There's no Academy Award solely for vocal performances. If there was, Lupita Nyong'o might've added another of Hollywood's prized statuettes to her mantle when the 2025 ceremony rolls around. A decade after taking home an Oscar for 12 Years a Slave, her first feature, and following standout work in everything from Black Panther and Us to Little Monsters and A Quiet Place: Day One since, she's the voice of Roz — short for ROZZUM unit 7134 — in the big-screen adaptation of Peter Brown's The Wild Robot. Unsurprisingly, she's marvellous and moving, taking viewers on an emotional journey even while playing a robot without facial expressions. When Roz is fresh out of the box, powering up on an animal-filled island devoid of humans in a futuristic vision of earth, Nyong'o lends her vocals to the perky Siri and Alexa peer that audiences will wish spoke back to them from their own devices. As the task-oriented mechanical helper learns that there's more to life than her programming — as she befriends a gosling that she names Brightbill (Kit Connor, Heartstopper) and a fox called Fink (Pedro Pascal, Drive-Away Dolls), too, and wins over other wild critters who are initially fearful of the metallic interloper — the warmth that begins to infuse Roz's tones couldn't feel more genuine. The Wild Robot doesn't only prove a gem thanks to Nyong'o's pivotal performance, but it wouldn't be even a fraction of the film that it is without her. In 2024, the actor has had two movies in cinemas. In A Quiet Place: Day One, speaking was one of the worst things that anyone could do. In The Wild Robot, Nyong'o's entire portrayal comes down to talking. "I love that you made that comparison. I hadn't even thought about it that way," she tells Concrete Playground when we point out the contrast, and also ask what she seeks out in new projects at this point in her career. "What gets me excited? I think about the character that I've been offered to play, and I think about what I will require to play the character — and what I could learn as well from playing the character, what I'm curious about. If the character makes me ask questions of the world and of myself and I'm excited to find out the answers, then I want to play that character," Nyong'o explains. When The Wild Robot came her way, she didn't say yes immediately, however. For Nyong'o, voicing Roz was always going to need to be a creative collaboration; just showing up to speak her lines and leaving it at that isn't how she wanted to work. "I don't know how to be just a voice for hire. I have opinions and I want to share them, and I want to make sure that the person I'm sharing them with wants to hear them," she notes. Nyong'o joined the film after meeting with director Chris Sanders and understanding his vision. "You shape these things together. You go on this journey together, and she is a creative force just like every other artist in this film, for sure," he tells us. "And I have to say, she's an absolute genius. Taking Roz apart bit by bit to understand her thinking kept me honest as a writer," he continues. The Lilo & Stitch, How to Train Your Dragon and The Croods director — and voice of Stitch — couldn't be more enthusiastic about the latest picture that now sits on his packed resume (also on his filmography from the 90s when he was starting out: production design on The Lion King, visual development on Beauty and the Beast, and story credits on both alongside Aladdin). Before signing on for The Wild Robot, Sanders describes himself as "book-adjacent" to Brown's illustrated tome, as his daughter had read it. "I saw it sitting around the house and I'd actually forgotten about it until the day I came into DreamWorks to look at what was in development. And there was the book, and they described it, and I thought 'that's the one I'm interested in'," he advises. As the feature's writer and director, he's crafted a version that takes inspiration from Hayao Miyazaki's enchanting Studio Ghibli fare, classics such as Bambi and the work of painter Claude Monet, too — and a gem for all ages. How does Nyong'o tackle a voice-acting part — and, whether she's seen on-screen or heard echoing from it, how does she find the right voice for a character? What kind of thinking and planning goes into expressing Roz's inner journey? How important was it to Sanders that the film didn't shy away from animals being animals, not just in appearance but also into recognising the food chain and cycle of life? We chatted with the pair about all of the above as well, and more, including how animated movies trade in big emotions —because we all have that flick, or several, that we'll never forget — and how that sits in your mind when you're making one. On How Nyong'o Approaches a Voice-Acting Part, Especially Playing a Character Without Facial Expressions Lupita: "I think the animators did a great service to Roz — and a great service to an audience — by not giving her facial features. Because then we stay truer to the fact that Roz is not a feeling entity. She is a robot and has a goal — she's goal-oriented and her goal, luckily, is to be of service to whomever purchased her. So that lends itself to kindness. And she's also very adaptable, so she's able to adapt to the behaviours and expressions of the wild animals that she is now living with. And through that, you can adopt sensibilities akin to emotional expression. I like figuring that out cerebrally. How do I play a character without emotions but still be able to convey a bunch of emotions, and then trust that an audience will project their emotions onto her? We are given that license because she doesn't have facial expressions, so she's not doing it for us. We were very much a part of the performance." On Finding the Right Voice for the Right Character Lupita: "It starts off with understanding the given circumstances of the character. What are the facts, right? And so for Roz, one of the main facts that was very important was that she is a programmed robot. That was very informativem and it led me to listen to automated voices like Siri and Alexa, the voices on TikTok and Instagram — they were an inspiration, their relentless, positive vibrancy was the inspiration there. For someone like Red in Us, I knew that there had been a strangulation at some point, and so that fed my imagination on what could that sound like if you were strangled. Things like that. Then I also work very closely with a vocal coach, and I worked with her on both Us and The Wild Robot, and that's really helpful to just externalise my ideas and make sure that I'm doing it in as healthy a way as possible to stave off injuries." On What Sanders Was Excited to Bring to the Screen in Adapting The Wild Robot Chris: "The story for sure. I've always wanted to do a robot movie. And the other thing that I never thought I'd get a chance to work on would be an animal movie like this. This is a lot like Bambi — the forest, the animals, the creatures. And it's a real forest, they're only slightly anthropomorphised. Bambi is a huge favourite. It always will be. One of the things I think that you cannot understate is the emotional power of that film. It has a staying power and a beauty that we wanted to emulate. Aspire to it, actually, is a better way to say it — that and the art of Miyazaki films. These are things that have a huge influence on us as animators and filmmakers. So we had big boots to fill if we were going to equal the power and the scale of those of those stories. Our animators really took to it, by the way. I didn't understand until they started working on the film the level of excitement that they had to do animals that were animals. That kind of movement, I guess, is really a huge thing for an animator. They're usually doing animals carrying cell phones and they have jobs, etcetera. Animals that are animals, there's a purity to the motion that I was really struck by. The animation went unusually quickly because of the lack of things, like jackets and coats and stuff. And so it was a joy to see all of this come to life day by day." On the Importance of Not Shying Away From the Reality of Animals Being Animals Chris: "It was critical because if there isn't consequence, then the story is just not going to work. We don't want to shy away from any of those things because we need that kind of ballast. I would actually harken back to things in The Lion King — if you don't have consequences, you're not going to have that emotional resonance, and I don't think you going to have a movie that works. So death shows up several times in this movie. The first time, of course, is the critical and pivotal event where Roz accidentally, quite literally, runs across this goose's nest by accident and that sets this whole story in motion. Later on, we revisit it, but we often revisit it with humour. We get a laugh out of it. It's a dark kind of humour, but boy is it effective. The animals on this island have programming, and that's the way that Roz looks at it. She's a creature of human programming, and she sees the animals as running programs as well. I thought that was a really interesting way to look at the world, and one of the load-bearing ideas and themes of the film is the idea that someday you may have to change your programming in order to survive. In our lives, we are creatures of habit, we resist change, and we may have to change the way we think. I think that sometimes we're so fearful of losing ourselves for some reason. I think we're very protective of ourselves. I can only speak for myself, but I get that — but whenever I've been forced to see things in a different way, I've been better for it." On What Goes Into Conveying Roz's Inner Journey Through a Vocal Performance Lupita: "I would say the intention was set at the beginning. Before I took on the role, I asked Chris why he thought I would be good for it, and he said he liked the warmth of my voice. So that was very good information for me, so that I knew what I had for free to offer Roz, and so that was where we would end up — that's the voice when Roz has taken on and embraced the role of mother most fully, that she sounds most like me. And then in the process, a two-and-a-half-year process, the script is developing, and along with it our understanding of who Roz is and how we experience her evolution is also developing. That was really quite technical, and we had certain markers, certain benchmarks for where the quality of my voice was shifting. And I did it quite technically, so it dials up in a way that when you're watching the performance is perhaps, hopefully, quite subtle and unnoticeable — until you meet the robots that are more like the other robots like her, towards the third act of the film." On the "Miyazaki by Way of Monet" Visual Approach to the Natural World Within the Film Chris: "All these things we've been talking about, what a perfect line of questioning actually, all these things are linked together like spokes of a wheel. I felt that it was absolutely critical, and I pushed very hard for this level of sophistication in the look of the movie. Think back to what we were talking about with Bambi, that level of sophistication, I felt, would make our audience see this film in the right way, if that makes sense. This is a film that kids will love. Kids should go see it. Families should go see it. But it's not a little kids' film — it's a film. And that's how Walt Disney looked at those stories as well, he always said so. So that level of sophistication helps us to get into the film in a certain way, and it really immerses us in a way that I've never seen a film like this accomplish. I have gotten so much feedback since we finished the film that it really blurs the line between a live-action film and an animated film, frankly, the way that you see it — and that was very deliberate. And I have to credit the artists and the incredible advances that DreamWorks had made technologically that allowed this look. The funny thing is all that technology opened this film up so that humans are more present than ever before. Literally everything is hand-painted. It would be as if I took out a brush and started painting dimensionally in space. That's exactly what they were doing. So there are no forms underneath the trees or the rocks. It's free handed. So the beauty that you get from that, there's no substitute for it. There's an analogue warmth that we reconnected with on this journey that we've taken through CG." On How Animation Allows Audiences to Have Big Feelings — and Thinking About That When You're Making an Animated Film Lupita: "You have to keep the audience in mind. One of the things that I remember us discussing, Roz has a lot of robotic language, just mumbo jumbo that she says — and you want to keep that in a way that allows for children to grow their vocabulary, and also a way for adults to understand and appreciate what she is saying. But you can't make it too difficult that you lose the children altogether. So those were fun workshops where we tried different words. I remember in the script, there was a time when a character asks Roz something and she goes 'hmm, let me see'. But 'hmm', that's a very human expression, and so I said 'processing' and everybody broke out laughing, and it became part of Roz's vocabulary. For children, that is perhaps maybe a new word — children never say processing, I can't imagine they do. But in that sense, you've expanded their vocabulary and stayed true to the character." Chris: "It's something I don't know if I'm really thinking about it, but in a sense I'm striving for it as I'm working on scenes. I'm scaling things. I think one of the neat things about taking a story like Peter Brown's to the screen is the potential for how big these feelings can be. I'm always going for audacity and scale. And I will run a scene over and over and over in my head, modifying it before I even commit anything to paper a lot of the time, until I'm feeling I've found every edge of the boundaries of that particular moment, and I've built it as large as it possibly can be. Because why wouldn't you, you know? Why wouldn't you? And then the really amazing thing is, I take it only so far, and then we have our actors and our and our animators — and eventually the cinematographer, the lighting, and then eventually Kris Bowers [who composed The Wild Robot's soundtrack]. I cannot overstate his contribution as well. I credit him for, I think, the gosh-darn best score I've ever heard in a movie ever." On What Nyong'o Makes of Her Career Over the Past Decade Since 12 Years a Slave Lupita: "I was sitting at the premiere of The Wild Robot at TIFF [the Toronto International Film Festival], and there was a moment, I think it was a moment when Brightbill is flying away and a feather floats into Roz's hands. And it's a very emotional moment within the story. But in that moment, I was just caught, I was struck by the truth that I have been living out my dreams and this project is another dream come true. I was just filled with gratitude, because not everybody gets to live out their dreams so exactly. And I've had that wonderful, wonderful privilege, and I just don't take it for granted. It's been deliberate. It's sometimes been scary. I've had to say no before I knew I could in order to wait for the project that felt like it would give me the kind of expansion I was looking for. And those times that I've said no have paid off. And looking at the last ten years, I'm very, very proud of the work that I've been able to do, and I look forward to continuing to live out my dreams one decision at a time." The Wild Robot opened in Australian cinemas on Thursday, September 19, 2024.
An all-female instalment in the Ocean's series, set at the Met Gala and starring a killer cast of famous faces? On paper, it sounds like a dream come true. Eleven years after George Clooney, Brad Pitt, Matt Damon and more last fleeced a casino in Ocean's 13, and nearly six decades since Frank Sinatra, Dean Martin and the '60s-era Rat Pack did the same in the first-ever Ocean's 11, Ocean's 8 thrusts women into the blockbuster heist franchise. The elaborate setups, easy banter and split-screen imagery all make the jump to this gender-swapped chapter, as does the buddy-movie vibe, which makes it feel like you're hanging out with a group of glam pals as they happen to stage an intricate robbery. But there are a few things missing in this stylish but slight attempt to extend the Ocean's brand – things like actual drama, a decent villain, and a plot that's anything other than a routine walk through familiar territory. The parallels start from the film's opening frames, with the incarcerated Debbie Ocean (Sandra Bullock) trying to talk her way into early parole, just as her brother did back in 2001. And, like her sibling, she's not being completely honest when she promises she'll be a model citizen upon release. Spending five years, eight months and 12 days in the slammer has given her more than enough time to plan a new job, and it takes barely a few hours to convince her righthand woman Lou (Cate Blanchett) to join in. Amassing a crew that includes fence Tammy (Sarah Paulson), fashion designer Rose (Helena Bonham Carter), jeweller Amita (Mindy Kaling), fleet-fingered thief Constance (Awkwafina) and IT whiz Nine Ball (Rihanna), they're soon ready to cause a splash on the first Monday in May. Their plan: steal a $150 million diamond necklace from the neck of starlet Daphne Kluger (Anne Hathaway) during the star-studded party. Actually, the gang is ready to steal big but stay out of sight. As Debbie tells the crew during the obligatory motivational pre-heist speech, "a him gets noticed, a her gets ignored — and for once, we want to be ignored". It's a delightfully loaded piece of dialogue that speaks to our post-#MeToo world, but it's the movie's only step towards making any kind of statement. Instead, Ocean's 8 represents Hollywood's current gender-switching trend at its most basic, doing little more than bringing in female stars to follow the same old path. If the powers that be were worried about a Ghostbusters-style backlash, they've countered it in the most mundane fashion. If they just wanted to capitalise upon the trend as simply and literally as possible, well, that's exactly what they've achieved. Indeed, writer-director Gary Ross (The Hunger Games) and his co-scribe Olivia Milch are happy to follow the beats established by their predecessors, and to mimic the look and feel that served Ocean's 11, 12 and 13 filmmaker Steven Soderbergh so well. Still, you can only pass off a cubic zirconia as a diamond for so long — and in the words of the under-utilised Rihanna, this movie doesn't shine bright like the latter. Bullock, Blanchett and company try their best to liven up the by-the-numbers caper, and do plenty with their evident chemistry. In fact, you'll wish the film spent more time watching the group chat. But that's a feat of casting, rather than any stroke of writing or directing genius. Throw these charismatic ladies into any scenario, and they'd always demand attention. To be fair, there's ample fun to be found in Bullock's rapport with both Blanchett and Paulson, and in Bonham Carter's scene-stealing awkwardness. Having Hathaway skewer her public reputation is among the movie's best touches too, although it's nowhere near as savvy as her role in last year's Colossal. And yet, the sparkling cast can't lift a film that merely watches their characters put a plan into action with minimal roadblocks or tension. A subplot involving Debbie's duplicitous ex (Richard Armitage) is instantly forgettable, as is James Cordon's involvement as an insurance detective — and it never feels like these gals are facing any real threats, stakes or problems. Working through the nuts and bolts of any heist might be one of the thrills of the genre, but without a sense of drama as well, Ocean's 8 is a barely passable knockoff. https://www.youtube.com/watch?v=KuCqLop7N6w
The ingredients you will need The dough250g flour12g waterPinch of table salt Pork mince filling1 thumb sized portion grated ginger3 pieces green shallots100ml water300g Chinese cabbage300g pork mince2 tbsp soy sauce1 tbsp sesame oil1 tsp sugar2 tsp corn flour How to make the dough Mix water, flour and salt together to form dough then knead for 3 minutes or until firm and elastic. Spray or drizzle with vegetable oil and cover with plastic. Let the dough rest for 30 minutes. Ideally, the dough should be thinker in the centre and thinner around the edges. When you fold the edges together it shouldn't be too think. The Chinese usually roll the dough individually by dividing it into smaller portions. It is generally easier, however, to roll the dough out with a pasta machine or rolling pin to 2mm thick before cutting it with a round pastry cutter on a floured workbench. How to make the filling Grate the ginger and finely chop the shallots. Mix these ingredients into 100ml water and rub the shallots between your fingers to extract the juice. Let the mixture sit for 30 minutes. Blanch the cabbage leaves for 1 minute in boiling water then strain. Dice the cabbage. Mix cabbage, soy sauce, sesame oil, sugar, corn flour and the ginger shallot mixture into pork mince. To finish Put 1 full teaspoon of filling in the middle of the portioned dough and wet edges with water to prevent sticking. Fold the dough working outwards in. Dust dumpling with flour to prevent sticking. To cook, simply boil for 5 minutes. Serve hot with combination of vinegar and soy sauce. This recipe is based on the traditional Jiao-zi dumpling originating in northern China, interpreted by Zachary Ng. Image: Andrea Nguyen.
The brainchild of Grégoire Bertaud, Mal Higgs and Angus Farrell, The Drink Hive has a clear, noble goal (other than the obvious selling of booze) to bring quality craft and artisanal products to thirsty punters in a sustainable manner, and at a decent price — Higgs and Bertaud, the official co-owners of the shop, work closely with various producers to ensure that this goal is met. They even have refillable beer and wine stations pouring quality drops. The Drink Hive is located in Rosebery's food precinct Saporium, which brings sustainable eating, organic ingredients and local businesses together in one place. The Drink Hive slots right into this niche, as Bertaud says that he's "excited to offer Sydney a local and sustainable approach to craft alcohol products at a price affordable to everyone."
It's official: the sprawling venues atop Westfield Sydney are finally opening. Kicking off the launches is Babylon, a Middle Eastern-inspired restaurant, bar and terrace with a cool 800 person capacity. Take the lift up to this massive 1200-square-metre space, where an impressive calibre of hospitality vets are waiting to wine and dine you. Head Chef Arman Uz (Efendy) has created a menu that takes inspiration from his Turkish roots, as well as from the street eats of Israel, Lebanon, Cyprus and Egypt. His extensive 30-dish bar menu features the likes of duck gozleme, ground lamb pide, harissa chicken wings and meze aplenty — including hummus with wattleseed dukkah, charred Turkish chillies with molasses and smoked eggplant salad with woodfired capsicum. The restaurant alone seats over 200 and centres on a custom-built mangal (Turkish grill) and two rotisseries. Expect both eastern Mediterranean and Middle Eastern influences on the menu here, with share plates split between flora, fauna and ocean. There's 12-hour braised lamb neck served with Turkish dumplings and chilli butter, 72-hour sous-vide wagyu tri-tip with roasted eggplant purée and pan-fried snapper with tzatziki, pistachio and baharat rice. Enjoy it all with the house-made bread, which comes paired with za'atar spiced butter. [caption id="attachment_727047" align="alignnone" width="1920"] Steven Woodburn[/caption] Then there's the 330 capacity bar, lead by bar manager David Nutting (Restaurant Hubert, Eau de Vie). He's offering six Middle Eastern-inspired cocktails, including the Beykoz (vodka and sweet vermouth mixed with house-made watermelon soda, hibiscus and rose hip) and the Smoke & Baklava (mezcal with baklava caramel syrup). Plus, two batched cocktails: the Baharat Fashion — dark rum washed with Baharat butter, banana liqueur and chocolate bitters — and the Martini Alla Turk, a dry gin martini with rosemary vermouth and roasted cumin seed. This is all joined by a 250-strong whisky list, 400 spirits and 300 different wines, the latter thanks to sommelier Simon Howland (Nomad, Catalina). [caption id="attachment_727039" align="alignnone" width="1920"] Steven Woodburn[/caption] The fit-out is the work of Queensland architects Hogg & Lamb and Woy Woy interior stylists Stewart + Highfield. As the venue's name suggestions, it takes inspiration from the metropolis of old, with the rooftop terrace modelled on the Hanging Gardens of Babylon. It's many opulent features include Italian travertine archways, velvet upholstery, spotted gum timber and marble finishes throughout — used in the dark gold bar, verde fusion tabletops and black stone terrace floor. Babylon is the second Sydney venue for Mantle Group Hospitality, which also opened James Squires' high profile microbrewery, The Squire's Landing, in Circular Quay last year. And it'll be joined on the Westfield rooftop by the group's third venue Duck & Rice this week. We'll share the full details on that one with you shortly. Babylon is now open at Level 7, Westfield Pitt Street, Sydney from 10am–midnight daily.
Whether you think you can dance or know for a fact that you can't, we have got a hell of an at-home activity for you. Groove Therapy has brought its judgement-free classes online and is charging just $8 a pop. The relaxed, 35-minute live streamed classes for the aspiring street dancer in all of us run most nights at 6 or 6.30pm AEST via Zoom. From Sunday–Thursday, you can partake in a Sweats in Sweats class — where you'll stretch it out and learn a mini-choreography — then on Friday the founder of Mission Stiletto Cassandra Merwood will run you through a playful class in stilettos (if you want, otherwise barefoot is just fine). Indeed, the classes are designed for beginner students who might feel intimidated by a more professional environment. Don't let that fool you though, because the instructors are legit, and will have you popping and locking in no time. It's perfect for those of us who dream of burning up the dance floor, but have never had the moves to back it up. If you'd like to sink your teeth into a longer dance program, Groove Therapy also offers four online dance courses, which you can progress through at your own rate. Kick things off with the 16-class Beginner 1: Grooves (for $69); level up with Party Dances ($89), which'll teach you everything from the moonwalk to the running man, then complete your education with House 1 ($89) and 11 ($69). You'll be ready to rip up the disco dance floor in no time. Images: Gracie Steindl
Arguably the worst part of travel is the bit where you actually have to travel. Sitting in an over-cramped, over-air-conditioned metal tube for 20+ hours almost makes post-pasta swims in the Mediterranean seem too much trouble than it's worth (almost). But until we're at The Fifth Element stage where we can just hop in a capsule and get knocked out cold for the duration of the journey, we'll just have to be content with airlines' attempts at cutting down flight times and transfers. In huge news for Aussie travellers, Qantas over the weekend announced they will start operating a direct flight from Australia to Europe from March 2018. Thanks to their new Dreamliner 787-9 aircraft — which is set to start flying in October 2017 — the airline's non-stop flights from Perth to London will take approximately 17 hours. It will be considerably quicker than their current route, which, with their partnership with Emirates, includes a rather hellish stopover in Dubai (as all stopovers are). It would be the first and only direct flight from Australia to Europe. "This is a game-changing route flown by a game-changing aircraft," Qantas CEO Alan Joyce said in a Qantas press release. "Australians have never had a direct link to Europe before, so the opportunities this opens up are huge." We first reported on this back in October, when Qantas were still in negotiations with the Western Australian Government and Perth Airport to lock down the new route. It seems they managed to reach an agreement, as the new Perth-London flight will operate from Qantas' domestic terminal at Perth Airport, to make the stopover as smooth as possible for travellers coming from other states. The airline recently revealed the layout for their new Dreamliner fleet, which will be two-thirds the size of the 747s they will eventually replace and have only 236 seats (as opposed to the 747's 364 seats). Economy will have a 3:3:3 seat situation (as opposed to the 3:4:3), as well as USB ports and an extra inch of leg room. Hurrah for leg room! Plus, they also revealed some new branding, which includes new typography on the side of their planes. The Perth to London route will start operating in March 2018, and flights will go on sale from April 2017.
If you're tired of standing in massive outdoor gear stores, trying to sort the cheaply made stuff from the high-quality goods, Sydney's new adventure store is for you. Founded by local explorer Brendan Ives, The Adventure Collective in Annandale offers a tightly curated selection of equipment. Each and every item on the shelves is there because it does its job well and is made to last. Forget racks and racks of microfibre towels, packing pods and and torches. Instead, you'll be presented with a very limited choice and, for some items, no choice at all. If the sales assistant offers you just one pocket knife, you can assume that, in Ives' experience, it's the best pocket knife for the price in the world. The Adventure Collective also aims to provide gear that suits your adventure style. Whether you're a coffee cruiser who likes an easy bush walk ending at a wine bar or a Bear Grylls who sets off into the bush, hoping to avoid all another humans for weeks, you can expect to be kitted up just right. And you won't be pushed into buying items you don't need. Brendan Ives spent several years adventuring around the world before landing in London, where he worked in a travel agency's sales department. Frustrated by the use of unreliable, inefficient gear, he returned to Australia, where, in 2012, he established Bear Rentals, a fleet of Land Rover 4WD campers, which he set up and test drove before renting out. While kitting out the cars, Ives collected and tested out a massive range of outdoor products — and then decided to share the very best of the best with Sydneysiders. So next time you plan to head of on an overnight or multi-day hike, or an ambitious camping trip, pop your head into The Adventure Collective before you head off. The Adventure Collective opens this Friday, 24 August, at 16 Cahill Street, Annandale.
Powerhouse singer-songwriter Montaigne is live-streaming a free performance at the Art Gallery of New South Wales for international cultural festival Make Music Day on Sunday, June 21. The ARIA Award-winning artist and Eurovision 2021 contestant will be sharing a few stripped back songs — possibly the newbie 'Don't Break Me', or maybe 2016's hit 'Because I Love You' — via Facebook Live for around 20 minutes. Montaigne will be performing directly in front of a 2004 artwork by Australian artist Lindy Lee called 'Cosmos — a life of fire'. It'll be a showcase of hope and resilience for the music and art industries during a year that has seen many setbacks, and just as many unifying protests. The free event is part of the Gallery's Together In Art project, which was designed to bring optimism through art. The project has invited artists Ngaiire, Delta Goodrem, Rainbow Chan and L-Fresh the Lion to perform at the Gallery, and Together In Art has evolved from a lockdown lifeline of videos and pocket exhibitions into a fresh way of looking at art in a post-pandemic world. To watch, simply register your interest via the Facebook event page and five minutes before the performance time (at 7.25pm) you'll receive a link to the live-stream. Image: Montaigne pictured at the Art Gallery of NSW in the 22nd Biennale of Sydney: NIRIN 2020 exhibition, including works by Barbara McGrady and Kunmanara (Mumu Mike) Williams, Kunmanara (Willy Muntjantji) Martin and Sammy Dodd. Photo: AGNSW, Mim Stirling.
When New Zealand comedy Nude Tuesday hits screens Down Under this winter, it'll be business time. Despite what star Jemaine Clement has sung in Flight of the Conchords, however, few folks on-screen will still be wearing their socks. Birthday suits are the preferred attire here, as made plain in the new movie's name. It does follow an unhappy couple who are gifted a trip to a remote couples' retreat to help save their marriage — a spot where getting in the buff often is recommended — after all. Playing that duo: fellow NZ treasure Jackie van Beek, who co-starred with Clement in What We Do in the Shadows, and Australian The Tourist actor Damon Herriman. And no, the latter isn't portraying Charles Manson, as he did in both Mindhunter and Once Upon a Time in Hollywood. Laura and Bruno, the pair's characters, find scenic sights awaiting at their mountainside getaway — and also Clement as Bjorg Rassmussen. Laughter workshops, tantric dance, sexual liberation and emotional animals all pop up, too, as does baring all to truly work out how they are. See: the just-dropped and very funny trailer. All that flesh, and that cast, is one reason that Nude Tuesday stands out. The other: it's entirely spoken in a made-up language. The cast improvised gibberish as they filmed, and British comedian and writer Julia Davis (Camping) then came up with the subtitles for the movie afterwards. There was a script behind the narrative, though — penned by van Beek, who also co-wrote and co-directed fellow NZ comedy The Breaker Upperers. Here, van Beek came up with the story with filmmaker Armağan Ballantyne (The Strength of Water), who is on helming duties. New Zealanders will be able to see how it all turns out in cinemas on June 16, while Nude Tuesday hits Australian cinemas on June 23 — and will also stream in the latter via Stan from July 7. In Australia, multiple versions of the movie will make their way to streaming, including one subtitled by Aussie comedians Celia Pacquola and Ronny Chieng. Check out the Nude Tuesday trailer below: Nude Tuesday opens in New Zealand cinemas on June 16, in Australian cinemas on June 23, and will stream via Stan in Australia from July 7.
So your local music store is basically out of business, the chain stores are full of crappy pop on overpriced CDs, and op shops are clueing to the fact they can charge a lot more than $1 for that quality Ziggy Stardust LP — where are we supposed to snag our vinyl these days? The answer will surprise and sadden you (of course we don't yet have this store in Australia). Buzzfeed has today named Urban Outfitters as the biggest seller of vinyl in the world. A hip stockist of quirky homewares, ironic t-shirts and boyfriend jeans, Urban Outfitters is like a more affordable version of every designer concept store you window shop in. But music definitely doesn't seem like its beat. This is because, instead of stocking shelves with dusty records and turning into a modern-day Championshop Vinyl, they offer most of their catalogue online. For around US$20 you can order any of the latest indie releases and old classics, and delivery is free for orders over $50 (because who just buys one album at a time?). Unlike CDs and iTunes downloads — may they rest in peace — vinyl is experiencing a huge resurgence at the moment. Sales have increased by more than 40 per cent in the last year alone and are hitting the highest numbers seen since the early '90s. As online streaming options increase in the same way, our new listening practices are becoming more and more apparent. We want to listen to everything for free on Spotify and Pandora then treasure the albums we really like on vinyl. And why wouldn't we? With the rest of our kit from Urban Outfitters, these records make our lives just that little bit closer to a Wes Anderson film. Via Buzzfeed and Stereogum.
Think there's just one Hottest 100 in January? Think again. The second important countdown of the month actually goes rather well with the music poll that just proclaimed 'Heat Waves' by Glass Animals the nation's best track of 2020 — and picked Mashd N Kutcher's Daniel Andrews-inspired 'Get on the Beers' as the 12th most popular song of the past 12 months. In the GABS Hottest 100 Aussie Craft Beers list, great brews are in the spotlight. And, just like its music counterpart, a worthy victor has come out on top. That'd be Bentspoke Brewing Co, with the Canberra brewery taking out the top spot with its Crankshaft American IPA. In doing so, it bested Stone & Wood's Pacific Ale, the winner of the 2011, 2015, 2016 and 2019 polls, which was named this year's second-placed brew — as well as 2017 and 2018 winner Balter Brewing Company, which came in third. Bentspoke had five beers in the top 100 list in total, which is clearly something to toast to — also coming in tenth for its Barley Griffin Australian Pale Ale, 15th for its Sprocket American IPA, 19th for its Cluster 8 Imperial IPA and 32nd for its Red Nut Red IPA. Reacting to the news, head brewer and co-owner Richard Watkins said that everyone at Bentspoke was "blown away that our small independent brewery from Canberra can take Crankshaft to the number one spot in Australia's biggest beer poll. Crankshaft holds a very special place in our hearts as one of our original beers on tap when we first opened in Canberra in 2014. We are thrilled with the support for Crankshaft from Canberra and around Australia." Clearly, plenty of folks sipped more than a few brews throughout 2020. Run by GABS — or the annual festival also known as the 'Great Australian Beer SpecTAPular' — the countdown is a people's choice poll decided by booze-lovers around the country. Now in its 13th year, almost 40,000 voters took part this time round, a new record. Elsewhere on the list, 15 brews that first wet lips in the past year were included in the GABS Hottest 100, and a whopping 85 percent of the beers on the list are made by independently owned breweries. If you're particularly keen on either, GABS has also released rundowns of the Hottest 100 New Craft Beers and the Hottest 100 Indie Craft Beers (those owned independently) plus the next 100 from the main countdown. If you're thinking "less background, more beer", here's what you've been waiting for: the rundown of the best beverages from the past year that just keep tempting tastebuds. Your Mates, Black Hops, Ballistic, another appearance by Balter, Bridge Road and Young Henry's round out the top ten, while Kaiju!, 4 Pines, Philter, Modus Operandi, Stomping Ground, Heads of Noosa, Gage Roads, Grifter, Hawke's, Mountain Goat and Pirate Life are among the other brands featured. Working your way through the whole 100 isn't just a great way to show your appreciation for locally made brews, either — consider it research for the 2021 countdown. GABS HOTTEST 100 AUSSIE CRAFT BEERS OF 2020: 1. Bentspoke 'Crankshaft' (American IPA) ACT 2. Stone & Wood 'Pacific Ale' (Australian pale ale) NSW 3. Balter 'XPA' (Extra pale ale) QLD 4. Your Mates 'Larry' (Australian pale ale) QLD 5. Black Hops 'G.O.A.T.' (New England IPA) QLD 6. Ballistic 'Hawaiian Haze' (Hazy pale ale) QLD 7. Balter 'Hazy' (Hazy IPA) QLD 8. Bridge Road 'Beechworth Pale Ale' (American pale ale) VIC 9. Young Henrys 'Newtowner' (Australian pale ale) NSW 10. Bentspoke 'Barley Griffin' (Australian pale ale) ACT 11. Kaiju! 'Krush!' (Extra pale ale) VIC 12. Feral 'Biggie Juice' (New England IPA) WA 13. Capital 'Capital XPA' (Extra pale ale) ACT NEW 14. Capital 'Coast Ale' (California Common) ACT 15. Bentspoke 'Sprocket' (American IPA) ACT 16. Black Hops 'Pale Ale' (Australian pale ale) QLD 17. Black Hops 'Hornet' (American IPA) QLD 18. Beerfarm 'Royal Haze' (Hazy IPA) WA 19. Bentspoke 'Cluster 8' (Imperial IPA) ACT 20. 4 Pines 'Pacific Ale' (Australian pale ale) NSW 21. Philter 'XPA' (Australian pale ale) NSW 22. Balter 'IPA' (American IPA) QLD 23. Modus Operandi 'Modus XPA' (Extra pale ale) NSW NEW 24. Balter 'Captain Sensible' (American pale ale) QLD 25. 10 Toes 'Pipeline' (Australian pale ale) QLD 26. Burleigh 'Twisted Palm' (Australian pale ale) QLD 27. Stomping Ground 'Gipps St Pale Ale' (American pale ale) VIC 28. Your Mates 'Sally' (American IPA) QLD 29. Moon Dog 'Old Mate' (American pale ale) VIC 30. 4 Pines 'Pale Ale' (American pale ale) NSW 31. Big Shed 'Boozy Fruit' (New England IPA) SA 32. Bentspoke 'Red Nut' (Red IPA) ACT 33. Stone & Wood 'Cloud Catcher' (Australian pale ale) NSW 34. Gage Roads 'Single Fin' (Australian pale ale) WA 35. Modus Operandi 'Modus Pale' (American pale ale) NSW 36. Colonial 'Pale Ale' (American pale ale) WA/VIC 37. Heads Of Noosa 'Japanese Lager' (Pale lager) QLD 38. Modus Operandi 'Sonic Prayer' (American IPA) NSW 39. Ballistic 'Oaked XPA' (Extra pale ale) QLD 40. Grifter 'Pale' (Australian pale ale) NSW 41. Hop Nation 'J-Juice' (New England IPA) VIC 42. Black Hops 'Super Hornet' (Imperial IPA) QLD 43. Brick Lane 'One Love' (Australian pale ale) VIC 44. Grifter 'Serpents Kiss' (Fruit beer) NSW 45. Modus Operandi 'Former Tenant' (Red IPA) NSW 46. Capital 'Trail Pale Ale' (American pale ale) ACT 47. Akasha 'Hopsmith' (American IPA) NSW 48. Capital 'Rock Hopper' (American IPA) ACT 49. Black Hops 'Neverland' (Hazy IPA) QLD NEW 50. Black Hops 'Caribbean Haze' (Hazy IPA) QLD 51. Balter 'Dry Haze' (Hazy IPA) QLD NEW 52. Cronulla Beer Co 'Next Level XPA' (Australian pale ale) NSW NEW 53. Brick Lane 'Brick Lane Draught' (Australian pilsner) VIC NEW 54. Dainton 'Blood Orange Neripa' (New England IPA) VIC 55. Ballistic 'Mexican Hot Chocolate Stout' (Sweet stout) QLD 56. Hawke's Brewing 'Hawke's Patio Pale' (American pale ale) NSW 57. Dainton 'Jungle Juice' (Hazy IPA) VIC 58. Black Hops 'Send It' (Blonde ale) QLD 59. Modus Operandi 'Lost In The Fog' (Hazy pale ale) NSW NEW 60. Mountain Goat 'Goat' (Pale lager) VIC 61. Colonial 'South West Sour' (Hoppy sour) WA/VIC 62. Your Mates 'Macca' (Helles lager) QLD 63. Moon Dog 'Splice Of Heaven Pine-Lime' (Milkshake IPA) VIC 64. Brick Lane 'Base Lager' (Helles lager) VIC 65. Ballistic 'Lager' (Classic pilsner) QLD NEW 66. James Squire 'One Fifty Lashes' (Australian pale ale) NSW 67. Hawke's Brewing 'Hawke's Lager' (Australian pilsner) NSW 68. Your Mates 'Donnie' (Dark ale) QLD 69. Little Creatures 'Pale Ale' (American pale ale) WA/VIC 70. Coopers 'XPA' (American pale ale) SA 71. Bridge Road 'Beechy XPA' (Australian pale ale) VIC 72. Capital 'Evil Eye' (Red IPA) ACT 73. Capital 'Hang Loose Juice' (New England IPA) ACT 74. Your Mates 'Eddie' (Session pale ale) QLD NEW 75. Coopers 'Original Pale Ale; (Australian pale ale) SA 76. Burleigh 'Bighead' (Pale lager) QLD 77. Deeds 'Juice Train' (New England IPA) VIC 78. Bridge Road 'Bling' (English IPA) VIC 79. Pirate Life 'South Coast Pale Ale' (American pale ale) SA NEW 80. Colonial 'IPA' (Australian IPA) WA/VIC 81. Dainton 'Supertrooper' (Imperial IPA) VIC 82. Blackman's 'Juicy Banger' (Hoppy lager) VIC 83. Akasha 'Mosaic' (American IPA) NSW 84. Coopers 'Hazy IPA' (Hazy IPA) SA NEW 85. Moon Dog 'Beer Can' (Hoppy lager) VIC 86. Hawkers 'West Coast IPA' (American IPA) VIC 87. Jetty Road 'Pale Ale' (Australian pale ale) VIC 88. 4 Pines 'Amber Ale' (American amber/red) NSW 89. Brick Lane 'Avalanche' (Hazy IPA) VIC NEW 90. 10 Toes 'Culture Kick Sour' (Berliner weisse) QLD NEW 91. Bridge Road 'Little Bling' (Session IPA) VIC 92. Hawke's Brewing 'Hawke's Legend' (Australian IPA) NSW 93. Capital 'Summit Session Ale' (Session pale ale) ACT 94. Hawke's Brewing 'Hawke's Opener' (Australian IPA) NSW NEW 95. Feral 'Hop Hog' (American pale ale) WA 96. Grifter 'Pink Galah' (Kettle sour) NSW 97. Ballistic 'Watermelawn' (Gose) QLD NEW 98. Furphy 'Furphy Refreshing Ale' (Kölsch) VIC 99. Moon Dog 'Lager' (Helles lager) VIC 100. Bad Shepherd 'Peanut Butter Porter' (Porter) VIC For more information about the GABS Hottest 100 Aussie Craft Beers of 2020, head to the GABS website.
Talented pooches have been barking their way to big screen stardom since the birth of the medium, and Cannes Film Festival even gives out awards for ace pupper performances. In Australia for a few years now, we also celebrate the intersection of canines and cinema — via our very own dog-themed movie showcase. At the Top Dog Film Festival, doggos and puppers cement their status as humanity's favourite film stars in a touring program of pooch-centric shorts. For more than two hours, dogs will leap across screens in a curated selection of heartwarming flicks about humanity's best friend. Over the last few years, the lineup has included films about dog-powered sports, dogs in space, dogs hiking through the desert, senior dogs and more. The festival hits Sydney's Hayden Orpheum Picture Palace on Sunday, August 14 and Ritz Cinemas in Randwick on Sunday, August 21 as part of its 2022 run, and rushing after tickets the way your best four-legged friend rushes after a frisbee is recommended. Given how much we all love watching dog videos online, not to mention attending pupper-centric shindigs in general, this event is certain to be popular. You'd be barking mad to miss it, obviously.
Another day, another new streaming service, or that's how it feels these days. When Tubi joins the ever-growing ranks of online platforms vying for Australian eyeballs, however, it'll boast a significant point of difference — it's free. Already up and running in the US and Canada, where audiences viewed more than 94 million hours of its content in May alone, Tubi is an ad-supported on-demand video service. Few things in life truly cost nothing, so, while this streamer doesn't ask for any of your hard-earned cash, it will make you sit through commercials. For your troubles, you'll get access to almost 7000 movies and TV shows when the service launches in Australia on Sunday, September 1. That number is due to grow, too, with the Aussie service aiming to reach 15,000 titles — which is what's currently offered on the US service — over time. If you're keen to get spooked by Hansel and Gretel, sing along to Hairspray and Purple Rain or watch Jean-Claude Van Damme unleash his martial arts skills in Lionheart, you'll be able to do without paying a cent from this weekend. As this range of flicks makes plain, Tubi doesn't focus on new releases, with fellow retro movies such as Dirty Dancing, I Am Sam and Young Guns also on the lineup. To access the streaming platform, you can head to Tubi's website or use most internet-connected screen devices — including Samsung televisions, Apple TV, Telstra TV, Amazon Fire TV, Google Chromecast, Apple iOS, Android tablets and smartphones, PlayStation 4 and Xbox One. And if you're feeling spoiled for viewing choice at the moment, that's because Australia is in the midst of a streaming boom. Disney+ is due to launch in November, Apple TV+ should arrive sometime in spring, documentary service iWonder hit earlier this year, and everything from Netflix, Stan and Amazon Prime Video to Ozflix, DocPlay and Kanopy are already operational, just to name a few services. We're still waiting for horror-focused service Shudder, though, after it announced last year that it was heading to our shores. Tubi launches in Australia on Sunday, September 1. For more information, or to sign up, visit the service's website.
Most Sydneysiders will be familiar with legendary restaurateur Maurice Terzini's Icebergs Dining Room and Bar, a Bondi icon that has been a must-visit stalwart of the city's hospitality scene for more than two decades. And yet, despite being synonymous with Sydney's most famous ocean views, Terzini, who has helmed dozens of successful venues in Australia over the past 30 years, has become an increasingly familiar sight on the streets of Kings Cross and Potts Point in recent months. Spotting the renowned tastemaker strolling up Macleay Street — with his armfuls of tattoos and achingly cool fashion-forward wardrobe — could be reasonably chalked up to his short-lived but wildly popular pop-up Snack Kitchen — a laidback Italian-leaning cucina-cum-wine bar he co-opened alongside his son Sylvester on a corner plot set to be redeveloped into luxury apartments. However, it turns out that there's another reason behind Terzini's recent visits to the Glittering Mile. [caption id="attachment_967005" align="alignnone" width="1920"] Nikki To[/caption] The restaurateur is turning impresario to launch an innovative new venture on Bayswater Road, set to welcome its first punters this spring: a 21st-century cabaret club developed in partnership with Peter Shopovski of queer party collective House of Mince. The dinner-and-a-show concept is aiming to rekindle the now-dormant glitz and excess that was once so essential to The Cross' identity, but through a blend of hospitality and hedonism that is firmly rooted in the now. Much like Snack Kitchen, Mirage KX will be a temporary "residency" within a building awaiting redevelopment. However, Shopovski says that while it may be here for a good time not a long time, the venue will help reclaim the area's status as the nightlife hotspot of Sydney — a reputation that was all but erased by the now-repealed lockout laws. [caption id="attachment_969835" align="alignnone" width="1920"] Dean Tirkot[/caption] "Reviving this vernacular of nightlife in Kings Cross is important to me. It's about reconnecting with a vibrant history that once defined the area's identity and bringing that energy back to life," Shopovski says. "Kings Cross has always been a hub of creativity, diversity and bold expression, and restoring that essence feels like paying homage to its legacy. It's about honouring the past but also infusing it with new energy, ensuring that the spirit of Kings Cross continues to thrive and inspire." For more than a 13 years, House of Mince's collective of artists, DJs and rabble-rousers have created vibrant, unapologetic, joyously safe spaces for the LGBTQIA+ community to gather and celebrate. From Marrickville warehouses and Mardi Gras dance parties to residencies at Dark Mofo, Vivid and Subsonic, and even takeovers of the Sydney Opera House, House of Mince has set the gold standard for queer party events in Australia — so much so, that they are the official Australian partner of the mythically cool Berlin nightclub Berghain, presenting associated artists when they visit on Antipodean tours. "It's not just a show; it's a statement, a community celebration and a night out that champions the curious, the courageous and the captivating." While it might seem like something of a departure for Terzini to take on a live performance venue, the Mirage KX concept is a passion project that's been in the works for several years, building on previous collaborations between House of Mince and Bondi Icebergs during 2023's Sydney World Pride and this year's Sydney Gay and Lesbian Mardi Gras. "Maurice and I have admired each other's careers for years and there's always been a mutual pull towards collaboration." Shopovski explains. "Maurice's reputation for redefining the hospitality landscape makes him the ideal partner for realising the vision for this venue. Partnering with such a revered legend means a lot to me — it brings a depth of expertise and a touch of prestige that elevates the project. It's not just about combining our creative ideas but also about learning from Maurice and ensuring that every aspect of the venue reflects both [House of Mince's] bold vision and his unparalleled standard of excellence." [caption id="attachment_969838" align="alignnone" width="1920"] (L–R) Ché Daniel and Peter Shopovski[/caption] A night at Mirage KX will be an immersive experience, where the boundaries between hospitality and performance will blur. "Imagine stepping into a space where the energy of the House of Mince parties is transformed into a more intimate, yet no less euphoric, experience," Shopovski says. "You can expect a mix of provocative, boundary-pushing acts, sexy decor and an inclusive atmosphere. It's not just a show; it's a statement, a community celebration and a night out that champions the curious, the courageous and the captivating." To achieve this seamless melding of service and performance, Terzini and Shopovski have tapped front-of-house veteran Ché Daniel, who boasts stints at top Sydney diners including Restaurant Hubert, Billy Kwong and Longrain on his resumé. Guests can expect service that is polished and sophisticated yet infused with elements of the unexpected. Mirage KX will be one of the boldest additions to the area's nightlife in years, but a Kings Cross renaissance has been in the offing for a while now, in large part thanks to the efforts of Club 77's Dane Gorrel and hospo heavyweight David Spanton who saved treasured institutions Piccolo Bar in 2021 and Cafe Hernandez, rebooted as Vermuteria in 2023. Spanton has also channeled another fabled venue from Kings Cross' past at his latest venture, The Hook, a piano and oyster bar that, in part, pays homage to the Bayswater Brasserie — once one of Sydney's ritziest restaurants. [caption id="attachment_969839" align="alignnone" width="1920"] Dean Tirkot[/caption] Mirage KX is set to open this spring. Follow the Mirage KX Instagram account for future updates. Top Image: Dean Tirkot.
Faced with a tsunami of coffee and food, CBD dwellers often have a hard time deciding were to eat. But Pablo & Rusty's on Castlereagh Street seems to be on top of everyone's list — and with an appealing façade, matched with a chic interior and top-notch menu to boot, it deserves to be. The designer-fit out is adorned with potted plants that hang from high ceilings and the glass wall floods the room with light. The atmosphere remains somewhat soft however, thanks to low lighting and caramel wooden furnishings. Both takeaway and dine-in orders are done at the front counter, which also holds an array of sweet treats. The big black coffee bar takes pride of place, brewing everything from single origins and filter, to their seasonal espresso blend. Besides the bean playing a distinctive role here, the food is correspondingly just as excellent, with everything from eggs and black sticky rice on the breakfast menu to beef brisket buns and gnocchi on the lunch. Plus, the cafe is open till 7pm on Thursdays and Fridays, operating an evening menu from 3pm.
A lot of time, skill and dedication goes into building up a collection of precious goods. There's going to be a big opportunity to both flex your collection and gawk at others when the first-ever CollectFest rolls around. CollectFest is set to bring together enthusiasts of all fields, whether you're into comics, sneakers, toys and figurines, coins, stamps or more. You'll be surrounded by your people, and everyone will have a reason to celebrate, trade and sell to their hearts' content. CollectFest still has some time before it kicks off, as it's not taking place until Saturday, August 30 and Sunday, August 31, 2025 at the International Convention Centre Sydney. Tickets are projected to sell fast, so be ready when early bird tickets go on sale from Monday, August 12. Stay tuned for more information as it comes. The first-ever CollectFest will take place from August 30–31, 2025 at the International Convention Centre Sydney. Early bird tickets go on sale from Monday, August 12, 2024. For more information or to get tickets, visit the website.
Following on from a killer, sold-out season in London, LIMBO will hit Sydney Festival in 2014. And this circus cabaret looks to be little less then explosive. With awe-inducing acrobatics, breathtakingly brilliant manoeuvres and a serve of cheeky cabaret, LIMBO is circus like you’ve never seen before. Presented by Strut & Fret (producers of last year's Sydfest circus spectacular Cantina), Underbelly Productions and Southbank Centre, LIMBO has all of the danger — but much more sexiness — of your regular night at Cirque du Soleil. This is circus with grit, set against the funked-up, old-time jazz, oompah, rap and bossa nova of Sxip Shirey's electric live score.
Sure, picnics are a common enough pastime for Sydneysiders. But now that double-vaxxed residents of NSW can get together in groups of five outdoors, it's high time to champion the return of the humble BYO picnic. In partnership with Rosie Spritz, we're helping you jump on the picnic fever that's taking over the city this spring. Whether you want to simply lay in the sun and read Sally Rooney's latest novel or to plan a full-blown al fresco feast with four mates, we've got you. And for northern beaches folk, that means uncovering the most idyllic parks, bays and beaches where you can throw down a rug — and BYO booze. So, grab your wicker basket and head to these top spots to fill your gob with cold cuts and sip an ice-cold spritz in the afternoon sun. [caption id="attachment_827080" align="alignnone" width="1920"] Elliott Kramer[/caption] CLONTARF RESERVE, CLONTARF Despite beaches reigning supreme on this side of town, there's no shortage of beautiful bays and parklands either — and Clontarf Reserve, on the fringes of Balgowlah, ticks all of the worthy park boxes. Beach? Check. Leafy tree-filled space? Yep. Netted swimming zone to keep any purported finned friends at bay? Yessir. It also overlooks the Spit Bridge (in case engineering marvels are your thing) and features a play area for fully vaxxed picnickers with young kids in tow. Physical attributes aside, the reserve is also BYO booze-friendly from 8am–8pm, making it perfect spot for a spritz. [caption id="attachment_827079" align="alignnone" width="1920"] Elliott Kramer[/caption] CLAREVILLE BEACH RESERVE, CLAREVILLE If sun and sand is more your speed, get on down to Clareville Beach for your next picnic. This lesser-known (but equally impressive) stretch of beach tucked away near Avalon is the kind of sandy serenity you no doubt seek. Expect calm waters, lightly bobbing sailboats, shady pines and a soft seabreeze to keep you cool long into the afternoon. Add four vaxxed mates, a picnic spread of prawns rolls and freshly shucked oysters, and a cooler full of rosé spritzes and, congrats, you've mastered the casual beachside picnic. You'll just have to quit any boozing from 8pm–8am. [caption id="attachment_827078" align="alignnone" width="1920"] Elliott Kramer[/caption] WINNERERREMY BAY, MONA VALE If you're looking for the most family-friendly picnic spot on the northern beaches, feast your activity-hunting eyes on Winnererremy Bay. It's got an epic flying fox ride for one, plus a skate park, playground, picnic shelters and barbeque facilities, so you can throw a shrimp on the barbie and sip a spritz (from 8am–8pm). There's also a swimming area and trails featuring stone carvings if you want a quick dip or walk before you tuck in. Then, roll out a blanket under one of the many shady trees at this relaxed spot and you'll feel a world away from the bustle of the more publicised picnic spots in the area. [caption id="attachment_827076" align="alignnone" width="1920"] Elliott Kramer[/caption] DES CREAGH RESERVE, AVALON The northern beaches lays claim to quiet, sandy coves by the dozen. But if you're looking for somewhere a bit livelier to lay down a picnic spread, head to Des Creagh Reserve in Avalon. This stretch of tree-lined park is right opposite Avalon Beach, meaning there's plenty of action to be witnessed, as well as uninterrupted ocean views. Plus, it's just a short stroll to some of the sweetest Avalon eateries on offer for all your takeaway picnic needs. So, live out your Puberty Blues dreams with a Chiko Roll and watch the surfers duck and glide along the waves as the sun starts to set. Like much of the northern beaches BYO-friendly spots, alcohol is banned at Des Creagh Reserve from 8pm–8am. [caption id="attachment_827088" align="alignnone" width="1920"] Elliott Kramer[/caption] THOMAS STEVENS RESERVE, CHURCH POINT As far as remote-yet-accessible picnic zones go, you'd be hard-pressed to find a better pick than Thomas Stevens Reserve. Located on the shores of Pittwater and overlooking the alluring Scotland Island, Thomas Stevens Reserve is laden with shady spaces and secluded coves to meander until you find the perfect picnic possie. Booze is usually off-limits, but you can imbibe on Fridays, weekends and public holidays between 3pm-9pm, so plan accordingly if you're looking to BYO booze. Thankfully, snacks are allowed any day, any time. [caption id="attachment_825771" align="alignnone" width="1920"] Barrenjoey Lighthouse, Ku-ring-gai Chase National Park, Michele Cooper/DPIE[/caption] BARRENJOEY HEAD, KU-RING-GAI CHASE NATIONAL PARK Everyone's favourite natural backdrop from Home and Away, Barenjoey Head and its famed lighthouse are also home to an unbelievable picnic spot with views for days. It's a bit of a trek — around 30 minutes from the car park — but once you're there, you're gifted with 360-degree views of pristine coastline stretching from the Central Coast and long sandy beaches to the south. Across the water, there's the winding bushlands of Ku-ring-gai Chase National Park and the dazzling bays of the Hawkesbury. If that's not the backdrop for a picnic cheers, we don't know what is. [caption id="attachment_827083" align="alignnone" width="1920"] Elliott Kramer[/caption] EAST ESPLANADE RESERVE, MANLY Located on the harbour side of Manly, East Esplanade Park is one of the most-loved parks on the northern beaches. While the majority of the park is an alcohol-free zone, there is one small pocket where you can sip a cold one (responsibly, of course). Locally known as 'The Office', this section of grass is in East Esplanade Reserve and it's one of the very few outdoor areas where you can BYO booze in Manly; however alcohol consumption is banned between the hours 8pm–8am. So, we recommend coming here to watch the ferries to and fro across the harbour and sip a spritz at sunset, then get dinner from one of the local restaurants, like Queen Chow or Chica Bonita (which are both currently serving up takeaway options, too). Rosie Spritz is an ideal springtime sip and is available at BWS, Dan Murphy's and First Choice Liquor stores across Sydney. For more picnic inspiration, check out our guides to idyllic picnic spots where you can BYO booze in Sydney's inner west, inner city, lower north shore and eastern suburbs. Top image: Clareville Beach, Elliott Kramer Remember to Drinkwise.
There are some pretty epic events on offer over the upcoming Australia Day long weekend. But no schedule is quite as epic as that of the Watsons Bay Boutique Hotel. With a line-up set to stretch over three days, gear up for beach volleyball, crab racing, beach cricket, stand-up paddle board races, live DJ sets and an Aussie BBQ featuring the special 'Watson's Bay Sausage'. And okay, we're not really sure what an 'epic water trampoline' is, but we know it is running all weekend and sounds really, really rad. Those keen on the stand up paddle races will need to register online here.
Summer might be fading, but the days are still warm enough to hit the beach after work. And, if you happen to be in Bondi on a Wednesday evening, there's a new way to refuel after a dip — a bottomless bao session at Easy Tiger. For just 25 bucks, you'll get as many bao as you can handle in 90 minutes. A variety of fillings is on the menu, from chicken katsu and smoked beef brisket, to tempura eggplant and crispy pork adobo. Whatever your selection, lather it in the sauce of your choice — be it the house sambal, black pepper adobo, or plum sauce — then pile on topping like pickled cucumber, hot and sour salad, and crisp lettuce, which are all laid out for you. In between bites, quench your post-surf thirst with one of the daily happy hour specials like $12 Espolòn Margaritas, $10 prosecco and $7 rice beers from Bondi Brewing Co. Easy Tiger's bottomless bao sessions are happening every Wednesday from 3pm till close. At this stage there's no end date in sight, so the rest of autumn (and winter, for that matter) is looking pretty safe for a midweek feast.
The upcoming Sydney Festival has got some pretty weird and wonderful acts on the bill. But few will be have as little accompaniment and yet be quite as astonishing as Tom Thum. Hailing from Brisbane, Thum has been described as a “beatboxing virtuoso”. A one-man sound system, Thum performs with only a microphone and his voice, producing music that ranges from hip hop to Soft Cell to the sound of trumpets in New Orleans circa 1938. Gaining recent popularity with a string of world tours and accumulated accolades with his 'Tom Tom Crew', this is Thum’s first solo appearance to date. And it looks to be him at his best — a kaleidoscope of impossible beats, phenomenal notes and sounds that just generally evoke an entire orchestra worth of instruments. Want more Sydney Festival events? Check out our top ten picks of the festival. Image by Conan White.
It's been an explosive year for beer and brewing in Australia. Some old hands at the craft game sold to major international corporations, while new independent brewers continued to develop and expand. From fruit-infused sours to bold, hoppy IPAs, the discerning beer drinker has never enjoyed so much choice from both local and international markets. While there will always be a time and a place for a cold tinnie of VB, the following ten brews offer a range of flavours and unique styles to help you beat the heat this summer. The best places to find these beers, aside from the locations below, are specialist bottle shops. We've rounded up our favourites in Sydney, Melbourne and Brisbane. XPA, PHILTER BREWING The XPA style is still somewhat unclear, though the acronym stands for Xtra Pale Ale, but in the case of Philter's flagship brew — a pale yellow, slightly hazy session ale — the 'Xtra' refers to both the light colour and the depth of flavour. Head brewer Sam Fuss has put the myth to rest that brewing is a man's game with her brewing prowess. Packaged in retro blue and white cans, Philter XPA opens with a delicate bouquet of floral and summer fruit aromatics, notes of rockmelon, passionfruit and mango. On the palate expect little to no bitterness with some citrus and notes of freshly cut grass, balanced out by a subtle wheat and honey flavour from its malt base. Philter XPA won Best Pale Ale at the 2017 Craft Beer Awards, after only being on the market for four months. Available in cans at Liquor Emporium, St Peters, and as Beer of the Month at The Botany View Hotel, Newtown. EARL PEAR, MERCHANT BREWING COMPANY In the height of the Australian summer, a 6.9% ABV Belgian-style blonde ale seems like a strange choice. But the boys over at Merchant have taken some bold steps to create one ripper of a beer. Blending the toffee apple malt flavour with extracts of pear and earl grey tea, this beer is inventive and exciting without being gimmicky. The beer pours slightly cloudy, is dark orange in colour and has a strong aroma of pears, apricots and a touch of citrus. The immediate flavour is pear with a hint of tart funkiness, then the sweet malt flavour gives way to a light kiss of floral citrus rounded out by the herbaceous bitterness from the tea. Incredibly well-balanced and surprisingly delicate, this beer would make a fine match for seafood or a fruit-based summer salad. Just like the monocle-sporting sloth on the label, this is a sophisticated and fun slow sipper for those looking for something a little different this summer. Earl Pear is currently available on tap at Quarrymans Hotel, Pyrmont. PASSION OF THE PUSS, WAYWARD BREWING CO Between Parramatta Road and the backstreets of leafy Annandale, Wayward Brewing Co's tap room is the perfect place for those seeking shelter from the hot days. Housed in a converted wine cellar, the brewery boasts an impressive selection of vintage 70s-style couches, a wall-mounted Royal Enfield motorcycle and a labyrinth of rooms and spaces catering to crowds of all sizes. Passion of the Puss is a new spin on Wayward's incredibly popular Sour Puss Raspberry Berliner Weisse, but this time it favours passionfruit and yuzu. The result is a a bright, aromatic brew with plenty of passionfruit notes giving way to the acidity of the yuzu to round it out. This is a great beer for those looking to get into sours as it has enough complexity and balance to remain refreshing all the way through the pint. Sitting at only 3.8% ABV, it's great for session, and a reliable hangover cure. Passion of the Puss is currently available in 640ml bombers from Wayward Brewery Co, Camperdown. WEST COAST IPA, BATCH BREWING COMPANY Pioneers of the Sydney craft beer scene, Batch Brewing Company has maintained a steady rise to prominence in inner west Sydney, the cradle of brewing culture in Sydney. While the current trend among brewers seems to be about who can brew the biggest, hoppiest and strongest IPAs, this little gem from Batch's core range is a reliable and refreshing take on the classic American style. Over the years, Batch have made many IPAs, yet this is the only permanent fixture and with one sip you'll quickly see why. The blend of three hop varieties with three base malts achieves a beer that is supremely well balanced. Pale gold and ever so slightly cloudy, this beer is dominated by tropical fruit aromas of mango and pineapple, followed by fresh citrus notes. A subtle but firm bitterness rounds out the finish and leaves you wanting more, and as it sits at an approachable 5.8%, why not have another? Batch West Coast is currently available in cans, bombers, growlers and on tap at Batch Brewery Company, Marrickville. DIPA, HOPE BREWHOUSE When getting into the boozier side of brewing, some beers tend to almost drift into wine territory. With this in mind, it's incredibly comforting to know that Hope's head brewer, Matt Hogan, is indeed a former winemaker. This training in nuance and delicacy translates in the surprising form of a double India pale ale — a style famous for its in-your-face flavour. Hope's offering, however, is a joyously well-balanced beer; it has a pale straw colour with a beautiful floral nose, citrus aromas, big tropical fruit notes and a piney, resiny mid-palate. The light malts offer some sweeter notes of honey and biscuit, while a substantial bitter finish makes this big bold beer a truly dynamic flavour experience. Sitting at 9% ABV this DIPA would be suited to fans of Pirate Life Brewing's Double IPA. Hope DIPA is currently available in cans at Liquor Emporium, St Peters, and on tap at the The Local Taphouse, Darlinghurst. SAUCY SAISON, SAUCE BREWING COMPANY Starting a microbrewery in a warehouse in Marrickville is a tried and tested idea. With the craft cradle booming, however, offering something new and exciting can be a challenge. Enter Sauce Brewing Company, a strong team of brewers covering a broad range of styles with charm and reliability. Oh, and did we mention their converted warehouse space features a large, family-friendly beer garden? This beer is a modern take on the classic French/Belgian style where the yeast is the dominant flavour. A special Belgian ale yeast gives smooth notes of banana and clove with some light fruity esters, followed by a twist of citrusy hop flavour, all wrapped up in a smooth honey malt. For those seeking a less hop-driven beer, that still has a bit of a kick to it this summer, treat yourself to something a little different, after all, 'tis the 'saison'! Saucy Saison is available from Sauce Brewing Company, Marrickville in cans and growlers, and in cans at Red Bottle, Sussex Street. SERPENT'S KISS, GRIFTER BREWING CO Pilsner is a style that many beer nerds will scoff at, as it's often thought of as a bland boring lager. In the current game, however, the ability to produce an interesting lager-style beer is one hell of a trump card to play. This is exactly what the team at Grifter has done. With five-plus years in the Sydney brewing scene, their approach to this widely loved style of beer is sure to appeal to a wide range of drinkers. This light-bodied, easy-drinking brew is the perfect, refreshing drop for a sunny afternoon, it has a low level of bitterness complemented by a delicate fruitiness from the inclusion of real watermelon. The watermelon flavour is light, natural and not overly sweet, resulting in a beautifully sessionable beer with a fruity twist. Available in cans from the Grifter Brewing Co, and currently on tap at the White Cockatoo Petersham. OXYMORON, BRUNY ISLAND Traditionally, darker beers are reserved for drinking in the cooler months, but tradition goes straight out the window with this beer made by a cheese company from Tasmania. The aptly titled Oxymoron is a sort of Swiss-Army-knife beer, in that it's perfect for a multitude of occasions all year round. The style is billed as a 'dark pale ale' so expect some robust roasty notes of smooth cocoa and a touch of spice from the use of malted rye. This is wonderfully countered by a superb blend of four Tasmanian-grown hop varieties offering floral, citrus and light peach notes, rounded out by a firm bitterness. This is a beer that will serve as a refreshing, yet smooth and rich, alternative to the plethora of American-style pales dominating the market at present. A relative newcomer to the scene, even moreso the mainland, Bruny Island's beers are most reliably sourced through its online store, but keep an eye out for them in your local craft pub, bar or bottle-o. NORMAN AUSTRALIAN ALE, YULLI'S BREWS About halfway down Crown Street in Surry Hills there's a small, unassuming restaurant with a well-deserved reputation for serving some of the finest vegetarian food in town. To make it even better, they're also responsible for one of the finest local drops on the market. Created by bar staff seeking an approachable and casual beer that could also stand alongside fine dining, Norman is a light, refreshing summer ale with notes of apple and pear, followed by a gentle, clean, bitter finish. The green and gold cans adorned with a charmingly idiosyncratic cartoon character make for a staple in any Aussie fridge this summer. Perfect for a barbecue or beachside evening picnic, Norman is a friend you want to have around again and again. Available from Yulli's restaurant, Surry Hills, on tap and in cans at The Clock Hotel bottle shop. [caption id="attachment_648241" align="aligncenter" width="1920"] OLYMPUS DIGITAL CAMERA[/caption] TONIC, DOCTOR'S ORDERS The Sydney brewing scene's equivalent of the eccentric cartoon mad scientist Rick Sanchez (from Rick and Morty), 'Dr' Darren Robinson has been brewing weird, wacky and wonderful styles of beer since 2009. The latest seasonal prescription from the Doc is a sessionable witbier with an impressive array of botanicals including orange peel, juniper berries, lemon myrtle and cinchona bark. This inventive blend of flavours is enough to make for a beautiful summer drop all by itself, however, it is also a brilliant mixer with your favourite gin. This is the second seasonal release of the Tonic, which was a massive success last year and sure to become a summer favourite of both gin and beer enthusiasts. Available from the The Wine Cellar, Newtown, in cans.
Feeling a bit over the regular Sydney party scene? Sometimes wish you could just be swept up and taken away to a dance floor where they play rock 'n' roll instead of dubstep and the boys wear starched-collared shirts instead of flannel? In the spring fling to end all flings, FBi Social will, on September 13, host Spring Prom, a night that's all about dancing in the spring. Set to have you jivin’ the night away are special guests The Fabergettes, a Sydney-based duet who describe their style as a doo-wop-garage-pop and sing about hairspray. On the night they will launch their Big Bruiser EP, which is packed with their vintage twang. Also on the setlist is Tim Commandeur's solo project, Alaskan Knight, and La Tarantella, who have dubbed themselves a modern dance band for people who hate dance music. Okin Osan will bring her '50s rock ‘n’ roll cum '80s American punk vibe. FBi Social have built a reputation for showcasing the best in local music, and prom night is no different. With FBi DJs also on the menu, this is a night not to be missed. So bring out your bobby-sox and corsage — nobody wants to be the wallflower at this party.
It isn't easy to capture a person on a canvas, or to attempt to convey who someone is in a piece of art beyond recreating their appearance. For more than a century, the Archibald Prize has not only understood this, but also rewarded the very best Australian examples. The prestigious art award turns 104 in 2025, and will again anoint the top instance of Aussie portraiture from an impressive range of contenders. Will a painting of artist Jason Phu by Abdul Abdullah win? Also, how will likenesses of Nicole Kidman, Hugo Weaving, Boy Swallows Universe star Felix Cameron, Miranda Otto, Grace Tame, Vincent Namatjira, filmmaker Warwick Thornton and comedian Aaron Chen fare? These are some of the questions sparked by this year's Archibald Prize shortlist, with 57 finalists in contention. After the Art Gallery of New South Wales revealed the pieces that are down to the last hurdle on Thursday, May 1, it will announced 2025's winner on Friday, May 9. [caption id="attachment_1002023" align="alignnone" width="1920"] Winner Packing Room Prize 2025, Abdul Abdullah 'No mountain high enough', oil on linen, 162.4 x 136.7 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter[/caption] Abdullah has already claimed a gong for his depiction of his friend Phu, with No mountain high enough earning the Archibald's Packing Room Prize for 2025. Decided by gallery staff that unpack and hang the awards' entries each year, the accolade is in its 34th year. With his place among the Archie finalists, Abdullah has now made the shortlist on seven occasions, alongside placing on the Wynne and Sulman prize lists in the past as well. Courtesy of No mountain high enough, Abdullah's latest Archibald achievement is for a work showing another of this year's contenders, too. Phu, who is also a previous finalist for the Archibald, Wynne and Sulman prizes, is among 2025's Archie competitors for his portrait of Weaving. [caption id="attachment_1002027" align="alignnone" width="1920"] Abdul Abdullah, image courtesy the artist[/caption] "It is always an honour to be selected as a finalist for the Archibald Prize, and I am especially honoured to be picked for the Packing Room Prize. I see it as a sort of community prize, where the Packing Room team, which is made up of professional art handlers — many of whom are artists themselves — get to pick a painting they like. I am so glad they picked this one. It's kind of like an artists' pick, and I'm extra happy for that," said Abdullah. "Jason is my best friend. We talk on the phone every day, he was the best man at my wedding and we have travelled together. I've painted him as I see him, as a ceaseless adventurer who at any one time is involved in a dozen conversations on a dozen different platforms, bringing his unique perspective to one flummoxed friend or another." [caption id="attachment_1002026" align="alignnone" width="1920"] Art Gallery of New South Wales Packing Room team with director Maud Page and the Packing Room Prize 2025 winning work by Abdul Abdullah 'No mountain high enough', photo © Art Gallery of New South Wales, Diana Panuccio[/caption] The Packing Room team selected No mountain high enough after being "instantly drawn to Abdul Abdullah's portrait of Jason Phu. Both are accomplished artists whose works have a distinct style and engage with complex social and cultural themes using wit and cartoonish references. The team holds great respect for the way both Abdul and Jason have progressed in their careers," advised AGNSW's Senior Installation Officer Alexis Wildman. "On a technical level, this portrait is very well painted. It really captures the essence of the subject with the image of a lone ranger, an intrepid jokester or a quiet hero navigating the rocky terrain of today's social climate. This immediately sparked conversation among the Packing Room team." [caption id="attachment_1002028" align="alignnone" width="1920"] Archibald Prize 2025 finalist, Vincent Namatjira 'King Dingo', 8 panels: synthetic polymer paint and oil stick on linen, 152.9 x 204 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter[/caption] Abdullah's Phu portrait and its 56 fellow finalists were picked from 904 Archibald Prize entries, with the total pool of 2394 submissions across the Archibald, Wynne and Sulman prizes marking the second-highest number ever received. Only 2020 had more. For the Wynne, which is all about landscape painting, 52 finalists are in contention. With the Sulman, which rewards genre painting, subject painting and mural projects, 30 are vying for the prize. Across all three, 2025 is the first year that there's more finalist works by women artists in the accolades' history. This year's Archibald Prize recipient will follow 2024 winner Laura Jones for her portrait of author Tim Winton, 2023's Julia Gutman for a depiction of Montaigne, Blak Douglas' 2022 victory for a likeness of artist Karla Dickens in the Lismore floods, Peter Wegner's 2021 portrait of fellow artist Guy Warren and Vincent Namatjira's 2020 piece featuring Adam Goodes among the gongs' picks in the 2020s so far. [caption id="attachment_1002029" align="alignnone" width="1920"] Archibald Prize 2025 finalist, Jason Phu 'older hugo from the future fighting hugo from right now in a swamp and all the frogs and insects and fish and flowers now look on', synthetic polymer paint on canvas, 183.2 x 152.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter[/caption] [caption id="attachment_1002030" align="alignnone" width="1920"] Archibald Prize 2025 finalist, Jaq Grantford 'Sisters', oil on canvas, 167.5 x 167.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter[/caption] [caption id="attachment_1002031" align="alignnone" width="1920"] Archibald Prize 2025 finalist, Adrian Jangala Robertson 'Warwick Thornton', synthetic polymer paint on canvas, 61.1 x 61.7 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter[/caption] Archibald Prize 2025 Exhibition Dates Saturday, May 10–Sunday, August 17, 2025 — Art Gallery of NSW, Sydney, NSW Saturday, August 30–Sunday, November 9, 2025 — Geelong Gallery, Victoria Saturday, November 22, 2025–Sunday, January 11, 2026 — Gosford Regional Gallery, NSW Saturday, January 23–Saturday, March 7, 2026 — Muswellbrook Regional Arts Centre, NSW Friday, March 20–Saturday, May 3, 2026 — Mudgee Arts Precinct, NSW Saturday, May 16–Sunday, July 19, 2026 — Shoalhaven Regional Gallery, NSW [caption id="attachment_1002032" align="alignnone" width="1920"] Archibald Prize 2025 finalist, Jeremy Eden 'Felix Cameron', oil on canvas, 119.6 x 180.1 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter[/caption] The winner of 2025's Archibald, Wynne and Sulman prizes will be announced on Friday, May 9 at 12pm — check back here then. If you can't make it to any of the above exhibition dates, you can check out the award winners and finalists of the Archibald, Wynne and Sulman prizes on the Art Gallery of NSW website. Top image: Winner Packing Room Prize 2025, Abdul Abdullah 'No mountain high enough', oil on linen, 162.4 x 136.7 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter
Get ready for "the Super Bowl of stripping", Channing Tatum's latest excuse to get shirtless and the culmination of a franchise about male dancers chasing the American dream — and endeavouring to bring women pleasure — one scantily clad routine at a time. Magic Mike is back for another ride, and another stint onstage, too, courtesy of the the series' third and final flick Magic Mike's Last Dance. Initially confirmed back in November 2021, this threequel brings Tatum (The Lost City) as Mike Lane, the saga's consistent source of smooth, sultry and sweaty moves while wearing very little. As the just-dropped first trailer shows, this time around he's bartending to get by, and hiding that six-pack under the required garb, until he shows his latest love interest (Salma Hayek, House of Gucci) what he's really good at — and she convinces him to get back to what he loves. No, Ginuwine's 90s banger 'Pony' doesn't get another workout in Magic Mike's Last Dance's first sneak peek. Yes, there's another dose of art imitating life here, which has always been the Magic Mike franchise's remit. The initial 2012 hit took its cues from Tatum's own time stripping in Tampa, Florida before becoming a famous actor, and this flick nods to the fact that that movie and its 2015 sequel Magic Mike XXL spawned their own Tatum-produced live show. If you somehow missed the first movie a decade ago, it became one of 2012's most perceptive flicks. The Matthew McConaughey, Matt Bomer, Joe Manganiello and Alex Pettyfer-starring film unsurprisingly became a box-office success, too, with its combination of blue collar struggles and gyrating on-stage antics striking a chord to the tune of $167.2 million in takings. It was then followed by Magic Mike XXL, which did indeed manage to live up to its name — not merely by doubling down on what made the first movie such a success, but by also shrewdly recognising the power of the female gaze. Filmmaker Steven Soderbergh (Kimi, No Sudden Move) directed, shot and edited the initial movie, then just shot and edited the second; however, he's sitting back in the helmer's chair for Magic Mike's Last Dance. Also returning is screenwriter Reid Carolin, who has done the honours all the entire franchise so far. As for when you can see the Magic Mike series' last go-around, the bumping and grinding will arrive in cinemas Down Under in February. Savvily, it's timed just before Valentine's Day. Check out the first trailer for Magic Mike's Last Dance below: Magic Mike's Last Dance will release in cinemas Down Under on February 9, 2023.
The upcoming federal budget has many waiting with bated breath, especially those hoping for urgent action to tackle Australia's severe housing crisis. But ahead of the wider announcements on Tuesday, the ABC has reported that this year's federal budget will include funding for an AI tool that can approve housing developments. The housing crisis is a major part of affordability concerns that are driving voting decisions nationwide, and the federal government seems to want to address the problem rapidly. But not immediately. The AI program, which will reportedly take four years to develop, comes with $105.9 million in funds and is intended to speed up project approvals and tackle the supply problems in the housing market by sharing environmental data. In a statement celebrating the news, Home Industry Association Managing Director Jocelyn Martin said, "Australia's environmental approvals system has not kept pace with the scale or urgency of our housing challenge. This Budget begins the shift toward a modern system that uses better data, digital tools and AI to deliver faster, clearer and more consistent decisions." [caption id="attachment_1100893" align="aligncenter" width="1920"] VM Studios via iStock[/caption] The news of this technology push comes off the back of the government's Environment Protection and Biodiversity Conservation strike team, which was deployed in August of 2025 to address a backlog of project approvals, and is reportedly on track to achieve a target of 26,000 approvals by July of this year. Other changes to come on Tuesday include $2 billion to support infrastructure for new housing lots, changes to capital gains tax and negative gearing, as well as $250 million in funding to establish Australia's first National Environmental Protection Agency, which, among other things, will cut back on delays from environmental approvals, presumably with some assistance from the aforementioned AI tool, should it be finalised. The pressure is on for major parties to tackle the housing crisis, as frustrations from a lack of any concrete measures from Labor and Liberal has seen a notable uptick in popularity for independent candidates, Greens and even One Nation, which won its first lower house election in 30 years at the Farrel by-election on Saturday. [caption id="attachment_1100895" align="aligncenter" width="1920"] Juan Gomez via iStock[/caption] After that result, Shadow Housing Minister Andrew Bragg said of the major parties, "We are where we deserve to be, over the last 10 years we haven't done enough policy work, and I think the generation of millennials, my generation, are pretty dirty on the major parties and with good reason.… it's been about a decade since we've had a decent policy." The 2026 federal budget will be delivered in full by Treasurer Jim Chalmers at 7.30pm AEST on Tuesday, May 12. Lead image: Phillip Witke via iStock
When Dirty John and The Case Against Adnan Syed leapt from audio to television, it was a floodgates moment. The true-crime genre definitely isn't new, but more shows based on grim real-life stories — and inspired by the podcasts that cover them, to be specific — were always going to follow. Dr Death is the latest, sporting a moniker that speaks volumes from the outset. Even if you know nothing about Christopher Duntsch going in, and you've also never heard the Wondery podcast that shares the series' name, that title really doesn't bode well for the surgeon's patients. Working in Dallas during the past decade, Duntsch was originally a rising neurosurgery star. Then, as the series charts, his patients started leaving the operating theatre either permanently maimed or dead. If you've ever faced going under the knife, this is pure, unfettered and deeply disturbing nightmare fuel — and it all really happened. Joshua Jackson plays Duntsch, and is bound to shed any lingering Dawson's Creek-era affection audiences might have for him in the process (and fondness from The Mighty Ducks and Fringe, too). He's joined by Alec Baldwin (Pixie) and Christian Slater (Dirty John) as fellow surgeons who raise the alarm, and also by AnnaSophia Robb (Words on Bathroom Walls) as the Dallas prosecutor who takes the case. As the just-dropped first trailer for the series show, this is quite the bleak story. Whether you already know how it all turns out or you'll be discovering the details fresh, you'll be able to watch Dr Death on Stan sometime this year — although exactly when it'll start streaming hasn't yet been announced. Check out the trailer below: https://www.youtube.com/watch?v=mYWEAWFONSw Dr Death will be available to stream via Stan sometime in 2021 — we'll update you with a release date when further details are announced.
A few years ago, many drinkers would have thrown out their beers after the first sip if they were sour. But 2017 saw a rise in the prevalence of — and preference for — these tart and acidic brews that are bound to get your tastebuds tingling. While it seems to be a relatively new style of beer, its origins can be traced back to the first beers ever brewed, where wild yeast and spontaneous fermentation were key. Fast forward a few hundred years and sour beers exist in many different varieties, with American wild ales, berliner weisse, gose and lambics being those favoured in the Australian craft beer scene. Today in Sydney, most craft breweries have either a limited release or core range sour. Wayward Brewing Co's 'Sourpuss' Raspberry Berliner Weisse was one of the first sours to become widely available on tap in venues across Sydney. Then came Batch Brewing Co's range of 90s hip-hop themed sours. These beers — such as Plum DMC, Mango Mathers, 2Peach Shakur and the charmingly named Pash The Magic Dragon passionfruit and dragonfruit sour — helped to secure the sour ale as an idiosyncratic fixture on Australia's brewing scene. Perhaps the biggest development in terms of sour beer, however, is Wildflower Brewing & Blending in Marrickville. Not a brewery as such — the beer is brewed at Batch nearby — Sydney's first 'blendery' has captured the hearts and tastebuds of sour lovers with its unique and tart ales, which feature Australian botanicals in their yeast cultures. Wildflower has released a number of beers since opening in 2017, but its standout brew is the sour Wildflower Amber. Released in batches (each one with a slightly different development in flavour) and aged in French oak barrels, this amber ale sits at six-percent ABV and features a complex palate of malt-accented notes with a light acidity. The most recent release, Wildflower Amber #10 ($22 for a 750-millilitre bottle), is available from the cellar door at 11–13 Brompton Street in Marrickville or online. SHOPPING LIST Wayward Brewing Co Sourpuss Raspberry Berliner Weisse, 330ml, $5.50 each or $17.99 for four (also available at the brewery) Batch Brewing Co Pash The Magic Dragon, 640ml, $12.50 each (also available at the brewery) Wildflower Amber #10 and #11, 750ml, $22 each Hop Topics is our new bi-weekly beer column keeping you up-to-date with the latest beer trends happening around the country. Dominic Gruenewald is a Sydney based actor, writer and self-proclaimed beer snob. Between gigs, he has pulled pints at all the right venues and currently hosts Sydney's longest running beer appreciation society Alestars at the Taphouse, Darlinghurst.
Hola, amigos! It's that time again: The Hola Mexico Film Festival hits Sydney next month at the Chauvel Cinema. But this year's festival comes with a twist. Included in its program will be the Hola Sol Festival Cantina, a pop-up bar that will transport you to the heart and soul of Central America. Who doesn't love an excuse to don a novelty moustache and/or sombrero, or have a reason to drink tequila? Sydney's newest drink spot is sure to have people from all over releasing their inner Mexican. And with this year's festival program bigger and better than ever, Sydneysiders are sure to work up a thirst. In one explosive week, the bar will feature live music from the likes of Gang of Brothers, Baerfrens and Spanish duo Kallidad, art displays, free workshops and festival talks. Have your face intricately painted (think Day of the Dead style) on opening and closing night, check out the retro poster exhibition on the 'Golden Age of Mexican Cinema' or join in a Mexican-themed craft workshop — a chance to make your own floral headpiece or hand-painted cactus. Whether you're there to see a film or just feel like a sneaky Sol and lime before you hit the town, Sol Cantina will be a fusion of filmic passion, Mexican culture and all-round good times. Sol Festival Cantina kicks off on Wednesday, 27 November, and will be open everyday for the film festival week, from 6pm to 11pm weekdays and from 2pm to 11pm over the weekend. And with anticipation for the pop-up quickly rising, there is already talk of taking the Festival Cantina to other cities, nationwide.
You'll find The Flightpath Theatre at the beloved Addison Road Community Centre in Marrickville underneath, yep, you guessed it, Sydney's flightpath. The theatre opened in 2019 and has staged countless independent theatre productions ever since. It's 2022 season has an impressive lineup of traditional texts and new writing programmed. You can catch classics like Shakespeare's Much Ado or see brand new musicals such as Lucy Matthews' Ugly Love. It's the ideal spot to catch emerging acts and rising stars in an intimate venue before they hit the big time, or to witness more experimental work that the larger theatre companies rarely include in their programming.
Home to raindrop cakes, Nutella gyoza and salted caramel gyoza, Harajuku Gyoza clearly likes getting creative with its sweet treats. The chain is fond of trying out new things with its savouring dumpling range, too, as its experiment with mac 'n' cheese and pepperoni pizza versions showed — but it obviously has a soft spot for the kind of desserts you won't find on any old menu. From Thursday, April 1, the Australian gyoza brand is serving up a new menu item that turns marshmallows into gyoza. You'll find them stuffed inside each dumpling, and also sprinkled on top. And, if your stomach isn't already rumbling, they'll come dusted with icing sugar and paired with Nutella sauce as well. The fried and crispy marshmallow gyoza are joining the chain's dessert lineup in plates of five, which'll cost you $10. And if you fancy tucking into the new gyoza after devouring two old favourites — cheeseburger gyoza, which is stuffed with burger pieces, aged cheddar, onion, pickles, mustard and tomato sauce; and mozzarella gyoza, which is filled with the obvious, then deep-fried and sprinkled with Twisties salt — that's up to you. Harajuku Gyoza's marshmallow gyoza will be available at all Australian stores — at Darling Harbour in Sydney; at South Bank and the CBD in Brisbane; and in Broadbeach on the Gold Coast — from Thursday, April 1.
Not only is Lunar New Year one of the biggest celebrations in the Asia Pacific region, it's easily also one of the most delicious. If you're not celebrating it already, your palate is missing out. Cue family feasts — friends are also more than welcome — and a table stacked with all the greatest hits. The biggest at-home celebration of LNY typically happens on Lunar New Year's Eve and usually takes the form of a dinner that's not unlike Christmas lunch. The best part about the celebration is that the dishes you'll typically find are surprisingly simple to prepare and come together in no time at all. Whether the celebrations are taking place in Hanoi or Hong Kong, Singapore or Sydney, everyday dishes tend to land on Lunar New Year's Eve dinner tables. There are regional differences when it comes to must-have Lunar New Year dishes, but dumplings and fish or seafood are mainstays in most places where Lunar New Year is celebrated. You'll find them at LNY dinners and enjoyed as ordinary meals throughout the year. The enduring appeal of these dishes is just how easily they can be dressed up or down depending on the occasion. And that's before we even factor in how delicious they are. [caption id="attachment_987199" align="alignnone" width="1920"] Josh Mullins[/caption] After some inspo for an authentic festive spread that's easy enough for everyday meals but seriously impressive for a celebratory gathering? Look no further. In partnership with Oriental Merchant, we've called in chef Jason Chan, owner of newly opened pan-Asian restaurant Rice Kid, for two recipes he turns to when it's time to ring in Lunar New Year at home. XO Pipis [caption id="attachment_987205" align="alignnone" width="1920"] Josh Mullins[/caption] Seafood is a staple ingredient in many quintessential Lunar New Year dishes. The festivities are a reason to shell out on premium seafood to celebrate the special occasion. For Chan, Lunar New Year is the time to "have all those special dishes that you don't really get to eat every week." And it doesn't get more impressive or mouth-watering than XO pipis, which — despite being known as a restaurant special — is a surprisingly straightforward dish that can be replicated at home. In Chan's recipe, half a kilo of fresh pipis transform into a delectable showstopper that packs an umami punch thanks to the sauce trifecta of XO, soy and oyster. Ingredients: 500g fresh pipis (if you can't find live pipis, you can substitute with prawns or any other seafood to your liking) 100g Lee Kum Kee XO Sauce 50ml Lee Kum Kee Premium Dark Soy Sauce 50g Lee Kum Kee Panda Brand Oyster Sauce 100ml Shao Xing cooking wine 1 tsp sugar ½ tsp salt 1 tsp chicken powder 1L water 50g shallot rondelle Coriander for garnish Slurry: 50g corn starch or potato starch 100ml water Method: Use a wok or pan on high heat and add Lee Kum Kee XO Sauce and cook for 5–10 secs, deglaze with Shao Xing cooking wine, add water and bring it to the boil. Once boiling, add pipis and cook until they are completely open. Discard any unopened pipis. Add Lee Kum Kee Premium Dark Soy Sauce, Lee Kum Kee Panda Brand Oyster Sauce, sugar, chicken powder, salt and shallot rondelle and cook for a further minute to infuse all the flavours into the pipis. Mix slurry and pour into the XO pipis to thicken. Garnish with coriander or shallot rondelle. [caption id="attachment_987287" align="alignnone" width="1920"] Josh Mullins[/caption] Moreton Bay Bug and Prawn Siu Mai or Wonton [caption id="attachment_987203" align="alignnone" width="1920"] Josh Mullins[/caption] Dumplings are another dish which sit proudly on dinner tables — particularly in northern China — during Lunar New Year festivities. Traditional dumplings are said to resemble ancient Chinese money and are symbolic of prosperity. Today, all kinds of dumplings and wontons make the festive cut. Whether they're crescent-shaped dumplings, wontons or siu mai, this is a dish that is great for everyday dinners as well as during Lunar New Year. For an elevated everyday wonton or siu mai (the only difference is how you wrap them), this recipe is as fun as it is delicious. Finesse your folding skills by wrapping your parcels of seafood yourself, or get the whole dinner crew involved before sitting down to celebrate. Ingredients: 250g fresh or frozen prawn meat 250g Queensland Moreton Bay bug meat 25ml Lee Kum Kee Premium Soy Sauce 25ml Lee Kum Kee Panda Brand soy sauce 10g minced garlic 10g coriander root finely sliced (use stems for extra aroma) 5g lime zest 20g sugar 25g potato starch 50ml garlic oil (canola oil can be substituted) 1 packet of wonton skin Method: Place prawn and bug meat in food processor and slightly pulse 4–5 times. Ensure the prawn and bug meat retain small chunky pieces for texture. Take out the processed prawn and bug meat and place in bowl. Add in Lee Kum Kee Premium Soy Sauce, Lee Kum Kee Panda Brand Oyster Sauce, minced garlic, coriander, sugar, garlic oil and mix until everything is combined and bound together. Add in the remaining ingredients: potato starch and lime zest. CHEF'S TIP: You don't want the starch to form clumps, do not skip step 3 with step 2! Place filling in fridge for 30 minutes. Once it is set, you can begin making the dumplings. Blanch wontons for about 5–6 minutes or until they float. To serve, place blanched wontons in a bowl and garnish with shallot and a few drizzles of sesame oil. Dip into preferred sauce (see below for sauce options). [caption id="attachment_987286" align="alignnone" width="1920"] Josh Mullins[/caption] Simple Dipping Sauce for WontonAdd Lee Kum Kee Chiu Chow Style Chilli Oil, soy sauce, sesame oil and black vinegar. Season to taste. Simple Dipping Sauce for Siu Mai Add Lee Kum Kee Chiu Chow Style Chilli Oil and soy sauce. Season to taste. Experience the flavours of Lunar New Year everyday with Oriental Merchant authentic Asian ingredients.
"Spectacles, not survivors". If you've ever wondered what the creator of The Hunger Games wants from its participants, they're his exact words. Meet Casca Highbottom, Dean of the Academy, and the reason that children from 12 of Panem's districts fight to the death every year for the entertainment of the masses — as well as a looming force of evil in prequel The Ballad of Songbirds & Snakes. Yes, every movie franchise ever has to keep returning to screens, as Harry Potter and Twilight are as well. Unlike those two page-to-screen hits — two other favourites straight out of YA literature, too — The Hunger Games is making a cinematic comeback. And, it's gracing theatres again this November because author Suzanne Collins followed up her original trilogy of novels from 2008–10 with a step backwards in 2020. While Casca Highbottom is a pivotal figure in The Ballad of Songbirds & Snakes, complete with Peter Dinklage (Cyrano) playing the part, another usually- nefarious presence is the movie's protagonist. If you've ever wondered about Coriolanus Snow's life before he became President of Panem and kept having encounters with Katniss Everdeen, here's your answer. This prequel is set 64 years prior to the dystopian tales told in the saga's initial four films between 2012–15, with Tom Blyth (Billy the Kid) doing his best to become a young Donald Sutherland. If the Wizarding World can have young Dumbledore, The Hunger Games can have young Snow, clearly. As the just-dropped first trailer for The Ballad of Songbirds & Snakes starts to cover, his backstory includes hailing from a family that's hit hard times in the postwar Capitol. That's how he becomes a mentor to District 12's Lucy Gray Baird (Rachel Zegler, Shazam! Fury of the Gods). And that "spectacles, not survivors" comment is spoken his way, in fact, as a word of warning about what's expected in his new role. Of course, this wouldn't be a Hunger Games story if one of its tributes didn't earn plenty of attention — and hearts. When his protege proves a hit, Snow starts to think about turning the odds in their favour. That said, viewers already know that any good he achieves here won't change the fate that's already been seen in the novels and past movies. As well as Blyth, Zegler and Dinklage, The Ballad of Songbirds & Snakes features a stacked cast spanning Jason Schwartzman (I Love That for You), Viola Davis (Air), Hunter Schafer (Euphoria) and Josh Andrés Rivera (Zegler's West Side Story co-star). Francis Lawrence jumps behind the lens again, as he did with The Hunger Games: Catching Fire, The Hunger Games: Mockingjay – Part I and The Hunger Games: Mockingjay – Part II. Check out the trailer for The Hunger Games: The Ballad of Songbirds & Snakes below: The Hunger Games: The Ballad of Songbirds & Snakes releases in cinemas Down Under on November 16, 2023. Images: Murray Close.
UPDATE, September 17, 2020: The Red Turtle is available to stream via SBS On Demand, Google Play and YouTube Movies. Amidst the swirling chaos of streaming waves and thunderous seas, a lone man struggles to survive. Clinging to the remnants of his wrecked vessel, he's almost enveloped by the sound, fury and force of the water, his status as a mere speck in the ocean never in doubt. When he washes up on a deserted island, he finds himself similarly dwarfed by his surroundings. Sand stretches as far as the eye can see, as the taunting tide laps at the coastline. Cavernous nooks and crannies appear inviting, yet also threaten to swallow him whole. The foliage bears fruit, but little comfort. Welcome to the detailed natural realm conjured up by Dutch-British illustrator-turned-animator Michael Dudok de Wit in his feature filmmaking debut, The Red Turtle. That his Cannes Un Certain Regard special jury prize-winning effort is a co-production with beloved Japanese animation house Studio Ghibli — their first-ever such collaboration, in fact — gives an indication of the beauty and intricacy on offer. However, as magical as the movie's hand-drawn sights appear, this is a tale designed to evoke a different kind of wonder: not for an adventurous, fantastical journey, but for the complicated splendour that springs from man's relationship with the world around him. So it is that the unnamed figure explores the space that has become his new home, before swiftly turning his attention to fashioning a raft to escape back to civilisation. Alas, each attempt is stymied, particularly when an enormous red turtle starts to interfere. It's this new companion that reveals another side of our hero's predicament, and prompts the film's elegant probing of the nature of human existence — though the specifics are best discovered by watching. Part of The Red Turtle's potency comes from its simplicity, although it is far from a simple film. Instead, it's a feature that embraces conflict and contrast, and finds vast depth in defying expectations. It's largely dialogue-free, yet rages with noise and swells with the sounds of composer Laurent Perez Del Mar's gentle score. Though focused on one man's plight, its eye-catching imagery hones in on the texture of every scurrying crab, splash of water and blade of grass around him — and never fails to stress its protagonist's place in the world. While brief at 80 minutes, it fills every second and frame with emotion. Similar stranded situations have graced cinema screens before. Tom Hanks conversed with a volleyball in Castaway, while Paul Dano bonded with the corpse of Daniel Radcliffe in Swiss Army Man earlier this year. With that in mind, The Red Turtle proves enchanting not because it's novel, but because it's rich, dense, and delicately devastating in its examination of the parts of life that truly matter. Take a chance, and let this beautiful film sweep you away.
International travel could possibly be back on the cards for Australians by Christmas, but you'll be able to get a 26-film glimpse of Italy first. The reason: the 2021 Italian Film Festival. As it does every year, it's showcasing a stacked lineup of new and classic cinema from its chosen part of the globe, as part of its touring program. For Sydneysiders, this year's fest will arrive in late October, in line with New South Wales' roadmap out of lockdowns. From Wednesday, October 27–Sunday, November 21, movie buffs will want to head to Palace Norton, Palace Verona, Palace Central and Chauvel Cinema to get their Italian film fix. The fest opens with The Ties — and with a marriage in crisis. Starring Alba Rohrwacher (Happy as Lazzaro) and Luigi Lo Cascio (Human Capital), and helmed by Daniele Luchetti (La Nostra Vita, My Brother is an Only Child), this moving film follows a couple's tumultuous romance over the course of decades. It comes to the Italian Film Festival after opening last year's Venice Film Festival, and becoming the first Italian movie in more than a decade to do the latter. At the other end of the 2021 Italian Film Festival, the event will close with a classic: Roberto Rosselini's Rome, Open City. It's part of a four-film retrospective of the director's work, and also falls within the fest's look back at iconic Italian leading ladies. This event always comes with a big appreciation for Italy's filmmaking past, which is where documentary Fellini Forward: From the Creative Genius of Federico Fellini, about the acclaimed director, also fits in. Elsewhere, festival highlights include Cannes Film Festival Director's Fortnight winner To Chiara, about a 15-year-old who discovers her father might have criminal ties; Nanni Moretti's Three Floors, which is set across a Rome apartment block; Hidden Away, a biopic about artist Antonio Ligabue; and You Came Back, a thriller that makes ample use of Venice's lagoons. Or, there's also comedy Three Perfect Daughters; drama Tigers, about footballer Martin Bengtsson; and Sirley, which sees director Elisa Amoruso draw upon her adolescence for her first fictional film.
If it's a feast of weird, wild and wonderful movies that you're after, then one Australian film festival has been delivering for 16 years now: the Sydney Underground Film Festival. Dedicated to strange and surreal cinema, it screens the kinds of flicks that don't usually turn up at your local multiplex — although, this year, the event itself is making the move to one such venue. 2022 marks a huge milestone for SUFF in two ways. Firstly, it's the fest's return to a physical event for the first time since 2019, thanks to a couple of pandemic-affected years. Secondly, SUFF is shifting to a new location. Accordingly, come Thursday, September 8–Sunday, September 11, Sydneysiders will want to flock to Event Cinemas George Street to watch everything from hilarious Pete Davidson-featuring horror satires through to the latest and greatest genre shorts. And if you're not in Sydney, the fest's online program will return from Monday, September 12–Sunday, September 25 as well. For those keen on an in-person experience, I Love My Dad will open the fest, telling a tale about an estranged father (played by Patton Oswalt, Gaslit) who catfishes his own son in an effort to reconnect. From there, highlights include new releases by a few mighty impressive filmmakers: closing night's Mona Lisa and the Blood Moon, the latest from A Girl Walks Home at Night's Ana Lily Amirpour, and Something in the Dirt, by The Endless and Synchronic's Justin Benson and Aaron Moorhead. And, of course, there's the aforementioned Bodies Bodies Bodies — which not only features The King of Staten Island's Davidson, but also Dear Evan Hansen's Amandla Stenberg and Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Oscar-nominee Maria Bakalova. They star in a film that turns a party game into a slasher onslaught, and tears into not only its characters, but Gen Z and today's always-online world. Also on the in-cinema bill: Dual, the Aaron Paul (Westworld) and Karen Gillan (Avengers: Endgame)-starring new deadpan comedy by The Art of Self-Defense's Riley Stearns; On the Count of Three, Jerrod Carmichael's (Rothaniel) feature film debut as a director; and documentary I Get Knocked Down, about Chumbawamba singer Dunstan Bruce. Or, you can see the world premiere of horror flick Pig Killer, which is inspired by a true story; catch Norway's Sick of Myself, which also screened at this year's Cannes Film Festival; and check out a charity screening of Rhino by Ukrainian filmmaker Oleg Sentsov. For those watching at home around the country, SUFF's online program includes queer Canadian drama Compulsus, horror/sci-fi film LandLocked, and an impressive range of documentaries — such as F@k This Job, about Russian TV channel Dozhd and its founder Natasha Sindeeva; Girl Gang, which follows a 14-year-old London influencer; the self-explanatory Nightclubbing: The Birth of Punk Rock in NYC; Mike Mignola: Drawing Monsters, about the Hellboy creator; and Circus of the Scars, about sideshow performers. Plus, SUFF's dedication to the most out-there shorts the fest can compile will also hit screens in-person at Event Cinemas George Street and via the virtual lineup. Sydney Underground Film Festival will screen at Event Cinemas George Street, Sydney, from Thursday, September 8–Sunday, September 11, then head online from Monday, September 12–Sunday, September 25. For further information, or to buy tickets, head to SUFF's website.
Remember cassette tapes? Well Ariel Pink does, because since he began writing music at age ten he’s recorded over 500 songs on hundreds of them. They featured drum sounds created with his mouth and armpits, and a few of them were sold at Aron’s Records before Melrose Avenue went all hip, and in his spare time Pink focused on his semi-abstract grotesque surrealist drawings. That was before Pink was "discovered" by Animal Collective and got majorly famous, but even his first studio album sounds like it was discovered on Venice Beach inside an abandoned tape player jammed up with bits of sand. Gritty, ghostly and nostalgic, Before Today just has the added bonus of bizarre instrumentals thanks to the rest of the guys who form Ariel Pink's Haunted Graffiti. On Friday they’ll be joined by fellow Los Angeles bedroom producer Geneva Jacuzzi, known for her crazy performances and lyrics about things like blood being thrown on to fire. If you thought witnessing an armpit drum would be rather impressive, this is one live show you won’t want to miss.
It was true in the 90s, and it remains that way now: when Jim Carrey lets loose, thrusting the entire might of his OTT comedic powers onto the silver screen, it's an unparalleled sight to behold. It doesn't always work, and he's a spectacular actor when putting in a toned-down or even serious performance — see: The Truman Show, The Majestic, I Love You Phillip Morris and his best work ever, the sublime Eternal Sunshine of the Spotless Mind — but there's a reason that the Ace Venture flicks, The Mask and Dumb and Dumber were some of the biggest movies made three decades back. Carrey is now a rarity in cinemas, but one franchise has been reminding viewers what his full-throttle comic efforts look like. Sadly, he's also the best thing about the resulting films, even if they're hardly his finest work. That was accurate in 2020's Sonic the Hedgehog, and it's the same of sequel Sonic the Hedgehog 2 — which once again focuses on the speedy video game character but couldn't feel like more of a drag. The first Sonic movie established its namesake's life on earth, as well as his reason for being here. Accordingly, the blue-hued planet-hopping hedgehog (voiced by The Afterparty's Ben Schwartz) already made friends with small-town sheriff Tom Wachowski (James Marsden, The Stand). He already upended the Montana resident's life, too, including Tom's plans to move to San Francisco with his wife Maddie (Tika Sumpter, Mixed-ish). And, as well as eventually becoming a loveable member of the Wachowski family, Sonic also wreaked havoc with his rapid pace, and earned the wrath of the evil Dr Robotnik (Carrey, Kidding) in the process. More of the same occurs this time around, with Sonic the Hedgehog 2 taking a more-is-more approach. There's a wedding to ruin, magic gems to find and revenge on the part of Robotnik. He's teamed up with super-strong echidna Knuckles (voiced by The Harder They Fall's Idris Elba), in fact, while Sonic gets help from smart-but-shy fox Tails (voice-acting veteran Colleen O'Shaughnessey). Gone are the days when an animated critter's teeth caused internet mania. If that sentence makes sense to you, then you not only watched the first Sonic the Hedgehog — you also saw the chatter that erupted when its initial trailer dropped and the fast-running creature's humanised gnashers looked oh-so-disturbing. Cue a clean-up job that couldn't fix the abysmal movie itself, and an all-ages-friendly flick that still made such a ridiculous amount of money (almost $320 million worldwide) that this follow-up was inevitable. The fact that Sonic the Hedgehog 2 arrives a mere two years later does indeed smack of a rush job, and the end product feels that way from start to finish. That isn't the only task this swift second outing is keen to set up, with bringing in fellow Sega characters Knuckles and Tails the first step to making a Sonic Cinematic Universe. Yes, with Morbius reaching theatres on the exact same day as Sonic the Hedgehog 2, it's an ace time for sprawling start-up franchises sparked by a quest for cash rather than making great cinema — an ace time for the folks collecting the money, that is, but not for audiences. Both otherwise unrelated movies are flimsy, bland and woefully by-the-numbers, and seem to care little that they visibly look terrible thanks to unconvincing CGI. Sonic the Hedgehog 2 also falls victim to one of the worst traits seen in family-appropriate pictures: being happy to exist purely as a distraction. That means pointless needle drops that shoehorn in pop hits for no reason other than to give kids a recognisable soundtrack to grab their attention, and an exhausting need to whizz from scene to scene (and plot point to plot point) as if the film itself is suffering a sugar rush. Also covered: unnecessary pop-culture references, including inexplicably name-dropping Vin Diesel and The Rock, and also nodding to all things Indiana Jones. Sonic the Hedgehog 2's fondness for dashing through its sequences and setpieces like it's racing against a clock could be seen as a simple case of the film endeavouring to emulate its protagonist — but it also runs for over two hours, so truly delivering a turbo whirlwind isn't on returning director Jeff Fowler's mind. Rather, the feature seems to flit by at a breakneck pace so that nothing could possibly linger, which is one of its few attempted gifts to viewers. The other is still Carrey, although he can't carry the movie this time around. To be specific, he doesn't appear to want to. He also seems to be leaning heavier on easy gimmickry rather than genuine goofiness, but he's happily still in anarchic mode. Sonic the Hedgehog 2 definitely can't match him, though, despite zipping as much chaos across the screen as it can (and as hurriedly as can). Try as it might, the film doesn't make anyone forget its inane Hawaiian wedding scenes, which earn far too much focus because they shouldn't receive any. In the year 2022, second-time Sonic writers Pat Casey and Josh Miller — plus newcomer John Whittington (The Lego Ninjago Movie) — somehow thought it was okay to rely upon bridezilla tropes in the name of supposed humour, and the result is unfunny and lazy. This narrative choice also gives The White Lotus' Natasha Rothwell a thankless part, but then no flesh-and-blood actor who's playing it straight fares well here. That leaves Carrey, and also the voice work behind the movie's primary colour-toned animated creatures. Schwartz still sounds as if he's doing Parks and Recreation's Jean-Ralphio right down to a "the woooorst" joke, but Elba's line readings at least raise a smile by being so self-serious. Throw in an over-emphasised message about the importance of family like this is a stealth Fast and Furious flick — yes, clearly the title would fit, and there's also that Vin Diesel and The Rock mention — and Sonic the Hedgehog 2 just keeps getting more and more derivative. It knows it, actually. It even makes a gag about it. But as with almost everything it serves up, throwing things at the screen like blazes and being well-aware you're doing it doesn't make for an entertaining, average or even passable-enough time at the movies. Image: courtesy Paramount Pictures and Sega of America.
Any cocktail drinker will be at least vaguely familiar with vermouth. It's been swirled around and tipped out of your martini glass, mingled with gin and Campari in your Negroni, and brought in to help balance out the bourbon in your Manhattan. But it's rarely the star of the show. However, this aromatised wine (yes, it's made from wine — but more on that later) is gaining some overdue attention of its own of late. Melbourne has already seen a bit of a vermouth revival at bars like Bomba and Heartattack and Vine, and Sydney's catching up to the party. Not only is Sydney's first dedicated vermouth bar Banksii set to open later this year at Barangaroo, but CBD bar Since I Left You is rolling out Vermouth Hour later this month and several high quality producers of Australian craft vermouths — like Regal Rogue, Maidenii, Margan and Causes & Cures — continue to gain popularity. Similar to sherry, vermouth has somewhat of a bad rep in Aussie culture. But Rebecca Lines, Banksii's sommelier and vermouth expert, says that's something we need to get over. "I'm keen to shake off the 'oh that dry oxidised stuff my grandma had in her pantry' mentality," says Lines. "There are incredible quality styles on offer now and plenty coming out of Australia." So we thought vermouth needed to be newly tasted — and appreciated — by us, your willing participants. [caption id="attachment_576289" align="alignnone" width="1280"] Don LaVange via Flickr[/caption] WHAT'S THE STORY? Vermouth is made up of at least 75 percent wine. It's then fortified with a neutral spirit like brandy, then distilled or 'aromatised' with botanicals — one of which is the bitter herb wormwood (wermut in German), which is where the name comes from. Botanicals used vary hugely but can feature herbs, spices, bark, roots and seeds. It can be red or white, sweet or dry (or in some cases semi-dry) — but generally red is sweet and white is dry. Around the time of its invention in Italy it was "the popular aperitif of the 18th Century with Europeans sipping it in the fashionable cafes," says Lines. Vermouth is still popular in Europe as part of the aperitif culture, particularly in Spain where vermuterias (vermouth bars) are seriously fashionable. [caption id="attachment_576287" align="alignnone" width="1280"] Regal Rogue[/caption] WHY DO I CARE? Much of the appeal of vermouth lies in its hybrid nature. It has a lower alcohol content than spirits (around 15-24 percent), yet has more character than wine from the aromatisation process, similar to that of gin. Mark Ward is the founder of Australia's first native vermouth Regal Rogue, which has been on shelves since 2012. He suggests its popularity is reflective of broader social movements. "People are moving away from hard spirits and have become a lot more conscious of lower alcohol and lower sugar drinks," Ward says. "They're looking at digestives and aperitifs as the go-to." Like most new craft vermouths, Regal Rogue is made for drinking on its own, preferably chilled or over ice. But Ward says it's the diversity of the drink that makes it so fantastic. "You can have it neat, chilled, have it long with a tonic, aperitif-style, or in a cocktail." Its versatility is part of its unique character, agrees 2015 Australian Bartender of the Year, Lee Potter Cavanagh. "The great thing about vermouth is that it'll last longer in the fridge than a normal wine and also has a more impactful flavour," he says. "It's great for home consumption because of this, and it tastes great by itself or in simple mixes." [caption id="attachment_576286" align="alignnone" width="1280"] Margan Family Wines[/caption] WHO'S DOING IT? Vermouth is not geographically classified, which means it can be made anywhere and still be called vermouth (unlike, say, Champagne). Margan Family Wines in the Hunter Valley recently announced the release of a Semillon-based vermouth, and Australian brand Maidenii is widely celebrated, with Lines even choosing to team up with them for a custom vermouth on tap at Banksii. Ward was particularly inspired by native Australian botanicals when creating Regal Rogue's red, white and dry varieties. "When we're infusing spices and things like that, people can sometimes think it's going to taste like cinnamon or something, but it's more like pepperberry and wattleseed," he says. Around 15 other things also go into the wine, with botanicals like basil, grapefruit, native thyme and star anise giving vermouth its characteristic complexity. Ward has seen the rise of craft vermouths all over the world — including the US, which is now a major producer. ACME's new one, Bar Brosé in Darlinghurst, is similarly embracing vermouth, says Ward. "They're a an example of guys doing great food, but also pushing and educating about vermouth-based cocktails and aperitifs," he says. According to Ward, the addition of Bar Brosé and the soon-to-be Banksii to the Sydney bar scene is both "great for category and for Sydney itself". IS THIS PART OF SOMETHING BIGGER? We certainly hope so. The art of the aperitif, (or, as we like to call it: how to have a few drinks before dinner without turning up hammered) has taken way too long to truly take hold in Australia. And vermouth looks set to bring some personality to the aperitivo disco; it suits crispy, salty, crunchy snacks like anchovies, olives and potato crisps. However, as Potter Cavanagh points out, vermouth is often still "lumped with the bar and often sits open and oxidised on the back bar, when it should be listed and cared for the same as any other wine — even if this one has been aromatised". And until vermouth is fully embraced by restaurants and wine bars alike, Lines suggests going to any good cocktail bar (one where they stock and care for their vermouths) and ordering one on the rocks. Vermouth suits Australia's laidback nature and warm sunny climate, says Lines. "Vermouth is made for relaxing and sipping in my mind." [caption id="attachment_566219" align="alignnone" width="1280"] Bar Brose[/caption] CHALLENGE ACCEPTED. WHERE CAN I GET IT? Most good cocktail bars will stock and properly care for vermouth. But here's where you're guaranteed to get a good drop. Bar Brosé Chiswick Maybe Frank Since I Left You (they'll even be running Vermouth Hour from June 20-30) Cafe Sydney Banksii (opening September 2016) Top image: Thomas E. Graham.
Joining vinyl records and 8-track tapes on the dusty shelf of obsoleteness, CDs have fallen by the wayside. In 2011, the number of people in the US who downloaded their music had far surpassed that of people who bought physical albums. In an era when our grandchildren won't know what a Walkman is, what are we to do with our now-digitised CD collections? As it turns out, Amazon wants them. Beginning last week, Amazon launched alterations to its Trade-in Program, which allows customers to swap their old stuff for Amazon store credit. Amazon has previously accepted pre-loved items such as Kindles, textbooks, and DVDs in exchange for credit but hasn't accepted used CDs until now. The store credit can be used to buy new, downloadable albums, or any product from the site. We can't decide which we are more excited about: an extra buck or two, or forever banishing our questionable '90s music decisions.
If an early 20th-century Jewish immigrant found himself walking around in 2019, what would he think of the world? That question comes with a flipside, of course, because it's equally valid to wonder how today's folks would react in response. With Seth Rogen starring as a ditch-digging, rat-catching new arrival from Eastern Europe to Brooklyn, these are a couple of the queries pondered by An American Pickle. It's the latest in a long line of comedies that trifle with time while doubling as time capsules, and it falls firmly from a familiar mould. Some such flicks send teens to the past via Deloreans and phone booths, as seen in the Back to the Future and Bill & Ted franchises. Others focus on people from another era grappling with modern living, as the likes of Encino Man and Blast From the Past demonstrated. Yes, these concepts were particularly popular in the 80s and 90s — but no matter when they flicker across our screens, they do two things: serve up a snapshot of the attitudes and norms prevalent when they're made, and explore how current perspectives intersect with those gone by. That's true of An American Pickle, and overtly so, with seeing, examining and giggling at the contrast between century-old ways and contemporary ideas a considerable part of the film. Not only that, but this Simon Rich-penned adaptation of his own short story Sell Out does all of the above broadly and blatantly — pointing out that big, bushy beards have become hipster beacons, for example, and that much has progressed since the 1900s. Consequently, there's no avoiding just how slight An American Pickle is. Its protagonist might fall into a vat of brine, get sealed in, then emerge in a new millennium, but this movie isn't diving deep. Thankfully, mixed up with all the obvious jokes are two thoughtful performances, both by Rogen, that help the film interrogate the push and pull between the past and the present in a moving fashion. Rogen plays Herschel Greenbaum, a new arrival to US with his wife Sarah (Succession's Sarah Snook), after the pair leave their home of Schlupsk to escape Russian Cossacks and chase a better life. Rogen also steps into the shoes of app developer Ben Greenbaum, Herschel's great-grandson and only living descendant when he awakens in his preserved (and presumably extra salty) state. The two men are the same age, and look alike. That said, they sport differences beyond Herschel's facial hair and Ben's technological know-how. It's the usual generational divide, as instantly recognisable to everyone watching. The elder Greenbaum is devoted to his family and faith, and is horrified that his sole remaining relative doesn't appear as fussed about either, while Ben gets increasingly frustrated with his great-grandpa's know-it-all-approach, bluntness and incessant meddling. Rich gives the two men more reasons to argue, and for Ben to start plotting Herschel's downfall. An app that rates companies on their ethics, an artisanal pickle business that becomes a viral hit and a towering billboard for vodka all factor into their feud. So too does Ben's willingness to capitalise upon Herschel's inherent ignorance of 21st-century minutiae, and the proud and stubborn Herschel's insistence upon staying set in his ways. The details are almost superfluous and, as the narrative keeps picking low-hanging comic fruit, they feel that way in the movie as well. Herschel upends Ben's business plans with some unethical behaviour, and Ben tricks Herschel into spouting his dated and offensive opinions on social media, but there's never any doubt that it'll all eventually work out. As a result, even though An American Pickle delivers plenty of conflict, there's no real drama here — and no real investment in Herschel and Ben's spat. Instead, the movie deploys over-the-top clashes in the service of clearcut gags and satirical observations, and to drum up easy laughs. Well that, and a product placement-driven fondness for Soda Stream that's the one thing Herschel and Ben always agree on. But, despite how straightforward it all proves, the film still boasts heart, sweetness, and an understanding of how the past always leaves an imprint, the future needn't fastidiously be chained to tradition, and that everything old and all things new have a symbiotic relationship. Yes, watching Rogen battle with himself manages to convey those notions. Luckily, too, given that the latest feature from The FP's Brandon Trost is rather standard otherwise. Generally, everything about An American Pickle takes the expected option — including switching aspect ratios to distinguish between 1919 and 2019, and using varying colour palettes to differentiate between Eastern Europe and America — but that description doesn't fit Rogen. If you've seen him in everything from Freaks and Geeks and Knocked Up to the Bad Neighbours movies and Long Shot, you've probably started predicting how he plays his parts here. And yet Herschel and Ben feel grounded and textured in a way that little else in this flick does. Rogen offers up two convincingly melancholy visions of two men cartoonishly wrapped up in their own needs and ideas, and his dual performances are consistently anchored in relatable emotions instead of merely self-evident jokes. And, in an affable but also mostly forgettable film, he's the only aspect that doesn't feel like it's been pulled straight from a jar that's been sitting on the shelf for quite some time. https://www.youtube.com/watch?v=RC2dsAGvGy0 Top image: Hopper Stone. © 2020 Warner Bros. Entertainment Inc. All Rights Reserved.
Wondering which restaurants around the globe should tempt your tastebuds each year? There's an annual Top 100 list for that. Keen to sip drinks made by Australia's best bartenders, too? There's a countdown of those as well. Fancy tucking into a meal made by the only Aussie figure to nab a spot on the Top 100 Best Chefs list for 2022? Yes, you can also do that — and you'll be making a beeline to Josh Niland's various eateries. The Sydney seafood king has just scored some love at The Best Chef Awards 2022, becoming the only Australian to make this year's gongs. He placed in 78th spot, and also won another accolade: the Best Chef Innovation Award, for his nose-to-tail approach to the ocean's finest. [caption id="attachment_855330" align="alignnone" width="1920"] Josh Niland[/caption] Sydneysiders will be familiar with Niland thanks to Saint Peter since 2016 and Fish Butchery since 2018 — the latter now in both Paddington and Waterloo — as well as sustainable fish and chip shop Charcoal Fish in Rose Bay. As for everyone else, Niland has been winning fans and awards for a few years now, including via his applauded The Whole Fish Cookbook. It earned him the prestigious James Beard Book of the Year Award back in 2020 (becoming the first Australian to ever take out the prize, in fact). The reason that Niland keeps proving such a hit? His culinary philosophy, with an ethical and sustainable approach to seafood paramount to his cooking. The Whole Fish Cookbook's recipes include cod liver pate on toast, fish cassoulet, roast fish bone marrow, and the chef's 'perfect' version of fish and chips — and the tome also collected the Food Book Award at the 2019 André Simon Awards, and was named illustrated book of the year at the 2020 Australian Book Industry Awards. [caption id="attachment_866128" align="alignnone" width="1920"] Dave Pynt[/caption] While Niland is the only Aussie to receive recognition at The Best Chef Awards 2022, Dave Pynt, the Perth-born chef-owner of Burnt Ends in Singapore, made the long list of candidates that the Top 100 was chosen from — after placing 86th in 2021. Also, the UK's Clare Smyth took 35th spot in 2022 — fresh from opening Oncore 26 levels above Sydney Harbour, her first restaurant outside of the United Kingdom, in late 2021. [caption id="attachment_830929" align="alignnone" width="1920"] Clare Smyth[/caption] Unsurprisingly, the bulk of the male-dominated list for this year includes well-known global names such as Spain's Dabiz Muñoz in top spot, Denmark's René Redzepi in second place, Spain's Joan Roca in third, Italy's Massimo Bottura in fourth position and Spain's Andoni Luis Aduriz coming in at fifth. And if you're wondering what The Best Chef Awards are about, and how they came about, they were created in 2015 by Polish neuroscientist Joanna Slusarczyk and Italian gastronomist Cristian Gadau. The aim: to showcase the best of the world's gastronomic scene, including its experienced, passionate and determined talents. For the full The Best Chef Awards 2022 list, head to the awards' website. Josh Niland images: Rob Palmer.
Put that bottle of fake tan down. Yes, summer may be fading, but the boutique hotel hunters at Mr & Mrs Smith can give you a last-minute dose of Vitamin D. Complete with stretches of beyond-blonde beach, #unfiltered views and too-turquoise water, these ten boutique bolt-holes will have you topping up your tan faster than the autumn leaves darken. Constance Moofushi, Maldives What: Sea world Where: South Ari Atoll, Ari Atoll Don’t be surprised if a sojourn at luxury escape Constance Moofushi has you tearing up your passport the moment you spy the private-island locale, sprawling beach and lagoon-toting villas. (You can tear up your wallet, too, thanks to the generous all-inclusive rates, which even include free cigarettes from the humidor.) Snag a sunbed by the knee-weakeningly seductive pool — curved to mirror the shape of the beach — for uninterrupted Indian Ocean views. If splashing around brings on the munchies, make the most of the afternoon tea and pancakes, served poolside every afternoon. Adrenaline junkies can get their fix with a spot of windsurfing, kayaking, pedal boating and snorkelling; for a different kind of liquid thrill, head to Totem or Manta Bar, where a DJ will have you cutting shapes until the early hours (the potent cocktails should help, too). Anantara Seminyak, Bali What: Balearic style in Bali Where: Jl. Abimanyu (Dhyana Pura), Seminyak, Bali From its perch overlooking one of Bali’s most popular beaches, Anantara Seminyak boasts some serious style: suites are kitted out with marble, dark wood and just-so Balinese accents; some have access to a private or semi-private pool. Following an afternoon of peaceful paddling in the infinity-edge swimming pool, it’s only a few barefoot steps to poolside eatery Wild Orchard. Wednesdays see the restaurant dishing up an Indonesian buffet dinner with traditional dance performances. On Saturdays, Wild Orchard plays host to a seafood barbecue. For drinks with a view, head up to the fourth-floor rooftop and SOS Supper Club to laze on oversized day-beds and listen to tune-pumping DJs. Song Saa Private Island, Cambodia What: Castaway luxury Where: Koh Ouen, Koh Rong Islands Spread over a pair of pristine tropical isles, Song Saa Private Island is a green-minded resort that doesn’t skimp on glamour. All of the villas have breathtaking ocean views, private pools and an effortlessly elegant blend of thatched roofs, rustic timber beams, polished marble walls, Moroccan lanterns and carved tribal statues. If you’ve forgotten to pack sarongs and kaftans, the island’s two exclusive boutiques are stocked with designer labels. The resort offers snorkelling trips around Song Saa, island and marine safaris, nature treasure hunts and sunrise yoga classes; couples seeking a romantic canoodle can have a night in with in-villa movies and private poolside dining. Hotel El Ganzo, Mexico What: Hipster yacht party Where: Blvd. Tiburón s/n – La Playita, San José del Cabo, Baja California Sur Doubling as an arts and culture centre, design den Hotel El Ganzo is the first of its kind in Los Cabos. It lures the hip and beautiful faster than a pair of new-season Ray Bans, abd it’s not hard to see why: charms include a private beach club with one of the area’s few swimmable beaches, a rooftop pool, sushi bar and a recording studio for would-be chart-toppers. When being hip-achingly cool takes its toll, choose from the treatment list at Spa El Ganzo — from traditional Swedish massage to agave-scrub — or take a turn in the sauna, steam room, salon and marina-view gym. By day, Ganzo Downstairs restaurant serves fresh, locally sourced dishes — ceviche, lion’s paw scallops, chilaquiles, and so on. As the sun sets, locals flock to this buzzy hotspot for the free-flowing tequila, churros and soft tunes. Qualia, Great Barrier Reef What: High-end luxury Where Hamilton Island, The Whitsundays, Queensland & Great Barrier Reef Sitting smack-bang in the Great Barrier Reef, Qualia has dazzling views from every angle. Villas are dotted amid the 30 acres of immaculately manicured gardens and each has postcard-perfect views of the Whitsundays or tropical bushland, and their own two-seater buggie. The Long Pavilion, helmed by chef Alastair Waddell, serves modern Australian cuisine — milk-fed veal, pork and marron tail, coral trout, white gazpacho — on candlelit tables, backdropped by neighbouring islands and spectacular sunsets. Enjoy a tropical fruit-inspired sundowner in the sunken lounge or in a raised area overlooking Qualia’s lap pool. Monastero Santa Rosa, Amalfi Coast What: Ancient monastery, reborn for sybarites Where: 2 Via Roma, Conca dei Marini, Campania, Italy Clinging to a cliff overlooking the azure-blue ocean, Monastero Santa Rosa is postcard perfection. Once a monastery, the hotel pays homage to its heritage by naming each of the former nuns’ quarters after herbs grown in the private gardens. Rooms are decorated with furniture and one-of-a-kind antiques (handpicked by the owner); some have terraces swathed in bougainvillea. Days are spent ambling in the tiered gardens and filling in tan lines by the heated infinity pool. Plucked from Alain Ducasse’s thrice Michelin-starred restaurant in Paris, chef Christoph Bob dishes up the spectacular using organic ingredients grown onsite. The hotel’s spa is a destination in its own right, boasting a Finnish sauna, steam room, ice fountain and hydro pool. The Nam Hai, Vietnam What: Seaside design shrine Where: Hamlet 1, Dien Duong Village, Dien Ban District, Hoi An, Quang Nam Province Traditional Vietnamese chic meets cutting-edge design at The Nam Hai. Rooms are decorated with romantic net-canopied platform beds, freestanding eggshell-lacquered baths, private gardens and outdoor rain showers. Water-babies can work their way between the three pools, beginning with the temperature-controlled upper pool with artsy ceramic urns, onto the long lap pool and finishing at the infinity pool that melts into the ocean horizon. The Beach Restaurant is perfect for a lazy, poolside lunch. The restaurant has views over the East Sea, high ceilings and a menu that champions contemporary fusion and authentic Indian fare. Trisara, Phuket, Thailand What: Understated glamour Where: 60/1 Moo 6, Srisoonthorn Road, Cherngtalay, Thalang, Phuket, Thailand Overlooking a private bay in Phuket’s less developed north-west coast, each suite or villa at Trisara has jaw-dropping ocean vistas, its own pool and sexy outdoor showers. With your underwater-friendly camera in tow, mingle with technicolour fish in the bay. Back on dry land, there are muay Thai classes, tennis courts, a library and gym. For slower-paced pursuits, the hillside-set Trisara Spa has double treatment rooms and indulgent offerings including body wraps, facials and scrubs. If two nimble-knuckled hands just won’t do, opt for the Royal Trisara, a six-hand massage by three therapists. When hunger strikes, grab a table on the palm-shaded deck for ultra-fresh Thai and international cuisine. Beachfront eatery Trisara Seafood features the freshest fruits de mer, plucked from local waters. Maia Luxury Resort & Spa, Seychelles What: Wholly holistic happy hideaway Where: Anse Louis, Mahé Have knots in your shoulders? An aching back? Treat them to a restorative retreat at Maia Luxury Resort & Spa. We challenge even the most furrowed of brows not to unfurl after spying the turquoise waters gently lapping at sugar-sand beaches, tall palms waving in the breeze and thatched roofs dotted amid lush gardens. Forget about lifting a finger; each villa has its own private butler who can fill your days with snorkelling and cookery lessons, make dinner reservations, unpack luggage and even run a bath. Coaxing guests out of their villas is Maia’s spa. Hidden down dainty lanes flanked by bread fruit trees and hibiscus blooms, this shrine to pampering has a built-in soundtrack of birdsong and trickling water. Alila Villas Soori, Bali What: Sleek sea-kissed sanctuary Where: Banjar Dukuh, Desa Kelating, Kerambitan, Tabanan, Bali Pairing its spectacular scenery — untouched beaches and lush rice paddies — with effortless architecture makes Alila Villas Soori a visual delight. From the minimalist pads (complete with personal butler) to the communal areas, the hotel is sleek and effortlessly elegant, with neutral hues and dark accents. At the resort’s heart, the 25m infinity pool has four submerged day-beds at the shallow end to allow for slinky water access. Days begin with a tasting-style breakfast at open-air Coast. Lunch and dinner sees the talented chefs rustle up authentic Indonesian dishes. For something more swish, Ombak is a posh-nosh eatery perfect for romance. Find more boutique bolt-holes at Mr & Mrs Smith and search all the hotel collections. Smith members enjoy exclusive extras on all stays.
Lives of extravagant luxury. Globe-hopping getaways. Whiling away cocktail-soaked days in gorgeous beachy locales. Throw in the level of wealth and comfort needed to make those three things an easy, breezy everyday reality, and the world's sweetest dreams are supposedly made of this. On TV since 2021, HBO's hit dramedy The White Lotus has been, too. Indeed, in its Emmy-winning first season, the series was a phenomenon of a biting satire, scorching the one percent, colonialism and class divides in a twisty, astute, savage and hilarious fashion. It struck such a chord, in fact, that what was meant to be a one-and-done limited season was renewed for a second go-around, sparking an anthology. That Sicily-set second effort arrives Down Under on Monday, October 31, airing week to week — via Binge in Australia and Neon in New Zealand — and the several suitcase loads of scathing chaos it brings with it are well worth unpacking again. Sex, status, staring head-on at mortality and accepting the unshakeable fact that life is short for everyone but truly sweet for oh-so-few, regardless of bank balance: they're The White Lotus season two's concerns. All three played key parts in season one as well, but this sunnily shot seven-episode second run emphatically stresses that the bliss money is meant to bring is truly a mirage, as is the carefree air of a vacation. Accordingly, another group of well-off holidaymakers slip into another splashy, flashy White Lotus property — this time in Taormina in Italy, sat atop jagged cliffs and beneath the looming Mount Etna — and work through their jumbled existences over drinks by the pool, dinners at the bar, hefty room-service bills and sightseeing trips around town. Another death lingers over their trip, with The White Lotus again starting with an unnamed body — bodies, actually — then jumping back seven days to tell its tale from the beginning. Running the Sicilian outpost of the high-end resort chain, White Lotus manager Valentina (Sabrina Impacciatore, Across the River and Into the Trees) is barely surprised by the corpse that kicks off season two. Non-plussed about the hotel's demanding guests, her staff and men in particular, she's barely surprised at much beforehand, either. Initially, viewers will share her lack of astonishment, with writer/director/creator Mike White (Brad's Status) setting up this return visit with similar elements as season one. New location, new hotel employees, a mostly new cohort of travellers, same malaise and mayhem: that's The White Lotus' second season at the outset and on the surface. As it proved the first time around with such potency, however, this series is exceptional at letting the supposedly straightforward and idyllic blister like a sunbather catching some rays — and at peeling away layer upon layer of ostensible ecstasy in a seeming utopia. Now married to Greg (Jon Gries, Dream Corp LLC), who she met in Hawaii in season one, Tanya McQuoid-Hunt (Jennifer Coolidge, The Watcher) is among the resort's fresh arrivals — and, with her husband, the show's familiar faces. Everyone else around Sicily skips through the series for the first time, some with a heartier spring in their step than others. Tanya's assistant Portia (Haley Lu Richardson, After Yang) is hardly thrilled when she's dispatched to her room, for instance, after Greg gets furious that she's on their vacation with them. She wants this jaunt away to be an experience after spending years alone in her room doomscrolling through the pandemic, but her boss just wants an emotional lap dog. Actually, Portia wants her trip to become a lusty Italian sex comedy, which White gleefully plays up across his slate of season-two characters; when in the country, clearly. Also having a conflicted time are three generations of Di Grasso men: Bert (F Murray Abraham, Guillermo del Toro's Cabinet of Curiosities), who wants to visit his mother's village and flirts with every woman he sees; Dominic (Michael Imperioli, The Many Saints of Newark), a Hollywood hotshot navigating a marital breakdown due to his philandering; and the Stanford-educated Albie (Adam DiMarco, The Order), who's determined for his relationships with women to be everything his grandad's and dad's aren't. And, there's another far-from-content group in the Spillers and the Babcocks, with tech whiz Ethan (Will Sharpe, Defending the Guilty) and his employment-lawyer spouse Harper (Aubrey Plaza, Best Sellers) newly flush with cash after the former sold his company, but begrudgingly accepting a getaway invite from his finance-bro college roommate Cameron (Theo James, The Time Traveller's Wife) and his stay-at-home wife Daphne (Meghann Fahy, The Bold Type). In the superbly written first five episodes of season two, White examines an array of familiar and relatable dynamics among Sicily's tourists, spanning new and long-standing couples, bosses and employees, and fathers and sons. When Portia and Albie cross paths early, it adds strangers potentially tumbling into a vacation romance to the itinerary a well. Delightfully, devilishly detailed characters are one of this show's strengths again, though, as aided by pitch-perfect performances all-round — especially from Coolidge once more, the endlessly cynical and expressive Plaza, and the tumultuous-and-loving-it Abraham. Another of The White Lotus' key drawcards, as paralleled in the new opening credits which play with Renaissance-style paintings: exposing how much emptiness, unhappiness and uncertainty sits behind such privileged lives, even in picturesque surroundings where opulence and relaxation are touted as the only aims. Eating the rich — and why they're eating themselves — is one of film and TV's favourite topics of late, whether Succession is spinning it into a similarly stellar satire across streaming queues, or Parasite and then Triangle of Sadness are winning the Cannes Film Festival's Palme d'Or. The White Lotus has always found extra bite in surveying the high-end holiday industry that relies upon well-to-do tourism, catering to such guests' every whim no matter how demanding or outlandish, too, by contrasting the vast difference between such vacationers and the staff at their beck and call, and acknowledging that true euphoria is never the end result. In season two, the remit broadens to Sicily locals who don't work at the titular resort — not officially, anyway. Sex worker Lucia (Simona Tabasco, The Ties) and aspiring singer Mia (Beatrice Grannò, Security) hang around the hotel to meet and chase both clients and dreams, and to covet the excess around them. All that glitters isn't gold for them, either. All similarly isn't quite what it seems for Palermo-dwelling Brit Quentin (Tom Hollander, The King's Man), who decamped to Sicily decades back and, with his nephew Jack (Leo Woodall, Cherry), rounds out season two's key character list. Through them, The White Lotus' widened scope also encompasses the expat community, as well as the reality behind turning a holiday into your daily life. There's new shades to the show this time around, but its overall insights aren't surprising, of course. Still, White keeps pushing further, cutting both sharply and deep as he takes down and tears apart the fallacy of wealth and lavishness. What's always made The White Lotus so delicious — and such a potent, perceptive, snaky and amusing must-see — isn't just its moneyed misery and messiness, after all, but smartly stripping bare the idea that stacks of cash and scenic settings can buy perfection and satisfaction, even fleetingly, for anyone. Check out the trailer for The White Lotus season two below: The second season of The White Lotus starts streaming Down Under from Monday, October 31 via Binge in Australia and Neon in New Zealand. Read our review of season one. Images: HBO.
Bury all your preconceived notions of Australian films being dry, cerebral art-house wankfests. Mystery Road is the real thing. Writer, director, composer, cinematographer and visionary filmmaker Ivan Sen has delivered a new classic, an outback murder mystery with a rich tide of ideas unravelling and washing around the edges. Mystery Road is a masterclass in first-rate Australian acting. Hugo Weaving plays the kind of male role typical of a Lars Von Trier film: not a villain but a seriously messed-up, creepy bastard. Ryan Kwanten is a diabolically suss and casually racist roo-shooter. But it's Aaron Pedersen who carries the film with a devastating performance as Detective Jay Swan. He's a cowboy, a superman, a protector of a marginalised and deeply suspicious community, and an outsider in an uncaring, corrupt police establishment. Investigating the murder of a young Aboriginal woman, he unearths a trail of prostitution, drug rings and deep social dysfunction in his outback, ex-mission town. With each new body that's found, we feel his heart sink with sorrow — he doesn't have the comfort of distance enjoyed by his white copper colleagues. He's between two worlds, as is Mystery Road itself — it's a small movie but a big story to rival any Hollywood Western, with the desire to speak to a mass audience. The unavoidable political themes and Indigenous cultural perspectives are tethered to the recognisable narrative of a police procedural, making this a familiar but strange viewing experience. It works because it springs from Sen's experience growing up and just hanging out in down-and-out regional towns that have fallen off Australia's map: where the forgotten and poor are fatally vulnerable and totally absent from the national conversation. You might not recognise this set of life-experiences, but you'll recognise the Australianisms — the old-school, sweet-and-sour-pork Chinese restaurant; the characters' casually cagey glances; the quietly funny, laconic turns of phrase. These are all the details of a master storyteller. Mystery Road's slow-beating pulse finally riptides to a heart-stoppingly tense shoot-out. As the film's rhythms crested and fell, I found no easy explanations, no Hollywood signposts, just a genre piece of great complexity, subtlety and sophistication, and troubling beauty. This is an important film, a stunningly entertaining one, and a great one. https://youtube.com/watch?v=n7CmxOOr32I
You know what's better than seeing Cloud Control perform an acoustic set at your local pub? Seeing Cloud Control perform an acoustic set at your local pub for free. It's a crazy dream, but it's one that the band and beer barons Corona have dared to make come true. The Blue Mountains alt-rock jammers' sophomore 2013 album, Dream Cave, was an experimental shift from their first offering, and the acoustic sound should be a cool twist again. As part of the March and April tour through bars, pubs and hotels all along the east coast, the guys are also releasing Dream Cave Unplugged, featuring stripped back versions of the whole album. Although they've won awards, and been nominated for a whole heap of others, Cloud Control stick to the Aussie music penchant for bringing as much music to as many people as possible. Thanks to Corona, we all get the chance. Here are the Sydney dates: Friday 4 April - Coogee Bay Hotel Friday 4 April - Manly Wharf Hotel Saturday 5 April - Bucket List Saturday 5 April - Newport Arms Saturday 5 April - Opera Bar Sunday 6 April - Towradgi Hotel, Wollongong Sunday 6 April - Old Joe's, Cronulla https://youtube.com/watch?v=G2VX2PAD0gU
Something big went down not long ago, somewhere near Tapachula. A group of 50 Mexican kids, raised in impoverished conditions and commonly abused, learned to surf. Ralph Waldo Emerson wrote that, "in the presence of nature, a wild delight runs through the man, in spite of real sorrows", and this is exactly what filmmakers Stefan Hunt and Jonno Durrant have captured. The film's center is the Mision Mexico, a shelter founded by Australian husband-and-wife team Alan and Pam Skuse. As we are shown, the young residents become the first real surfers in the small coastal town. If you don't already believe in the transformative power of nature, Somewhere Near Tapachula will teach you something worth learning. The film is touring Australia with 100 percent of profits donated to Mision Mexico children's refuge. It is also showing on 26 February at Berowra Community Centre, Hornsby; 27 February at the Chauvel, Paddington; and 1 and 3 March at Manly Twin Cinema, Manly. https://youtube.com/watch?v=x3Jokei2bGM
