok-based collective DuckUnit. Inspired by pondering the sun while walking in nature, featuring video diaries projected onto floating fabric, and designed to provide a dream-like experience that appears to fade and return thanks to the curtain, it is taking over a five-by-16-metre space in the MCA Macgregor Gallery. Weerasethakul is also part of an Artist in Conversation session at MCA Australia on Saturday, August 16, 2025, and a range of his short films from between 2007–24 are screening at the venue on Saturday, October 25, 2025. [caption id="attachment_1013102" align="alignnone" width="1920"] Apichatpong Weerasethakul in collaboration with DuckUnit, A Conversation with the Sun (installation), 2022, installation view, How to Hold Your Breath – 2024 Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2024, image courtesy of the artist, photograph: Apichatpong Weerasethakul[/caption] Top images: Apichatpong Weerasethakul in collaboration with DuckUnit, A Conversation with the Sun (installation), 2022, installation view, BANGKOK CITYCITY GALLERY, Bangkok, Thailand, 2022, image courtesy the artist and BANGKOK CITYCITY GALLERY, photograph: Miti Ruangkritya. Apichatpong Weerasethakul in collaboration with DuckUnit, A Conversation with the Sun (installation), 2022, installation view, How to Hold Your Breath – 2024 Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2024, image courtesy of the artist, photograph: Apichatpong Weerasethakul.
If you're a Marrickville local, you might know Auntie. She has a small shopfront on Illawarra Road and, should you come across it, it's well worth heading inside to say hello. Start with her bánh xèo — because she certainly knows how to make a mean one. The thin and crispy coconut and turmeric crepe — which comes stuffed with onion, bean sprouts and your choice of protein (pork or prawns) — is as authentic as it comes. Then there's the pho. The beloved Vietnamese dish most people pronounce wrong (FYI it's fuh). Of course, there are embellished alternatives, and if you want the good stuff, then the pho dac biet is a must-try. Picture this: a large bowl filled to the brim with house-made wagyu meatballs, thinly sliced black Angus beef, braised brisket, a torched beef short rib and rice noodles swimming in a broth so rich in flavour, you'll be begging for the recipe. This is all best lapped up with a classic cocktail or alcoholic slushie in hand. Or for a more authentic experience, order a Bia Ha Noi lager while you sit back in your Bentwood chair and watch the 'aunties' do their magic from behind the brass-trimmed open kitchen. But that's not the only interesting viewing at Hello Auntie. The narrow, low-lit industrial-style space is decked out with shelves stacked with old-school knick knacks and black and white family memorabilia. There's even a collection of mirrors that line the exposed brick walls, so you can watch the restaurant in full swing. So, whether you're stopping in for a date night, a catch-up with mates or a quick solo lunch, Hello Auntie has everything covered. Top images: Bodhi Liggett.
Floristry duo and partnership George Low and Elizabeth Johnson have been working together for decades to craft beautiful floral designs for private residences, corporate clients and the occasional sweet sixteenth or 90th birthday garden party. The pair had a shop in Ultimo for ten years, but are now based in Alexandria, where they handle giant slipper orchids and tall branches of cherry blossom for by-order-only business. To make an order, Seed Flora is best contacted through its Instagram page, or via the phone. The duo isn't afraid to make an entrance, and experimenting with unnatural colours like metallics and blue dyed roses is part of the fun of playing with what nature provides.
If you've done your dash with the dalgona coffee and all those failed attempts at sourdough, here's a little culinary project that might just revive your kitchen-weary soul. The minds over at global sauce company Heinz have released recipes for a series of unconventional ice creams — dubbed Creamz — starring some of the brand's most iconic condiments. Yep, mayo ice cream is a thing and it can be on the menu at your house this weekend. Over on its UK website, Heinz is now selling a range of ice cream-making kits, filled with all the ingredients and equipment needed to whip up a batch of these frozen 'Creamz', crafted on the likes of its salad cream and barbecue sauce. Unfortunately, the DIY packs are only available to UK locals, but the recipes themselves are free to download from anywhere in the world. Basically, all you'll need to do is stock up on milk, double cream and sweetened condensed milk, grab an extra bottle of your favourite Heinz condiment, and jump in the kitchen to give those crafty folk at Messina a run for their money. You can have a crack at variations like the Ketchup Creamz — which apparently works a treat topped with meringue and raspberry coulis — and a mayo-infused edition they reckon pairs well with apple and blackberry compote. Or perhaps the barbecue sauce number is more your speed, garnished with some maple syrup and crispy bacon bits. Wherever your sauce obsession lies, we recommend you clear some space in your freezer — things are about to get a little crazy. You can find all five of Heinz's Creamz recipes over at the website.
For anyone born after 1978, it's impossible to imagine a world without Jamie Lee Curtis playing Laurie Strode, grappling with the ultimate movie boogeyman and being one of the OG final girls. Forty-four years ago, the then film first-timer slipped into the role and battle of a lifetime, taking on Michael Myers in John Carpenter's initial, iconic and now-highly influential October 31-set slasher Halloween. The picture, and the part, both launched and defined Curtis' career — and she's returned as the Haddonfield, Illinois babysitter-turned-survivor six more times since. Curtis' on-screen resume doesn't lack in other highlights, of course. Reteaming with Carpenter in The Fog, riding the scream queen wave in Prom Night, winning a BAFTA Award for 80s comedy Trading Places and scoring another nomination for A Fish Called Wanda: she'd managed all that before the 90s even hit. Since then, Curtis has tangoed into action-hero territory in True Lies, dispensed motherly advice in the My Girl movies, swapped bodies with Lindsay Lohan in Freaky Friday, joined Veronica Mars on the big screen, gotten her murder-mystery on in Knives Out and sported hot dog fingers in Everything Everywhere All At Once. Laurie Strode and Laurie Strode only, she definitely isn't. Still, Curtis and Laurie will always be synonymous. When you keep stepping into a character's shoes for four-plus decades — and when that character is one of the most famous there is in horror movie history, too — that's going to happen. Now, however, the unthinkable is also occurring. Curtis will always be Laurie, but she's also saying goodbye to the constant target of Michael Myers' slash-happy rampages. Yes, Halloween Ends has the perfect moniker for that turn of events. The 13th entry in the Halloween franchise, Halloween Ends is also the third in a trilogy that started in 2018, brought Curtis back to the fold after a 16-year gap and has clearly been working towards closure ever since. Indeed, in this iteration — as directed and co-written by David Gordon Green (Stronger, The Righteous Gemstones), and produced by Jason Blum — Laurie has weathered the pain of being Michael Myers' prey, and worn that survivor's PTSD as firmly as her silver hair. She's prepared to face him down again. She's tried and thought she's won, only for the mask-wearing murderer to re-emerge. She's lost friends and family to the monster, and seen how deeply Michael's mayhem has affected her home town. In other words, she's been as fascinating a horror-film final girl as any movie, franchise, actor or audience can hope for, and she's earned her farewell. With Halloween Ends releasing in cinemas Down Under on October 13, we chatted with Curtis about the series, her legendary character, and what it's meant to earn a part as a teenager and leave it half a lifetime later — plus being not just the final girl, but the final woman. ON THE HALLOWEEN FRANCHISE'S MASSIVE SUCCESS — AND HUMBLE BEGINNINGS "No one knew. If anyone knew, we'd be in Vegas today and we'd be betting money on something because we'd have some prescient idea of knowing about the future. No one knew anything about anything. We were young filmmakers. The oldest person was 30. We were a crew of about 15 people. It was made in 17 days, shot fast and furiously, and it turned into something quite magical. But that's the art of the movies. That's what happens once in a while. I did a movie this year called Everything Everywhere All At Once, which was the same thing. A group of people getting together, 38 days in an abandoned office building in Simi Valley, California — and what came out was this phenomenon, this beautiful movie. No, nobody had any idea." ON RETURNING TO LAURIE FOR THIS TRILOGY AFTER A 16-YEAR GAP "Honestly, the last thing I ever thought I'd do was another Halloween movie. And the phone rang, and it was Jake Gyllenhaal. I was in my house up in the mountains, and Jake said 'my friend David Gordon Green would like to talk to you about a Halloween movie'. And I said 'okay'. He called me, and what drew me back was that David had written a script about really what happens to somebody 40 years after that level of violence and trauma happens to them, and I felt it was very realistic. It was everything I'd hoped H20 could've been, and wasn't. For me it just was truth. It felt like it was truthful. It felt like it honoured victims. It gave a truth to really what happens. How many times do we see a disaster happen, all the news cameras, everybody's camping out on people's lawns — coverage, coverage, coverage, coverage — and then they go away? Then what remains are all these people whose lives have been ruined, and we never see a story about what happens to them ever. I felt like that was what David wrote — a story about what really happens to people who suffer that level of violence." ON EVOLVING FROM FINAL GIRL TO FINAL WOMAN "I represent something as Laurie Strode, the survivor of Michael Myers, for all these years. I take it very seriously. I commit to it. It's very important. She's, by the way, not only the final girl, not only the final mother, not only the final grandmother — ultimately, as you said, she's the final woman. This is a woman in full possession of her own life, and facing fear head on in that a way that I think people admire and respect, and people have certainly loved Laurie over the years for that fortitude. And I owe them. The gravity of the way I approach this work is due to them. If I was sitting here joking with you about how fun it was, and how I'm friends with the guy who's in the mask, and it's all light and easy, then what the fuck am I doing? Then why am I here? It has to be with this level of gravity and respect for Laurie Strode, who is a real person to many, many, many, many, many people. And I am Laurie Strode." ON MAKING A NEW HALLOWEEN TRILOGY WITH SOMETHING TO SAY "It wasn't a trilogy to begin with. We didn't start it out a trilogy. That I found out after the fact. But more importantly, I think also what this movie really explores is how we victim-shame, how we start to blame the actual victims of the crime because of the communal experience. The town is without resources to process their grief and who do they turn it against? Laurie Strode. Look at how we do this all day long. Look at how we use social media. Look at Twitter. Look at these portals of hatred and vile antagonism that we use in the spirit of free speech and all of the rest of it. It's terrible. The movie explores that in a very big way." ON FAREWELLING LAURIE — AND WHAT IT'D TAKE TO COME BACK "I think it'd be hard to come back now. I can't imagine a world where a filmmaker is going to come up with a scenario that explores Laurie Strode's journey and her conflict with Michael Myers in any better way than David Gordon Green has done with these three films. But I never say never, because there are great filmmakers today, and who knows? Maybe Guillermo del Toro will come up with a plan for it, or a filmmaker who's brand new will come up with some breathtaking story that can figure out a way to weave a version of Laurie's story. Who knows? But from my practical standpoint — I'm a very practical person — I can't imagine it. It's been a very emotional trip, this tour of talking and meeting fans, and really talking about the import of Laurie Strode on their lives. I have tried to receive it all, and it's a lot. It's just a lot. It's going to be hard. But I also am very joyful. I have a lot of creativity because of Laurie Strode. I now have all sorts of creative stuff I get to do. So it's not that I'm never going to get to act again — quite the opposite, I get to do that more now than I ever got to before. I get to produce things in a way I never did before. I get to direct things in a way I never did before, all because of this 2018 trilogy. So I'm sad to say goodbye to fans, for sure. But I'm happy for the opportunities that Laurie has given me, absolutely." Halloween Ends releases in Australian cinemas on October 13. Read our full review.
Adding to the rejuvenation of the Northbank Precinct — stretching from Spencer Street to the Charles Grime Bridge — 1 Hotel Melbourne will serve as a headline destination, featuring a meeting of luxury and sustainability. Ahead of its opening on Thursday, June 19, this eco-conscious hotel now has a flagship culinary partnership to match, with Australian chef Mike McEnearney brought on board to present From Here with Mike. Renowned for his ingredient-first, low-waste approach and Sydney-based eatery Kitchen by Mike, McEnearney offers his signature seasonal, ethical and sustainable cuisine at this latest venue. "From Here by Mike will be a true reflection of what's possible when like-minded people come together with a common purpose. I'm proud to bring this vision to life in a space that truly honours nature, community, and above all, good food," says McEnearney. Launching for breakfast, lunch and dinner, guests can look forward to simple, thoughtful cuisine informed by Victoria's abundant pantry. Raising up low-impact farming, hyper-local sourcing and minimal intervention through its menu, nourishing dishes are designed to bring diners closer to their food, with direct parallels drawn between each ingredient and how it arrived on the plate. While the full menu is still to be revealed, think freshly shucked oysters with pickled daikon and finger lime vinaigrette; twice-baked goat's cheese soufflé with rosemary cream; and wood-roasted cockerel with vadouvan sauce. Honest and rooted in nature, each dish is intended for sharing with loved ones, where you can connect over cuisine and experience a joint sense of wellbeing. From Here by Mike's wine program strikes a similar beat, with 40 percent of the selection centred on Victorian wines created with minimal intervention, using biodynamic, organic and sustainable methods. Meanwhile, the cocktail menu will emphasise sustainability, as the culinary team repurposes diverse ingredients and sources local, seasonal products. Designed to complement the cuisine menu, expect outstanding food and drink pairings. Years in the making, 1 Hotel Melbourne is almost ready for launch, with its 220 metres of uninterrupted river frontage bringing an attention-grabbing element to North Wharf. Joining the brand's properties in London, Copenhagen, New York City and beyond, guests will discover a sophisticated blend of luxury and sustainability, with top-notch dining and wellness amenities supported by a design brimming with reclaimed materials and eco-driven practices. From Here by Mike opens Thursday, June 19, at 1 Hotel Melbourne, 9 Maritime Place, Docklands. Head to the website for more information.
The first sip of an oat flat white from your local cafe tells you everything you need to know. On a good day, it's smooth, balanced and creamy — on a bad day, it's flat, split or watery. So what makes the difference between a great (or not so great) dairy-free coffee? According to Anthony Douglas, World Barista Champion, long-time team member at Melbourne's Axil Coffee Roasters, and MILKLAB Global Brand Ambassador, it all comes down to the milk. Anthony knows a thing or two about making great coffee. And he's spent more hours than most perfecting the relationship between espresso and milk. "When I first touched a coffee machine I had no idea there were even competitions let alone that I would be up there myself on stage," he tells Concrete Playground, when asked how he became one of the world's best baristas. "About five years into my career, that was my first exposure to competition. I decided to give it a go, and realised how much I could learn and grow through competition. That's what kept me going until I finally won." Now, his approach is all about the fundamentals. In fact, he believes a great cup of coffee should be simple. "I've always found the best results by keeping the process simple, focusing on the basics and executing them well," he says. For Anthony, a good coffee using plant-based MILKLAB comes down to three things: temperature, texture and integration. "[It's about] being really present as you're steaming the milk and breaking down those bubbles. [Also] being conscious of how you're integrating the milk with the espresso so you preserve the flavour, while still ensuring it's integrated properly from top to bottom," he says. It's something most people have tried at home, but it seems easier said than done. That is, until you've got a few of Anthony's go-to techniques up your sleeve to help achieve the perfect jug of silky milk. "I think it's important to achieve an even whirlpool and really maximise the power of the steam wand," he recommends. "Tilting the wand to the side enough so it spins, but not too close to the side, and ensuring it's angled low enough to really break down any bubbles on top." If you really want to level up your milk game, he suggests introducing the air quickly so you have more time to texturise the bubbles into that delicious, creamy microfoam. And his final tip is temperature. "Too hot and the quality of the milk degrades, is more dilute (due to the extra time spent introducing steam). Too cool and the milk can overpower the flavour of the coffee due to the lack of dilution." "Drinking temperature also has a massive impact on the types of flavours we experience and is one of the first things most customers notice when drinking a milk-based coffee." [caption id="attachment_1014856" align="alignnone" width="1920"] Anthony Douglas, World Barista Champion[/caption] When it comes to plant-based options, Anthony has a clear favourite — but rates them all. "Each milk does have its own unique flavour and texture based on the ingredient it's centred around," he says. "I think my favourite would be MILKLAB Oat as it is the most versatile and works well to showcase any coffee it's paired with. MILKLAB Almond has a beautiful natural sweetness from the almond and is quite easy drinking. MILKLAB Soy I find has a great rich sweetness and body. MILKLAB Macadamia has this beautiful lush texture. And MILKLAB coconut once again has an amazing texture and tropical flavour that really works well with coffee." It turns out, not every milk behaves the same way with every coffee and there's quite a bit of science behind making sure things go smoothly. "The key is understanding how they interact with different coffee. Coffee that is highly acidic, very fresh, or roasted darker often doesn't integrate as smoothly and can cause separation or curdling," he says. If you're running into this issue, Anthony has one simple trick. "[You can] add a small splash of cold plant-based milk to the espresso before steaming and pouring. Cold milk has a higher tolerance for acidity and heat, and this step can help neutralise the compounds in the coffee that might otherwise cause a negative reaction." So, there you have it. To get a plant-based coffee worthy of a world champion, go back to basics, perfect your steam wand technique and don't forget the power of temperature. With a little intention and the right milk, you can get cafe-level results at home. Discover the full barista-approved MILKLAB range on the website.
From big pineapples to big melons to big lobsters, Australia is rather fond of a giant-sized statue. We're also the home of the big banana, big avocado, big bench and big guitar, as well as the big merino, big prawn and big potato. The big list of Big Things not only keeps going on, but has just scored a new addition, too — the Big Lollipop. To answer the obvious question: no, it isn't edible. Sorry to dash your Willy Wonka-style dreams. You will be able to stand beneath the new towering sweet and lick the real thing, however, because it happens to be located outside — where else? — a candy store. Just unveiled on Sunday, September 8 in Ravensthorpe in Western Australia — around 530 kilometres southeast of Perth, if you're planning your next road trip — the Big Lollipop stands next to the pink-hued Yummylicious Candy Shack. Owner Belinda McHarg came up with the idea two years back, as a way to help boost tourism when the local nickel mine closed down for the second time, and now this oversized candy has become a reality. Sure, everyone has seen a hefty edible lollipop before. When you were a kid, you probably convinced your parents to buy you one, couldn't get through it all, hid the rest under the couch and raced around the house in a sugar-fuelled high. We've all been there. This giant version definitely can't be eaten, and it really is giant, standing over seven metres tall (7.4 to be exact) and measuring four metres wide. It's also the world's largest freestanding lollipop, because if you're going to go big, you may as well go all the way. Painted a rainbow of colours, as plenty of smaller-sized lollipops tend to be, the Big Lollipop was launched to mark Yummylicious' third anniversary. The Big Lollipop is located outside the Yummylicious Candy Shack, 89 Morgans Street, Ravensthorpe, Western Australia. The store is open from 10am–5pm daily — for more information, visit the shop's Facebook page. Images: Dana Fairhead.
Turning off your alarm at 6am is one of the easiest things in the world. But turning off a coffee machine half asleep? That's a little bit harder. Perhaps that's what designer Josh Renouf had in mind when creating a genius new coffee-brewing alarm clock. Well, that and the irresistible lure of a fresh cup of coffee waiting at your bedside. In the latest of things to be invented that really should have been invented already, comes The Barisieur. Unlike this ultimate tease of a breakfast-scented alarm clock — which wakes you up with smells of coffee and bacon — this designer device a is the real deal. Not only will it emit smells of coffee (or loose leaf tea, if you prefer) throughout the night as a natural relaxant, but it will wake you up at your desired time with "the sound of bubbling water and the smell of freshly brewed coffee". And just like magic, you'll have a cup of coffee waiting when you pry open your eyes. So how does it work? The water is boiled in the left vessel by an induction hob, forcing it to move up and over into the stainless steel filter on the right. The Water then moves through the coffee to create a super fresh (and convenient) cup of filter. There's also a cooled tray that can store milk and a drawer for sugar and whatever else you might like to pop in your coffee. Like all great devices of our time, The Barisieur is currently being funded on Kickstarter. So far 766 backers have raised almost £200,000 — over half of the £380,000 goal. UPDATE: OCTOBER 10, 2016 The Barisieur has been fully funded, with 1186 backers pledging £383,623 for the most amazing alarm clock of all time. You can pre-order one here.
"Think about how screwed up we would be if we had survived a plane crash, only to end up eating other." That's Yellowjackets in a nutshell, as Christina Ricci (Wednesday) so perfectly describes in the just-dropped full trailer for the show's third season. In store this time around is more then-and-now glimpses of exactly how a New Jersey high school's girls soccer team remained alive — well, some of them — after being stranded in the wilderness following a plane crash, and also what it took to endure and, of course, what the experience did to them. Yellowjackets wants viewers to be its bloody Valentine this year — and more cannibalism, more haunting secrets, more fights to persist and more hunting are set to fill the series' third go-around, as both the first glimpse and initial trailer in 2024, and now a bigger sneak peek, all illustrate. Again, the action is split between two periods, following its characters both in the immediate aftermath of their traumatic accident and also when the past keeps intruding upon their present after decades have gone by. As viewers discovered when it debuted in 2021 and became one of the best new shows of that year, the instantly intriguing (and excellent) series hops between the 90s and 25 years later. Across two seasons until now, life and friendship have proven complex for Yellowjackets' core quartet of Shauna (The Tattooist of Auschwitz's Melanie Lynskey as an adult, and also No Return's Sophie Nélisse as a teenager), Natalie (I'm a Virgo's Juliette Lewis, plus Heretic's Sophie Thatcher), Taissa (Law & Order's Tawny Cypress, and also Scream VI's Jasmin Savoy Brown) and Misty (Ricci, and also Atlas' Samantha Hanratty). The trailers for season three also put it this way: "once upon a time, a bunch of teenage girls got stranded in the wilderness ... and they went completely nuts." The full setup: back in 1996, en route to a big match in Seattle on a private aircraft, Shauna, Natalie, Taissa, Misty and the rest of their teammates entered Lost territory. The accident saw everyone who walked away stuck in the forest — and those who then made it through that ordeal stuck out there for 19 months, living their worst Alive-meets-Lord of the Flies lives. After swiftly getting picked up for a second season because its first was that ace, Yellowjackets was then renewed for a third season before that second group of episodes even aired. In Australia, viewers can watch via Paramount+. In New Zealand, the series streams via Neon. In season three, the returning cast — which includes Simone Kessell (Muru) as the older Lottie and Lauren Ambrose (Servant) as the older Van, characters played in their younger guises by Australian actors Courtney Eaton (Mad Max: Fury Road) and Liv Hewson (Party Down) — will be joined by Hilary Swank (Ordinary Angels) and Joel McHale (The Bear). And from season two, Elijah Wood (Bookworm) is also back. Check out the full trailer for Yellowjackets season three below: Yellowjackets season three will start streaming from Friday, February 14, 2025 via Paramount+ in Australia and Neon in New Zealand. Read our review of season one and review of season two, plus our interview with Melanie Lynskey.
Melbourne's got the Queen Victoria Market (and, more recently, Il Mercato Centrale). Adelaide's home to the Adelaide Central Market. And now, Sydney has scored its very own destination that'll finally give the Harbour City the market it's been crying out for, in the form of Hay St Market at Paddy's. The most significant new development in the Market City complex since the opening of the 1909 Dining Precinct, Hay St Market has radically transformed a 3,000-square-metre section of Paddy's Market into a bustling, world-class food destination, the likes of which Sydney has, surprisingly, never seen. The sprawling hawker-style market boasts over 48 traders plating up more than 25 international cuisines, and is open from morning until night, seven days a week. Headlining the food offer are star chefs Luke Nguyen and Mark Olive. Nguyen has his finger in a number of proverbial pies at Hay St Market: he's serving up his dad's closely guarded pho recipe and its 24-hour broth at Pho Chu Lap, creative dumplings (think: Singapore chilli crab and laksa varieties) at Luke Luk Dumplings, and reimagined banh mi at Madam Banh Mi — like the signature bo kho, in which a crispy baguette is filled with tender braised wagyu brisket and the traditional fixings, and is served with a bright, zingy salsa for dunking. Meanwhile, Olive's seafood-focused menu at Little Midden draws on Indigenous Australian flavours and techniques, like in the smoked blue gum barramundi and bell pepper skewers, which are given a lift with saltbush and pepperberry. Elsewhere, you'll find Cypriot barbecue, handcrafted pies, an oyster bar, smash burgers, Italian desserts, Spanish and Polish delis and more. There's fresh food available, too — former Rockpool head butcher Tim Casey is showcasing prime cuts at Love Me Tender, Paris-trained cheesemonger Christina Murphy is curating the selection at The Cheese Table, and veteran greengrocer Frank Canturi is bringing fresh local and seasonal fruit and veg at greengrocer The Signorelli Bros. Beyond the food, you'll also find flowers, homewares, books and more. Hay St Market is also Sydney's first fully licensed market, with two bars on site. Cans & Crates stocks over 180 canned drinks from around the world, including cocktails, beer, wine and zero-alc options, while Traders Bar serves up craft brews, regional wines and classic cocktails. "We've left no stone unturned in creating Hay St Market at Paddy's — an affordable destination that Sydney can be proud of, where visitors can eat, drink and shop," says Joseph Murray, group CEO at Doltone Hospitality Group, which is overseeing operations at the new precinct. "Inspired by some of the world's best markets, we've built something extraordinary that harnesses Sydney's cultural diversity, offers a twist on tradition and taps into our collective love of food and beverage." Hay St Market at Paddy's is now open at Market City, Haymarket. For more info, head to the venue's website. Images: Esteban La Tessa.
Write a list of all the gifts you need to buy and take it to this shop. Step inside this Paddington treasure trove of knick-knacks and odd items and you're guaranteed to find something irreverent, joyful or unusual for your loved ones. Novelty gifts? Tick. Bath and body set? Yep. Opus has it all. And when you don't know where to start, there's a handy online gift guide to sort your well-groomed dad and your tech-savvy mum. It's a primo place to go when you have absolutely no idea what to get — maybe it's a book on how to be a boss bitch, new candles for the friend with new digs, or drinking games for that Kris Kringle. Make it your first stop and give yourself a giggle at the humorous cards section. [caption id="attachment_798513" align="alignnone" width="1920"] Cassandra Hannagan[/caption] Images: Cassandra Hannagan
This year has been one of the most challenging faced by Sydney's hospitality industry in decades, eclipsing even the turbulent and uncertain periods during the COVID-19 shutdowns and the gruelling months of trading restrictions that followed. The industry has been rocked by a drastic downturn in revenue driven by a number of factors, but chiefly the soaring cost of living, which has forced many consumers to give up dining out regularly. Josh and Julie Niland, the hospitality heavyweights behind celebrated low-to-no waste seafood venues including Saint Peter and Fish Butchery, have already lost two venues to the closure crisis: the OG Fish Butchery in Paddington and their fast-casual concept Charcoal Fish in Rose Bay, which both closed in April. Now, another Niland restaurant has been forced to close permanently. [caption id="attachment_983665" align="alignnone" width="1920"] Petermen[/caption] Petermen, which opened in St Leonards on the North Shore in February of 2023, will serve its last service on Sunday, December 15. In a statement, Josh and Julie Niland cited the challenging economic conditions hammering the hospitality sector as the main reason for shuttering the business. "Our time on Chandos St, St Leonards, has brought a lot of joy to us and our team, and we have welcomed the most incredible guests. However, the past 12 months have been extremely challenging for independent businesses within the hospitality industry." the statement reads. [caption id="attachment_826356" align="alignnone" width="1920"] Charcoal Fish in Rose Bay[/caption] "Sadly, Julie and I have had to make the decision to close Petermen. Our last day of trading will be Sunday, December 15. We wish to thank the local community for all their support. We are incredibly grateful to our team, who will continue with us at Saint Peter and Fish Butchery. A big thanks to our suppliers, incredible guests, and everyone who has assisted in making Petermen a special restaurant to dine in." While this is no doubt a disappointing outcome for the Nilands, 2024 hasn't been all bad for these leading lights of Australian dining. In August, the couple's flagship restaurant, Saint Peter, relocated to The Grand National Hotel, expanding its dining room substantially. In November, the pair also announced the opening of a new restaurant at the new luxury Hamilton Island resort The Sundays, expanding the Niland's Australian footprint beyond NSW for the first time. [caption id="attachment_739656" align="alignnone" width="1920"] Fish Butchery. Image by Cody Duncan[/caption] Petermen will open for its last service on Sunday, December 15. For more details and to make a booking, visit the Petermen website.
If a trip to SXSW has always been on your bucket list, here's an alternative much closer to home: Australia's own — and first — huge five-day technology and music festival. Called Sound West, the new event is headed to Sydney's west in early 2022, and will combine a two-day conference at CommBank Stadium with three days of live music events. Networking, workshops, mentoring, big tech brands and music industry leaders, performances by local, national and international talent — that's all on the bill. Mark Wednesday, March 30–Sunday April 3 in your diary, as that's when Parramatta will play host to an event that's been three years in the making — after the team behind Sound West conceived of giving Greater Western Sydney its own landmark fest. The end result will take over venues large, small and unique, bring together the music and tech industries, and both recognise and develop the next generation of talent in the two fields. Exactly what'll be on the entire lineup won't be revealed until February — which is when tickets will also go on sale — but Dylan Alcott OAM, L-Fresh The Lion, Khaled Rohaim and Serwah Attafuah will all pop up among Sound West's presenters and performers. Alcott will chat about his accessibility-focused music festival Ability Fest, L-Fresh The Lion will collaborate on a number of singer-songwriter initiatives, Rohaim will discuss his work with Rihanna, Ty Dolla $ign and The Kid Laroi (including working from his western Sydney bedroom), and Attafuah will cover her moves in the NFTs and their relevance to the music industry. [caption id="attachment_831234" align="alignnone" width="1920"] Khaled Rohaim[/caption] The program will also feature keynote addresses, panels, one-on-one sessions, live podcasting and interactive activations. SXSW has been known to get creative in the latter space, so fingers crossed that proves the same at Sound West. And, brand-wise, plenty of big music and tech names will be represented, such as NEC Australia, TikTok, Shopify, Warner Music, Universal Music Australia, Live Nation, Apple Music, ARIA and APRA AMCOS. "This region is going from strength to strength through industry development, investment in research and innovation, and a rich cultural foundation that makes for a dynamic city to live, work, visit and host events," said Stuart Ayres, NSW Minister for Tourism and Western Sydney, announcing the festival. "Sound West is the first of its kind in Australia and will bring together brilliant minds, industry leaders and music enthusiasts to share ideas, network and enjoy the creativity of home-grown artists." Sound West Technology and Music Festival will run from Wednesday, March 30–Sunday April 3, 2022, in Parramatta. The full event lineup will be revealed in February — we'll update you with further details then.
Hotel Ravesis, the legendary Bondi establishment where locals and tourists alike have had many a memorable night out, enters a new chapter with the opening of Spanish restaurant Alzado on the first floor. With Bondi Beach as a backdrop and lively energy from its customers seeking good times, Ravesis is a prime location for Alzado's vibrant, easy-going holiday vibes. The new Spanish coastal diner arrives by way of collaboration between Ravesis owner Aya Larkin, executive consultant chef Pablo Tordesillas, and head chef MJ Olguera. Larkin says, "There's always been a rhythm between the beach, the Bondi village, and its end-of-day sunset dining culture. We wanted Alzado to capture that — creating a space where people can wander up straight from the sand and find themselves staying all afternoon. It's elevated, yes, but not formal — it's about a shared table full of great food and ice-cold drinks, and those moments where lunch effortlessly rolls into the evening. We're excited about this new chapter for Hotel Ravesis and to give this magnificent dining space its time in the sun once again." Spanish-born Todesillas (ex Merivale executive chef) and Olguera's menu is designed for long, boozy lunches, apertivo afternoons, and bustling dinners that stretch long into the evening. There are plenty of easy-eating snacky options that pair perfectly with a glass of featured dry sherry or vermouth on ice. Spain's deceptively simple favourite pan con tomate is served with a tin of anchovies or Jamón Ibérico. There's whitebait with aioli, patatas bravas with salsa brava, and grilled sardines with saffron. The sun-soaked wrap-around balcony is primed for another round of oyster martinis — made with oyster shell-infused vodka, and served with a Sydney Rock oyster — with a selection of small plates such as preserved tuna with the pickled goodness of onions, chilis and olives, and potato crisps piled high and layered with Jamón Ibérico and pickled peppers. For mains, opt for seafood rice, lamb belly ribs, fresh grilled market fish, or a hefty one-kilogram ribeye. Todesillas says, "Alzado is about distilling the essence of coastal regional Spain into a Bondi setting. When you eat in Spain, the best meals are often the simplest — a piece of fish grilled on the plancha, a plate of peppers with nothing more than olive oil and sea salt, a glass of something cold alongside. That approach — letting produce speak, cooking with heart, and keeping flavours true — is what we've brought to Alzado. It's food designed to be shared, to linger over, and to always feel generous." Images: Parker Blain.
For more than two decades, every Australian kid was familiar with Aerobics Oz Style. It's the show that kept TV-loving children from their early-morning cartoon fix — airing each day before Cheez TV and its predecessors started. Back then, between 1982–2005, the sight of leotards, tights and leg warmers probably brought a frown to your face. Now, while we're all trying to keep active in isolation, it's reason to smile. Bust out your best retro workout outfit and get ready to stretch, bend, step and tone — because Network Ten has just dropped a heap of old-school episodes on its free streaming platform. Over at 10Play, 15 90s-era instalments of Aerobics Oz Style are now available to watch (complete with 90s-era soundtracks). The bulk were first aired in February 1995; however you can also get sweaty to episodes from April and October 1996, December 1997 and February 1998 as well. Most of the available episodes were filmed in a studio, so prepare not only for some thoroughly 90s activewear fashions, but also for pastel-heavy set design from the period. If you're eager to get a glimpse of Sydney from more than 20 years ago, though, three of the episodes were shot at various outdoor locations around town — so you can get fit and check out the scenery. Need an amusing reminder of what you're in for? In 1998, TISM satirised the show in the music video for their single 'Whatareya?', which you can watch below: https://www.youtube.com/watch?v=GiHdpAVIHgo To sweat your way through 15 retro episodes of Aerobics Oz Style, head to 10Play.
During lockdown, Tacos Muchachos transformed a Surry Hills cafe into a pop-up Mexican restaurant, serving up exciting Mexican street food dishes to anyone within five-kilometres of the shop. It proved a hit with locals — people flocked to their quesabirria tacos, takeaway margaritas and al pastor nights. Following lockdown, the cafe took back custodianship of the Surry Hills space, so Tacos Muchachos went looking for a new home. Now, they've settled on the ground level of Chippendale's new Mexican-inspired boutique accommodation, Hotel Hacienda. The menu has stayed consistent with the pop-up: nachos ($18), consommé ($4), street-style burritos ($18) and quesabirria tacos ($18). These tacos are what will keep you coming back. The rich and cheesy showstopper are a must-try. And, Sydneysiders are sure to be excited by the unique flat and crispy burrito packed filled with refried beans, sautéed onions, jalapenos, cheese and your choice of fillings. An exciting rotation of weekly specials are continually popping up, with tortas and al pastor to be added to the menu soon. The Tacos Muchachos crew sourced their al pastor machine from Mexico and marinate their pork shoulder in achiote, pineapple juices and citrus. As for the drinks, a classic margarita ($10 during happy hour) or agua fresca ($5) spiked with tequila are currently on offer as well as a selection of beers and Jarrito sodas ($6). Head in between 5–6pm and you'll be treated to a happy hour special on drinks, with more cocktails soon to be offered. Tacos Muchachos is located at 179 Cleveland Street, Redfern. It's currently open 5.30pm until late Thursday–Saturday.
If you'd prefer to explore the Port Stephens region on two wheels than by foot, you're in luck. A bunch of shared pathways exist across the region that'll take you along the coast and through bushland, parks and the town streets. The best 'bang for your buck', so to speak (it's actually free), is the Nelson Bay to Fingal Bay Cycleway, which links three of the region's communities via an eight-kilometre route of shared and on-road paths. Starting at Dutchmans Beach, you'll wind your way through the Nelson Bay foreshore and along the coast past Neil Caroll Rotary Park. You'll then spend some time pedalling on the road through to Shoal Bay before arriving in Fingal Bay. Here, you find plenty of facilities to enjoy, including picnic spots, a patrolled surf beach and the sandy bank of Fingal Spit. You can no longer pass over the sand spit to Fingal Island, but it is accessible by boat. Image: Fingal Spit via Destination NSW
There's nothing humdrum about rum. A favourite with pirates, sailors and scoundrels alike, this rich, golden dram works equally well as a neat shot or for a disorderly night of mojitos. Here's our list of the top destinations for rum-sipping in Sydney, so you can get better acquainted with the spirit of the sea. THE LOBO PLANTATION The Lobo Plantation on Clarence Street will transport you to the glamorous, old world estate of Julio Lobo, a wealthy Cuban sugar trader from the 20th century. Splash out on their Millionaire cocktail ($17), which features a powerful blend of Appleton Estate VX, apricot brandy, sloe gin, lime juice and grenadine, served with a rolled up bank note attached to the stem. Otherwise, cosy into one of the leather banquettes with their Lobo Rum Journal, a 100+ page compendium of rum tasting and production notes which leaves you spoilt for choice. Basement Lot 1, 209 Clarence Street, Sydney PAPA GEDE'S Named after the Haitian voodoo spirit of love and laughter, Papa Gede is just one of many spirits in this witch-doctor apothecary bar. Specialising in Caribbean rum and fruit concoctions, the signature drink is The Zombie ($16), a bright and spicy mix of Appleton Estate rum, brandy, Cointreau, grapefruit and falernum (a sugar syrup made with almonds, ginger and cloves). It's strong enough to resurrect the dead, Papa Gede's warns. This is definitely a venue to add to your regular haunts. 348 Kent Street, Sydney EAU DE VIE This dimly lit speakeasy is the darling of Darlinghurst, serving some of Sydney's best rum cocktails (with a glass cabinet of awards to prove it). If you're a mighty fan of the mai tai, try their tiki version, Captain Zissou ($21). This inspired blend is made with Appleton VX rum, grapefruit and passionfruit marmalade, dry fino sherry, freeze-dried mint leaves and liquorice root syrup, vigorously shaken over ice. As a final touch, it's flamed to impart a burnt rum aroma over the top. C'est magnifique! 229 Darlinghurst Road, Darlinghurst GRANDMA'S BAR Isn't it time you paid Grandma's a visit? This cosy den of cosmopolitan kitsch on Clarence Street is one of the last places you might expect to find such a vast battery of rum. Just like Grandma, the mai tai ($21) is an oldie but a goodie. Her version uses Appleton Extra Jamaican rum, Creole schrubb (an orange and rum liqueur), orgeat, lime, pineapple and bitters, set alight. Grandma would never let you leave hungry, so tuck into an old-school spaghetti jaffle ($8) while you're here. Basement 275 Clarence St, Sydney THE CUBAN PLACE Directly across from the Queen Victoria Building, The Cuban Place recreates the heydays of 1950s Havana, considered to be the home of the mojito. This classic rum, lime and mint medley is available in three sizes, or you can thumb your way through their extensive rum list, with over 150 entries from around the globe. You can also order a Cuban cigar, something that will surely make the smokers light up. 125 York Street, Sydney THE CLIFF DIVE Decorated with artefacts from the South Seas, this little treasure on Oxford Street features a one-of-a-kind underwater dance floor and tiki bar with a rum focus. To drink, we recommend the Monkey Hat ($25), which combines home-spiced rum, Aperol, passionfruit and lime and is served in a monkey head, just like Indiana Jones and the Temple of Doom. 16-18 Oxford Square, Darlinghurst BUTTON BAR Welcome aboard button bar, a pirate-themed watering hole by the crew behind Pocket Bar and Stitch. There's no X marks the spot at this inconspicuous address on Foveaux Street, but once inside, you'll find a gorgeous, wood-panelled ship's hull with 19th-century long rifles and dripping. The go-to cocktail is the Pleasure Vessel ($17) a tasty, tart combination of Appleton dark rum, Grand Marnier, orange marmalade, fresh grapefruit, lemon and orange blossom water. We're sure ye will love it. 65 Foveaux Street, Sydney MOONSHINE CIDER & RUM BAR Located upstairs in the Hotel Steyne, Moonshine is one of the only pirate bars with an outdoor wooden deck and beachside views, which makes it a breath of fresh sea air. Racks of caged rums line the walls, priced from $7.50 for the house to $40 for a top shelf selection. There's also a stage for live bands and DJs, if you feel like hearing a few shanties. 75 The Corso, Manly
For more than two decades, acclaimed New York artist Spencer Tunick has been staging mass nude photographs in Australia — and he isn't done yet. Sydneysiders, or anyone who's keen to disrobe for a new piece of art, you'll want to be in the Harbour City at the end of November. Your destination: a yet-to-be-disclosed beach. It's been 21 years since the country's first taste of the internationally famed talent's work, when 4500 naked volunteers posed for a snap near Federation Square in Melbourne as part of the 2001 Fringe Festival. Tunick then photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras, headed back to Melbourne in 2018 shoot over 800 Melburnians in the rooftop carpark of a Prahran Woolworths, and went to the Whitsundays with almost 100 Aussies in 2019. Elsewhere, he's photographed the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK. But with his new Aussie installation, he's getting sandy and raising funds for — and awareness about — skin cancer. Saturday, November 26 is the date earmarked for the shoot, with Sunday, November 27 on hold in case the weather isn't quite right for naked folks on the beach. Tunick is hoping to amass around 2500 volunteers, with each participant honouring one of the 2000-plus Aussies who pass away each year due to skin cancer. "Skin unites us and protects us. It's an honour to be a part of an art mission to raise awareness of the importance of skin checks. I use the amazing array of body types and skin tones to create my work, so it feels perfectly appropriate to take part in this effort in that my medium is the nude human form," said Tunick, announcing his new installation. "It is only fitting that I use my platform to urge people to get regular check-ups to prevent skin cancer. I have not had a skin check in ten years, so I am one of the many who have wrongly ignored getting them regularly. One can say I am traveling all the way to Australia to get one!", Tunick continued. Dubbed Strip Off for Skin Cancer, the artist's latest work is timed to coincide with National Skin Cancer Action Week, which runs from Monday, November 21–Sunday, November 27 — and it is looking for volunteers. Tunick hopes to have a diverse mix of bodies in the shoot, with participants each getting a print of the photograph and, we're sure, a big boost of body confidence. The catch here is, of course, the location. Exact details of where the shoot is taking place will only be given to folks signing up — but if you're not usually located in Sydney, you will need to travel there at your expense. Those that do will not only be part of a piece art, but will also help a great cause. Strip Off for Skin Cancer will be shot on Saturday, November 26 on a Sydney beach. Head to the installation's website to register to take part. Images: Spencer Tunick.
At a glance The Chippo's menu seems like classic pub grub — think wedges, steak and the requisite chicken parma. But look a little closer, and Louisiana-born chef Charlie Fisher's influence becomes clear. Entrees include popcorn chicken (or shrimp) tossed in Cajun spices, along with buffalo wings, southern fried chicken and American-style mac and cheese. As for the main course, if you're not feeling sirloin, why not make a mess with pork ribs served in Dr Pepper BBQ sauce. They're also serving up a selection of burgers, inspired by their previous Cheekyburger pop-up. And for dessert, there are few things more American than homemade pecan pie. On the entertainment front, The Chippo will feature pub trivia on Mondays, comedy on Tuesdays, improv and $1 wings on Wednesday and live music Thursday through Saturdays. On Sundays they'll be cooking up pig on the spit — because at least that way you'll start your week with a belly full of bacon.
