Darlinghurst's much loved Lankan Filling Station is bringing one of Sri Lanka's famous national dishes to Sydney with its Crab Curry Sundays. The restaurant will serve up its special spicy crab curry brunch on the last Sunday of every month, and you should book into April immediately. Apart from all the crab, diners can expect upwards of ten accompaniments and side dishes. Think chilli devilled eggs, onion relish sambol puffs, asparagus rolls, organic heirloom tomato red rice, dhal and papadums — to name a few. You can check out the full sample menu here. All this will cost $60 per person, not including drinks. There are two sittings — at noon and 2.30pm — and the only way to reserve a table is by emailing this booking form to info@lfsfood.com.au. If you're happy to risk it, the restaurant also accepts some walk-ins on the day. If you miss out this month and simply cannot wait until the next round, the East Sydney restaurant also offers a Sri Lankan-style brunch menu every Saturday (12–4pm) and Sunday (10am–4pm) — expect mango and cardamom lassi, sambol-stuffed milk buns and spicy bacon roti sandwiches, among other dishes, on offer. Crab Curry Sundays sittings are at 12pm and 2.30pm. Image: Parker Blain.
Scott Gault and Katie Shortland have slurped countless bowls of ramen since their first trip to Japan, back in 2010. Gault's trained one-on-one with renowned ramen masters, while Shortland's wrangled approximately 35 kilos of books and magazines about the cult noodles back home from their many ramen pilgrimages. So it's safe to call the husband-and-wife duo's Redfern ramen joint RaRa a serious labour of love. The 28-seat izakaya-style eatery takes its design cues from the plethora of Japanese microbreweries and cafes the couple have visited over the years. Think warm timber accents, a slight industrial edge and full-length windows to capture the noodle-making magic unfolding in the open kitchen. Then menu's a testament to the pair's own ramen obsession and Gault's well-honed skills, having studied in kitchens and classrooms usually reserved for teaching only Japanese speakers. At RaRa, a special pressure cooker is used to nail that full-flavour broth without the 14-hour wait time, and noodles are made fresh each morning with a 380-kilogram Yamoto machine that's been shipped in from Japan. Those noodles have a bit more length and strength than those you might find in Japan, catering to us Aussies and our more relaxed pace of noodle slurping. A one-time vegetarian himself, Gault has set out to pack a flavour punch right across the board, so expect to be just as impressed by the vegan soup as the signature meat-based creations. On the menu, you'll find three styles of free-range pork tonkotsu, highlighting the kitchen's nose-to-tail approach, available in shio, black garlic or with smoky, Japanese chilli oil. The vegetarian ramen comes in either a vegan shio or a miso style, with soy milk lending a flavour reminiscent of pork. There's also a soupless noodle dish called maze soba — akin to Japanese spag bol, without the mince — plus local cans, Yulli's Brews on tap and a range of natural wines championing young producers. Opening in early September 2018, RaRa has already proven a hit with locals. So much so that many nights you'll find a line stretching along Regent Street, with wait times as long as an hour on Friday and Saturday nights. It's certainly worth the wait, but if you'd like spend more time slurping and less time in line, we suggest heading in early. Images: Luisa Brimble.
To celebrate a momentous 50 years since the very first appearance of LEGO bricks in Australia, the Danish toymaker is putting on a Festival of Play throughout the year. LEGO is the number one toy in Australia, with each Aussie owning an average of 70 LEGO bricks. This influential product has changed many of our childhoods and reconstructed our perceptions of inspiration, creativity and play. Keep your eyes peeled for upcoming competitions, like the 50 from 50, where your creativity is put to the test for brickvention, art displays like the one appearing at Sydney's Powerhouse Museum showcasing unique mosaics of Lego brick art, or the exciting new Build with Chrome innovation, which allows you to explore and build a world of 3D LEGO creations online anywhere in Australia or New Zealand. Here, we take a look at some of the most spectacular giant LEGO creations around the world in recent times. LEGO Colosseum, Nicholson Museum Tiny Romans and architecture at this exhibition on the ancient world at the University of Sydney, which runs until early 2013. LEGO Forest, Martin Place For those who missed this spectacular surprise forest appearing in Sydney's CBD, the set of 15 LEGO flower and pine tree structures are an exact replica of the original pieces, only 66 times bigger. LEGO Forest, Broken Hill Going on tour, the forest next appeared against the vibrant backdrop of outback Australia's red dust plains in Broken Hill. Who knows where the gigantic LEGO pieces will appear next? LEGO Staircase, New York This dazzling staircase and railing in a Chelsea Loft is fashioned from an enormous 20,000 LEGO bricks, designed by artist Melissa Marks and interface designer Vicente Caride. LEGO Skyscraper, Seoul This phenomenal structure, built solely out of LEGO bricks, set the new world record for the highest LEGO building ever. The Skyscraper took 4,000 children 5 days to construct using 50,000 bricks. LEGO House, Surrey 1,000 volunteers collaborated together for BBC 2 show, Toy Stories, to create this enormous 32-million brick, two-storey house. Despite designer James May's best attempts to sell the structure to Legoland in Windsor, the house was demolished in 2009. LEGO Furniture by Lunablocks Release your inner decorator and inner kid simultaneously with these soft and stackable LEGO furniture items. They come in an array of shapes and sizes that offer endless opportunities to design and reconfigure your lounge room. LEGO Dispatchwork Using LEGO as dispatchwork is a movement launched by German artist Jan Vormann a few years ago. What started as a fun, colourful and creative way to patch old walls at the contemporary art festival in Boccignano, Italy, has now become an ongoing project spreading worldwide. LEGO Church, The Netherlands The 20 metre Church of the Holy Brick, called Abondantus Gigantus, was built last year in the town of Enschede for the Grenswerk Festival. It was designed as a venue for town meetings, raves, LEGO building contests and even a mass at one stage. LEGO Bridge, Wuppertal It took German Street-artist Megz four weeks to transform this drab bridge into a wonderment of colour and vibrance, resembling giant LEGO bricks. LEGO Car, Munich 800 kids + four days + 165,000 Lego bricks + German Automakers = Life-size replica of a BMW X1 made out of lego.
As the months, weeks and days count down until SXSW Sydney 2025, the reasons to attend keep coming. First, the event confirmed that it is indeed returning this year, locking in its dates. Then, it revealed that there'll be more free programming. Next came an initial look at the speaker lineup, and now the first music acts for this year have been unveiled. With the latest announcement, you've got 14 new pieces of motivation to head along when Monday, October 13–Sunday, October 19, 2025 rolls around. The debut wave of talents for 2025's SXSW Sydney Music Festival spans both international and local acts. In the first camp: Jasmine 4.t, Freak Slug and Ristband + Pivots from the UK; Slowwves from Thailand; Japan's Suichu Spica 水中スピカ; New Zealand's Serebii and Tusekah; and Cardinals from Ireland. Flying the flag for Aussie acts to begin with: Jamaica Moana, JJ4K, RICEWINE, Sacred Hearts, Swapmeet and BADASSMUTHA. They'll all soon have plenty of company, given that this year's fest is due to feature more than 300 music performances. And, that's just the live tunes side of the event. Across its 1600-plus sessions, SXSW Sydney 2025 will also boast over 550 conference and professional development sessions, 90-plus movie screenings and over 150 games. In the past, the SXSW Sydney Music Festival alone has welcomed Jorja Smith, XG, Miss Kaninna, Nick Ward, Fcukers, ENNY, Mia Wray and Hockey Dad, to name a mere few acts that've graced its stages. As keynote speakers, the event has also hosted music stars Chance The Rapper and The Kid LAROI in previous years. As for the rest of SXSW Sydney 2025 for now, there aren't usually many events where you can learn about crowdfunding, press freedom, investing, acting, pro surfing, science, the future, robotics, astronaut diets and New Zealand tourism all from the same lineup — and also about neuroscience, cyber intelligence, ethical leadership and sustainable food as well, and more — but this is one of them. So far, its conference sessions also span topics such as quantum physics, the future of work and how the creative industries are evolving. GoFundMe CEO Tim Cadogan is one of the folks on the roster. So is former foreign correspondent Peter Greste, whose arrest and imprisonment in Egypt fuels new Australian film The Correspondent. Girls That Invest founder Simran Kaur, Crazy Rich Asians actor Remy Hii, former pro surfer and current World Surf League Commissioner Jessi Miley Dyer, Science Vs' Wendy Zukerman, Women's National Basketball League CEO Jennie Sager and Dr Karl Kruszelnicki are also among the names. There's more on the list already — ethical technologist Andi Mastrosavas, Silicon Valley Robotics' Andra Keay, neuroscientist Dr Ariel Zeleznikow-Johnston, space nutrition expert Flávia Fayet-Moore, Black Excellence Fund co-founder Kyah Bell, Tourism New Zealand Chief Executive René de Monchy, actor Shuang Hu (Future Date), filmmaker Neil Sharma (Heartbreak High), screen producer Julie Eckersley (Erotic Stories) and The Conversation CEO Lisa Watts, for example. SXSW Sydney 2025 Music Festival Lineup Jasmine 4.t Freak Slug Jamaica Moana JJ4K Serebii Slowwves Cardinals Tusekah Suichu Spica 水中スピカ RICEWINE Ristband + Pivots Sacred Hearts Swapmeet BADASSMUTHA SXSW Sydney 2025 runs from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details. Top image: Brendon Thorne/Getty Images for SXSW.
When Joaquin Phoenix first played the Joker, he became the second actor in just over a decade to win an Oscar for donning the Gotham City villain's exaggerated clown makeup and killer smile. Returning to the role in the sequel to 2019's Joker, he'll now be taking on the character in a film that's also a musical. That movie: Joker: Folie à Deux, which hits cinemas in October 2024 and also just dropped its first trailer. Phoenix (Napoleon) has big-name company this time around from someone similarly taking on a famed comic-book character: Lady Gaga (House of Gucci). Just as Phoenix follows in the footsteps of Cesar Romero (in the 60s Batman TV series), Jack Nicholson (in the 1989 Batman movie), Heath Ledger (in The Dark Knight) and Jared Leto (in Suicide Squad), the pop star and actor treads where Margot Robbie (in Suicide Squad, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) and The Suicide Squad) has most recently as Dr Harleen Quinzel, aka Harley Quinn. In this followup, the Joker and Harley Quinn meet at Arkham Asylum — and yes, romance blossoms. So, Arthur Fleck will no longer be alone. But everyone with even just a passing knowledge of the character knows that that still doesn't bode well for Gotham. Behind the lens, Todd Phillips (War Dogs) is back from the first film as both director and a co-writer, the latter with fellow returnee Scott Silver (The Finest Hours). On-screen, Phoenix and Lady Gaga are joined by Zazie Beetz (Full Circle), who was also in the initial flick — plus Joker newcomers Catherine Keener (The Adam Project), Brendan Gleeson (The Banshees of Inisherin) and Steve Coogan (The Reckoning). Wondering how much of a musical Joker: Folie à Deux will be? Variety reports that it includes at least 15 songs, all covers, and may also feature original tunes. Based on the first teaser trailer, 'What the World Needs Now Is Love' is among the familiar tracks. The first Joker wasn't just a hit — standing apart from the now-defunct DC Extended Universe, where Leto played the Clown Prince of Crime, it took over a billion dollars at the global box office. And, as well as Phoenix nabbing an Oscar, the film took home the Golden Lion at the Venice International Film Festival. Check out the first trailer for Joker: Folie à Deux below: Joker: Folie à Deux releases in cinemas Down Under on Thursday, October 3, 2024.
For TV fans, 2022 was the year of finally. After a couple of years of hefty pandemic delays, so many stellar television shows finally returned. In 2023 so far, it's been the year of farewells. Again, plenty of ace programs have added extra episodes — but some of them, such as Succession, Barry, The Other Two, Servant and The Marvelous Mrs Maisel, dropped back in for their final runs, then said goodbye. Revelling in the last glimpses of feuding families, actors-turned-hitmen, stardom-chasing siblings, eerie nannies and comedians — and maybe AFC Richmond, too — has only been part of the viewing landscape among returning TV shows this year, though. Thankfully, when our screens delivered more time with high schoolers lost in the woods, for instance, it did so with the promise of more to follow. Elsewhere, the lineup of already-great series offering more instalments spanned everything from decade-plus comebacks to ridiculously brilliant sketches — plus shows about comebacks, dinosaurs, twisted technology, being trapped in a musical and more. Now that 2023 has passed its halfway point, we've rounded up the 15 best TV series that released another season between January and June. Binge them now if you haven't already. SUCCESSION Endings have always been a part of Succession. Since it premiered in 2018, the bulk of the HBO drama's feuding figures have been waiting for a big farewell. The reason is right there in the title, because for any of the Roy clan's adult children to scale the family company's greatest heights and remain there — be it initial heir apparent Kendall (Jeremy Strong, Armageddon Time), his inappropriate photo-sending brother Roman (Kieran Culkin, No Sudden Move), their political-fixer sister Siobhan (Sarah Snook, Pieces of a Woman), or eldest sibling and now-presidential candidate Connor (Alan Ruck, The Dropout) — their father Logan's (Brian Cox, Remember Me) tenure needed to wrap up. The latter was always stubborn. Proud, too, of what he'd achieved and the power it's brought. And whenever Logan seemed nearly ready to leave the business behind, he held on. If he's challenged or threatened, as happened again and again in the Emmy-winning series, he fixed his grasp even tighter. Succession was always been waiting for Logan's last stint at global media outfit Waystar RoyCo, but it had never been about finales quite the way it was in its stunning fourth season. This time, there was ticking clock not just for the show's characters, but for the stellar series itself, given that this is its last go-around — and didn't it make the most of it. Nothing can last forever, not even widely acclaimed hit shows that are a rarity in today's TV climate: genuine appointment-viewing. So, this went out at the height of its greatness, complete with unhappy birthday parties, big business deals, plenty of scheming and backstabbing, and both Shiv's husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat) and family cousin Greg (Nicholas Braun, Zola) in vintage form — plus an early shock, at least two of the best episodes of any show that've ever aired on television, one of the worst drinks, a phenomenal acting masterclass, a The Sopranos-level final shot and the reality that money really can't buy happiness. Succession streams via Binge. Read our full review. BARRY Since HBO first introduced the world to Barry Berkman, the contract killer played and co-created by Saturday Night Live great Bill Hader wanted to be something other than a gun for hire. An ex-military sniper, he was always skilled at his highly illicit post-service line of work; however, moving on from that past was a bubbling dream even before he found his way to a Los Angeles acting class while on a job. Barry laid bare its namesake's biggest wish in its 2018 premiere episode. Then, it kept unpacking his pursuit of a life less lethal across the show's Emmy-winning first and second seasons, plus its even-more-astounding third season in 2022. Season four, the series' final outing, was no anomaly, but it also realised that wanting to be someone different and genuinely overcoming your worst impulses aren't the same. Barry grappled with this fact since the beginning, of course, with the grim truth beating at the show's heart whether it's at its most darkly comedic, action-packed or dramatic — and, given that its namesake was surrounded by people who similarly yearn for an alternative to their current lot in life, yet also can't shake their most damaging behaviour, it did so beyond its antihero protagonist. Are Barry, his girlfriend Sally Reid (Sarah Goldberg, The Night House), acting teacher Gene Cousineau (Henry Winkler, Black Adam), handler Monroe Fuches (Stephen Root, Succession) and Chechen gangster NoHo Hank (Anthony Carrigan, Bill & Ted Face the Music) all that different from who they were when Barry started? Have they processed their troubles? Have they stopped taking out their struggles not just on themselves, but on those around them? Hader and his fellow Barry co-creator Alec Berg (Silicon Valley, Curb Your Enthusiasm) kept asking those questions in season four to marvellous results, including after making a massive jump, and right up to the jaw-dropping yet pitch-perfect finale. Barry being Barry, posing such queries and seeing its central figures for who they are was an ambitious, thrilling and risk-taking ride. When season three ended, it was with Barry behind bars, which is where he was when the show's new go-around kicked off. He wasn't coping, unsurprisingly, hallucinating Sally running lines in the prison yard and rejecting a guard's attempt to tell him that he's not a bad person. With the latter, there's a moment of clarity about what he's done and who he is, but Barry's key players have rarely been that honest with themselves for long. Barry streams via Binge. Read our full review. THE OTHER TWO Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it also went hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider gave the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek were happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they were equally thrilled for her. But ChaseDreams, their little brother's stage name, was always a constant reminder that their own ambitions keep being outshone. In a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around, Cary and Brooke were never above getting petty and messy about being the titular pair. In season three, however, they didn't just hang around with stars in their eyes and resentment in their hearts. How did they cope? They spent the past few years constantly comparing themselves to Chase, then to Pat, but then they were successful on their own — and still chaotic, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they were faking it or making it, nothing was ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wondered whether her dream manager gig is trivial after living through a pandemic, she started contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he got envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). The Other Two streams via Binge. Read our full review. PARTY DOWN Sometimes, dreams do come true. More often than not, they don't. The bulk of life is what dwells in-between, as we all cope with the inescapable truth that we won't get everything that we've ever fantasised about, and we mightn't even score more than just a few things we want. This is the space that Party Down has always made its own, asking "are we having fun yet?" about life's disappointments while focusing on Los Angeles-based hopefuls played by Adam Scott (Severance), Ken Marino (The Other Two), Ryan Hansen (A Million Little Things), Martin Starr (Guillermo del Toro's Cabinet of Curiosities) and more. They'd all rather be doing something other than being cater waiters at an array of California functions, and most have stars in their eyes. In the cult comedy's first two seasons back in 2009–10, the majority of its characters had their sights set on show business, slinging hors d'oeuvres while trying to make acting, screenwriting or comedy happen. Bringing most of the original gang back together — including Jane Lynch (Only Murders in the Building) and Megan Mullally (Reservation Dogs) — Party Down keeps its shindig-by-shindig setup in its 13-years-later third season. Across its first 20 instalments as well as its new six, each episode sends the titular crew to a different soirée. This time, setting the scene for what's still one of the all-time comedy greats in its latest go-around, the opening get-together is thrown by one of their own. Kyle Bradway (Hansen) has just scored the lead part in a massive superhero franchise, and he's celebrating. Ex-actor Henry Pollard (Scott) is among the attendees, as are now-heiress Constance Carmell (Lynch) and perennial stage mum Lydia Dunfree (Mullally). Hard sci-fi obsessive Roman DeBeers (Starr) and the eager-to-please Ron Donald (Marino) are present as well, in a catering capacity. By the time episode two hits, then the rest of the season, more of the above will be donning pastel pink bow ties, the series keeps unpacking what it means to dream but never succeed, and the cast — especially Scott and the ever-committed Marino — are in their element. Party Down streams via Stan. Read our full review of season three. YELLOWJACKETS For Shauna (Melanie Lynskey, The Last of Us), Natalie (Juliette Lewis, Welcome to Chippendales), Taissa (Tawny Cypress, Billions), Misty (Christina Ricci, Wednesday), Lottie (Simone Kessell, Muru) and Van (Lauren Ambrose, Servant), 1996 will always be the year that their plane plunged into the Canadian wilderness, stranding them for 19 tough months — as season one of 2021–2022 standout Yellowjackets grippingly established. As teenagers (as played by The Kid Detective's Sophie Nélisse, The Boogeyman's Sophie Thatcher, Scream VI's Jasmin Savoy, Shameless' Samantha Hanratty, Mad Max: Fury Road's Courtney Eaton and Santa Clarita Diet's Liv Hewson), they were members of the show's titular high-school soccer squad, travelling from their New Jersey home town to Seattle for a national tournament, when the worst eventuated. Cue Lost-meets-Lord of the Flies with an Alive twist, as that first season was understandably pegged. All isn't always what it seems as Shauna and company endeavour to endure in the elements. Also, tearing into each other occurs more than just metaphorically. Plus, literally sinking one's teeth in was teased and flirted with since episode one, too. But Yellowjackets will always be about what it means to face something so difficult that it forever colours and changes who you are — and constantly leaves a reminder of who you might've been. So, when Yellowjackets ended its first season, it was with as many questions as answers. Naturally, it tore into season two in the same way. In the present, mere days have elapsed — and Shauna and her husband Jeff (Warren Kole, Shades of Blue) are trying to avoid drawing any attention over the disappearance of Shauna's artist lover Adam (Peter Gadiot, Queen of the South). Tai has been elected as a state senator, but her nocturnal activities have seen her wife Simone (Rukiya Bernard, Van Helsing) move out with their son Sammy (Aiden Stoxx, Supergirl). Thanks to purple-wearing kidnappers, Nat has been spirited off, leaving Misty desperate to find her — even enlisting fellow citizen detective Walter (Elijah Wood, Come to Daddy) to help. And, in the past, winter is setting in, making searching for food and staying warm an immense feat. Yellowjackets streams via Paramount+. Read our full review. I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been filling streaming queues with assholes since 2019, as usually played by the eponymous Detroiters star, and long may it continue. In season three, the show takes its premise literally in the most ridiculous and unexpected way, so much so that no one could ever dream of predicting what happens. That's still the sketch comedy's not-so-secret power. Each of its skits is about someone being the worst in some way, doubling down on being the worst and refusing to admit that they're the worst (or that they're wrong) — and while everyone around them might wish they'd leave, they're never going to, and nothing ever ends smoothly. In a show that's previously worked in hot dog costumes and reality TV series about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its gallery of the insufferable. In fact, the more absurd and chaotic I Think You Should Leave with Tim Robinson gets, the better. No description can do I Think You Should Leave with Tim Robinson's sketches justice, and almost every one is a comedic marvel, as again delivered in six 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors and designated drivers to HR training and street parking is in Robinson's sights this time, and people who won't stop talking about their kids, wedding photos and group-think party behaviour as well. Game shows get parodied again and again, an I Think You Should Leave staple, and gloriously. More often than in past seasons, Robinson lets his guest stars play the asshole, too, including the returning Will Forte (Weird: The Al Yankovic Story), regular Sam Richardson (The Afterparty), and perennial pop-ups Fred Armisen (Barry) and Tim Meadows (Poker Face). And when Jason Schwartzman (I Love That for You) and Ayo Edebiri (The Bear) drop in, they're also on the pitch-perfect wavelength. I Think You Should Leave with Tim Robinson streams via Netflix. Read our full review. I HATE SUZIE TOO Watching I Hate Suzie Too isn't easy. Watching I Hate Suzie, the show's first season, wasn't either back in 2020. A warts-and-all dance through the chaotic life, emotions and mind of a celebrity, both instalments of this compelling British series have spun as far away from the glitz and glamour of being famous as possible. Capturing carefully constructed social-media content to sell the fiction of stardom's perfection is part of the story, as it has to be three decades into the 21st century; however, consider this show from Succession writer Lucy Prebble and actor/singer/co-creator Billie Piper, and its blood pressure-raising tension and stress, the anti-Instagram. The unfiltered focus: teen pop sensation-turned-actor Suzie Pickles, as played with a canny sense of knowing by Piper given that the 'Honey to the Bee' and Penny Dreadful talent has charted the same course. That said, the show's IRL star hasn't been the subject of a traumatic phone hack that exposed sensitive photos from an extramarital affair to the public, turning her existence and career upside down, as Suzie was in season one. Forget The Idol — this is the best show about being a famous singer that you can watch right now. In I Hate Suzie Too, plenty has changed for the series' namesake over a six-month period. She's no longer with her professor husband Cob (Daniel Ings, Sex Education), and is battling for custody of their young son Frank (debutant Matthew Jordan-Caws), who is deaf — and her manager and lifelong friend Naomi (Leila Farzad, Avenue 5) is off the books, replaced by the no-nonsense Sian (Anastasia Hille, A Spy Among Friends). Also, in a new chance to win back fans, Suzie has returned to reality TV after it helped thrust her into the spotlight as a child star to begin with. Dance Crazee Xmas is exactly what it sounds like, and sees her compete against soccer heroes (Blake Harrison, The Inbetweeners), musicians (Douglas Hodge, The Great) and more. But when I Hate Suzie Too kicks off with a ferocious, clearly cathartic solo dance in sad-clown getup, the viewers aren't charmed. Well, Dance Crazee Xmas' audience, that is — because anyone watching I Hate Suzie Too is in for another stunner that's fearless, audacious, honest, dripping with anxiety, staggering in its intensity, absolutely heart-wrenching and always unflinching. I Hate Suzie Too streams via Stan. Read our full review. THE GREAT Television perfection is watching Elle Fanning (The Girl From Plainville) and Nicholas Hoult (Renfield) trying to run 18th-century Russia while scheming, fighting and heatedly reuniting in a historical period comedy The Great. Since 2020, they've each been in career-best form — her as the series' ambitious namesake, him as the emperor who loses his throne to his wife — while turning in two of the best performances on streaming in one of the medium's most hilarious shows. Both former child actors now enjoying excellent careers as adults, they make such a marvellous pair that it's easy to imagine this series being built around them. It wasn't and, now three seasons, The Great has never thrived on their casting alone. Still, shouting "huzzah!" at the duo's bickering, burning passion and bloodshed-sparking feuding flows as freely as all the vodka downed in the Emmy-winner's frames under Australian creator Tony McNamara's watch (and after he initially unleashed its winning havoc upon Sydney Theatre Company in 2008, then adapted it for television following a BAFTA and an Oscar nomination for co-penning The Favourite). In this latest batch of instalments, all either written or co-written by McNamara, Catherine (Fanning) and Peter (Hoult) begin the third season sure about their love for each other, but just as flummoxed as ever about making their nuptials work. She's attempting to reform the nation, he's the primary caregiver to their infant son Paul, her efforts are meeting resistance, he's doting but also bored playing stay-out-of-politics dad, and couples counselling is called for. There's also the matter of the royal court's most prominent members, many of whom were rounded up and arrested under Catherine's orders at the end of season two. From Sweden, exiled King Hugo (Freddie Fox, House of the Dragon) and Queen Agnes (Grace Molony, Mary, Queen of Scots) are hanging around after being run out of their own country due to democracy's arrival. And, Peter's lookalike Pugachev (also Hoult) is agitating for a serf-powered revolution. The Great streams via Stan. Read our full review. PREHISTORIC PLANET When it initially arrived in 2022, becoming one of the year's best new shows and giving nature doco fans the five-episode series they didn't know they'd always wanted — and simultaneously couldn't believe hadn't been made until now — Prehistoric Planet followed the David Attenborough nature documentary formula perfectly. And it is a formula. In a genre that's frequently spying the wealth of patterns at the heart of the animal realm, docos such as The Living Planet, State of the Planet, Frozen Planet, Our Planet, Seven Worlds, One Planet, A Perfect Planet, Green Planet and the like all build from the same basic elements. Jumping back 66 million years, capitalising upon advancements in special effects but committing to making a program just like anything that peers at the earth today was never going to feel like the easy product of a template, though. Indeed, Prehistoric Planet's first season was stunning, and its second is just as staggering. The catch, in both season one and this return trip backwards: while breathtaking landscape footage brings the planet's terrain to the Prehistoric Planet series, the critters stalking, swimming, flying and tumbling across it are purely pixels. Filmmaker Jon Favreau remains among the show's executive producers, and the technology that brought his photorealistic versions of The Jungle Book and The Lion King to cinemas couldn't be more pivotal. Seeing needs to be believing while watching, because the big-screen gloss of the Jurassic Park and Jurassic World sagas, the puppets of 90s sitcom Dinosaurs, and the animatronics of Walking with Dinosaurs — or anything in-between — were never going to suit a program with Attenborough as a guide. Accordingly, to sit down to Prehistoric Planet is to experience cognitive dissonance: viewers are well-aware that what they're spying isn't real because the animals seen no longer exist, but it truly looks that authentic. Prehistoric Planet season streams via Apple TV+. Read our full review. SERVANT When M Night Shyamalan (Knock at the Cabin) earned global attention and two Oscar nominations back in 1999 for The Sixth Sense, it was with a film about a boy who sees dead people. After ten more features that include highs (the trilogy that is Unbreakable, Split and Glass) and lows (Lady in the Water and The Happening), in 2019 he turned his attention to a TV tale of a nanny who revives a dead baby. Or did he? That's how Servant commenced its first instantly eerie, anxious and dread-filled season, a storyline it has followed in its second season in 2021, third in 2022, and then fourth and final batch of episodes in 2023. But as with all Shyamalan works, this meticulously made series bubbles with the clear feeling that all isn't as it seems. What happens if a caregiver sweeps in exactly when needed and changes a family's life, Mary Poppins-style, but she's a teenager rather than a woman, disquieting instead of comforting, and accompanied by strange events, forceful cults and unsettlingly conspiracies rather than sweet songs, breezy winds and spoonfuls of sugar? That's Servant's basic premise. Set in Shyamalan's beloved Philadelphia, and created by Tony Basgallop (The Consultant), the puzzle-box series spends most of its time in a lavish brownstone inhabited by TV news reporter Dorothy Turner (Lauren Ambrose, Yellowjackets), her celebrity-chef husband Sean (Toby Kebbell, Bloodshot), their baby Jericho and 18-year-old nanny Leanne Grayson (Nell Tiger Free, Too Old to Die Young) — and where Dorothy's recovering-alcoholic brother Julian (Grint, Guillermo del Toro's Cabinet of Curiosities) is a frequent visitor. That's still the dynamic in season four, which slowly and powerfully moves towards its big farewell. Dorothy is more determined than ever to be rid of Leanne, Leanne is more sure of herself and her abilities than she's ever been — in childminding, and all the other spooky occurrences that've been haunting the family — and Sean and Julian are again caught in the middle. Wrapping up with one helluva ending, Servant has gifted viewers four seasons of spectacular duelling caregivers and gripping domestic tension, and one of streaming's horror greats. Servant streams via Apple TV+. Read our full review of season four. THE MARVELOUS MRS MAISEL Here's how The Marvelous Mrs Maisel started: in New York City in 1958, Miriam 'Midge' Maisel (Rachel Brosnahan, I'm Your Woman) had become accustomed to waiting in the wings while her husband Joel (Michael Zegen, The Stand In) tried his hand at stand-up comedy. Then she took to the stage herself, and this blend of comedy and drama followed the revolutionary aftermath. Sometimes, that's brought highlights, including having her talent recognised by Gaslight Cafe manager Susie Myerson (Alex Borstein, Family Guy), taking her sets on the road and working her way up the comedy ladder. Sometimes, there have been costs, especially in her relationships. And always, right up to the show's fifth and final season that featured jumps forward to the 21st century, there was a battle that still sadly remains oh-so-relevant IRL: for women in comedy to be treated and seen equally. Hailing from Gilmore Girls and Bunheads mastermind Amy Sherman-Palladino, The Marvelous Mrs Maisel's cast has always proven a dream — Tony Shalhoub (Flamin' Hot), Marin Hinkle (Jumanji: The Next Level), Kevin Pollak (Willow) and Caroline Aaron (Ghosts) also feature, and Jane Lynch (Party Down), Luke Kirby (Boston Strangler) and Stephanie Hsu (Joy Ride) as well — and, unsurprisingly, its writing, too. Indeed, there's nothing quite like Sherman-Palladino-penned dialogue, which Brosnahan especially is a natural at nailing its rhythms. The period detail has consistently been impeccable, but this wouldn't be the hit it is (or have Golden Globes and Emmys to its name) if it didn't also mean something. It should come as no astonishment that Joan Rivers was one of the inspirations for the series, and that it is equally hilarious, heartfelt and finely observed, with its guiding writer, director and producer's charms in abundance. The Marvelous Mrs Maisel streams via Prime Video. TED LASSO It wasn't simply debuting during the pandemic's first year, in a life-changing period when everyone was doing it tough, that made Ted Lasso's first season a hit in 2020. It wasn't just the Apple TV+ sitcom's unshakeable warmth, giving its characters and viewers alike a big warm hug episode after episode, either. Both play a key part, however, because this Jason Sudeikis (Saturday Night Live)-starring soccer series is about everyone pitching in and playing a part. It's a team endeavour that champions team endeavours — hailing from a quartet of creators (Sudeikis, co-star Brendan Hunt, Detroiters' Joe Kelly and Scrubs' Bill Lawrence), boasting a killer cast in both major and supporting roles, and understanding how important it is to support one another on- and off-screen (plus in the fictional world that the show has created, and while making that realm so beloved with audiences). Ted Lasso has always believed in the individual players as well as the team they're in, though. It is named after its eponymous American football coach-turned-inexperienced soccer manager, after all. But in building an entire sitcom around a character that started as a sketch in two popular US television ads for NBC's Premier League coverage — around two characters, because Hunt's (Bless This Mess) laconic Coach Beard began in those commercials as well — Ted Lasso has always understood that everyone is only a fraction of who they can be when they're alone. That's an idea that kept gathering momentum in the show's long-awaited third season, which gave much to engagingly dive into. It starts with Ted left solo when he desperately doesn't want to be, with AFC Richmond owner Rebecca Welton (Hannah Waddingham, Hocus Pocus 2) desperate to beat her ex Rupert Mannion (Buffy the Vampire Slayer's Anthony Stewart Head) new team, and with the Greyhounds' former assistant Nathan 'Nate' Shelley (Nick Mohammed, Intelligence) now coaching said opposition — and with changes galore around the club. It ends with more big moves after another astute look at the game of life, whether or not it returns for season four. Ted Lasso streams via Apple TV+. Read our full review. SCHMIGADOON! For fans of Key & Peele, the fact that Keegan-Michael Key can do anything won't come as a surprise. In 2023, proving that statement true has seen the comedian and actor voice Toad in The Super Mario Bros Movie, and also return to the realm of singing and dancing in Schmigadoon!. What would it be like to live in a musical? That's been this Apple TV+'s central question since it first premiered in 2021. Key stars opposite the also ever-versatile Cecily Strong (Saturday Night Live) as a couple, Josh Skinner and Melissa Gimble, who are simply backpacking when they suddenly find themselves in the wondrous titular town. The duo were hoping to fix their struggling relationship with a stint in nature, but instead step into a 24/7 Golden Age-style show — a parody of Brigadoon, clearly — that helps them work through their feelings, discover what they truly want and see a different side of life. That was season one. In season two, Josh and Melissa start back in the real world, married, in their medical jobs and going through the motions. In their malaise, a return trip to Schmigadoon! beckons; however, when they stumble upon it again, the place isn't quite the same. Instead, they're now in Schmicago. And, instead of 40s and 50s musicals, 60s and 70s shows are in the spotlight — including the razzle dazzle of Chicago, obviously. What a ball this series has, including with a jam-packed cast that includes Dove Cameron (Vengeance), Kristin Chenoweth (Bros), Alan Cumming (The Good Fight), Ariana DeBose (West Side Story), Jane Krakowski (Dickinson), Martin Short (Only Murders in the Building) and Tituss Burgess (Unbreakable Kimmy Schmidt) — and with ample thanks to creators Cinco Paul and Ken Daurio (the Despicable Me films). Schmigadoon! streams via Apple TV+. BLACK MIRROR When Ron Swanson discovered digital music, the tech-phobic Parks and Recreation favourite was uncharacteristically full of praise. Played by Nick Offerman (The Last of Us) at his most giddily exuberant, he badged the iPod filled with his favourite records an "excellent rectangle". In Black Mirror, the same shape is everywhere. The Netflix series' moniker even stems from the screens and gadgets that we all now filter life through daily and unthinkingly. In Charlie Brooker's (Cunk on Earth) eyes since 2011, however, those ever-present boxes and the technology behind them are far from ace. Instead, befitting a dystopian anthology show that has dripped with existential dread from episode one, and continues to do so in its long-awaited sixth season, those rectangles keep reflecting humanity at its bleakest. Black Mirror as a title has always been devastatingly astute: when we stare at a TV, smartphone, computer or tablet, we access the world yet also reveal ourselves. It might've taken four years to return after 2019's season five, but Brooker's hit still smartly and sharply focuses on the same concern. Indeed, this new must-binge batch of nightmares begins with exactly the satirical hellscape that today's times were bound to inspire. Opening chapter Joan Is Awful, with its AI- and deepfake-fuelled mining of everyday existence for content, almost feels too prescient — a charge a show that's dived into digital resurrections, social scoring systems, killer VR and constant surveillance knows well. Brooker isn't afraid to think bigger and probe deeper in season six, though; to eschew obvious targets like ChatGPT and the pandemic; and to see clearly and unflinchingly that our worst impulses aren't tied to the latest widgets. Black Mirror streams via Netflix. Read our full review. HUNTERS Call it a conspiracy thriller. Call it an alternative history. Call it a revenge fantasy. Call it another savage exploration of race relations with Jordan Peele's fingerprints all over it. When it comes to Hunters, they all fit. This 70s-set Nazi-slaying series first arrived in 2020, following a ragtag group determined to do two things: avenge the Holocaust, with many among their number Jewish survivors or relatives of survivors; and stop escaped Third Reich figures who've secretly slipped into the US from their plan of starting a Fourth Reich. The cast was stellar — Al Pacino (House of Gucci), Logan Lerman (Bullet Train), Tiffany Boone (Nine Perfect Strangers), Jeannie Berlin (Succession), Carol Kane (Unbreakable Kimmy Schmidt), Lena Olin (Mindhunter) and Australia's own Kate Mulvany (The Clearing) among them — and Get Out and Us filmmaker Peele executive produced a gem as he also did that same year with Lovecraft Country. And, when it wrapped up its first season, it did so with one mighty massive cliffhanger: the fact that Adolf Hitler (Udo Kier, Swan Song) was still alive in 1977. Returning for its second and final batch of episodes three years later, but largely moving its action to 1979, season two of Hunters sees its central gang initially doing their own things — but unsurprisingly reteaming to go after the obvious target. Jonah Heidelbaum (Lerman) is living a double life, with his new fiancee Clara (Emily Rudd, Fear Street) in the dark about his Nazi-hunting ways, but crossing paths with the ruthless and determined Chava Apfelbaum (Jennifer Jason Leigh, Possessor) ramps up his and the crew's efforts. Knowing this is the final go-around, the stylishly shot series wasn't afraid of embracing its OTT leanings, tonal jumps and frenetic camerawork, and always proved entertaining as it hurtles towards its last hurrah. The best episode of the season, however, is one that jumps back to World War II, doesn't focus on any of its main stars and is as clever, moving and well-executed as Hunters has ever been. If the show ever gets revived in the future, which it easily could, more of that would make a great series even better. Hunters streams via Prime Video. Looking for more viewing highlights? We picked the 15 best new TV shows of 2023, too. We also keep a running list of must-stream TV from across the year so far, complete with full reviews. And, you can check out our list of film and TV streaming recommendations, which is updated monthly.
Penrith is the best-kept secret of the greater Sydney gastronomic scene. The eateries here aren't dishing up ho-hum suburban spreads. Hearty Italian fare with a chic, Riviera-style vibe. Classic Spanish tapas prepared with local and seasonal produce. Funky Mexican-inspired share plates. Casual bars where you'll feel like a local with extensive wine and cocktail lists to rival any in the city centre. And plenty of breweries to while away your afternoon on fresh, frosty froths. We've put together a hitlist of the top spots to eat, drink and be merry all day — and night — long in Penrith. We hope you're hungry, this is going to be one delicious outing.
Portside at the Sydney Opera House welcomes a new addition this summer, with The Blanc Bar popping up until Monday, February 4. Take in those iconic harbour views while sipping on the bar's champagne or gin cocktail offerings — or both. For eats, a French-inspired menu features limited nibbles that pair with the bar's beverages. Think ocean trout with cucumber jelly, native lime and elderflower dressing, or Sydney rock oysters with verjus vinaigrette. Plus, there'll be DJs on the decks all night long, adding to the opulent party atmosphere. It's all part of the world premiere of Blanc de Blanc Encore, which is taking over the Opera House's Studio until March 9. The extravagant circus-cabaret comes from the original Blanc team and promises to immerse the audience in a night of old-world Parisian glamour and risqué performance. Images: Daniel Boud.
Sydney is blessed with more than its fair share of sandy shores — more than 100 in fact. But as the temperature climbs and the sunny season reaches its peak, South Eveleigh is bringing some much-needed beach vibes to inner Sydney. The Saturday Summer Club offers warm-weather fun minus the hassle of salt and sand, every week from December 7–14. This urban beach oasis offers weekend activities perfect for family and friends, with kiosks for summer merch giveaways and rotating sweet treat pop-ups. Make a stop at the Summer Club Kiosk where spending $10 at any retailer lets you redeem special giveaways. While you're at it, satisfy your sweet tooth with classic Aussie lollies free of charge (while supplies last). Face painting for the kids, balloon artists and beach volleyball are also on the menu. Channel your inner surfer on the mechanical wave rider or take a dip in the Sponge Pool. Filled with squishy blocks, this foam zone is the perfect place to set the little ones loose. And be sure to snap a festive family photo at the Sandy Claus photo booth. Keep an eye out for a certain holly, jolly soul in a red suit who will be roaming the area ready to spread Christmas cheer.
PappaRich has always had a clear manifesto — to bring a taste of Malaysian culture and cuisine to the people of Australia. Given the menu contains everything you could ever want from a KL cafe, it's fair to say mission accomplished. Laksa, nasi goreng, roti canai, chicken rice, sambal and kaya toast are all here, meaning no matter your familiarity with the food of Malaysia, there'll be something you'll want to sink your teeth into. PappaRich have got you covered, no dramas.
When it comes to history's legendary painters, Claude Monet's name stands out above most. Now, for the first time ever, Australian audiences are invited to experience the painting that the entire Impressionist movement was named after as the National Gallery of Australia exhibits Monet's world-famous masterpiece, Impression, sunrise. As well as a striking collection of other Monet paintings, the exhibition features works by an array of artists who inspired or followed Monet into leaving behind the studio and painting 'en plein air'. From JMW Turner to James McNeill Whistler and Eugène Boudin, other contemporaries of Monet featured at the NGA include Alfred Sisley and Berthe Morisot, one of the few female painters among the Parisian Impressionists. With their visible brush strokes and incredible depictions of light and its subtle changes, many of these works have been gathered from the Musée Marmottan Monet in Paris, which almost never loans its collection. Running until Sunday September 1, Monet: Impression Sunrise is undoubtedly worth taking a wintertime road trip to Canberra for, so grab your pals and hit the road. [caption id="attachment_697155" align="alignnone" width="1920"] Claude Monet, Impression, sunrise (1872), courtesy of the Musée Marmottan Monet, Paris and Christian Baraja SLB.[/caption] IMPRESSION, SUNRISE The masterpiece after which the Impressionist art movement was named, Impression, sunrise was finished in 1872 and showcases the early techniques of Monet who was in the midst of his creative development. Painted while he was looking out across the harbour in Le Havre from his hotel window, the piece is not particularly symbolic of Monet's later work, but still features some instantly recognisable attributes, such as how the water, sky and reflections all melt together. When it was displayed at an exhibition in Paris in 1874, art critic Louis Leroy famously borrowed the term "Impressionist" from the work's title for his review. And while it wasn't meant to be a compliment, the name stuck. [caption id="attachment_725378" align="alignnone" width="1920"] Waterlilies (1914–17), courtesy of the NGA.[/caption] WATERLILIES During the last 30 years of Monet's life, the 'Water Lilies' series became his obsession. Monumental in its scope, the series includes 250 works that capture Monet's beloved garden at his home in Giverny, France. The later years of Monet's life were perhaps his most prolific, but there could have been even more in the 'Water Lilies' series — in 1908 as he prepared for a new exhibition in Paris, Monet decided that 15 of the paintings failed to meet his expectations and chopped them in half. However, the many works that we still do have elegantly present the light and shadow that bounced across Monet's garden. [caption id="attachment_725140" align="alignnone" width="1920"] On the beach at Trouville (1870), courtesy of the Musée Marmottan Monet, Paris.[/caption] ON THE BEACH AT TROUVILLE Created during the summer of 1870, this work is one of five beach scenes that Monet painted during his stay at a popular beachside resort. Overlooking the English Channel, this work captures what is most likely Monet's wife Camille, while in the background scores of families from French high-society enjoy the bustling holiday destination. With grains of sand found still embedded in the paint, some of the paintings in this series are considered to be incomplete sketches for a larger body of work, while others were later finished to Monet's almost impossibly high standards. [caption id="attachment_725470" align="alignnone" width="1920"] Haystacks, midday (1890), courtesy of the NGA.[/caption] HAYSTACKS, MIDDAY Widely regarded by critics as possibly his most stunning series, Monet produced around 30 paintings between 1888 and 1891 showing haystacks at various times of the day and in different weather conditions. Considered by the artist himself to be some of the most challenging paintings he ever produced, these works depict a great sense of optimism as the verdant countryside was seen as a great hope compared to the failing French economy of the era. As with sand from the beaches of Normandy in his coastal paintings, you can still see fragments of grass hidden within the paint throughout the Haystacks series. One painting from 'Haystacks' recently sold for almost $160 million, which shows some people clearly can't get enough of its beauty. [caption id="attachment_725377" align="alignnone" width="1920"] Train in the snow, locomotive (1875), courtesy of the Musée Marmottan Monet, Paris.[/caption] TRAIN IN THE SNOW, LOCOMOTIVE This artwork was painted during Monet's time living in the small village of Argenteuil, which would soon rapidly grow in size as a new train line direct to Paris brought great interest to the area. Having stood out in the cold for hours for this work, Monet was well known to brave just about any weather condition to capture the perfect moment. Many of his later works featured aspects of technology, with modern bridges, trains and city life becoming common subjects. But, this earlier artwork from 1875 was created before Monet became increasingly experimental and as he sought to find a way to avoid the prevailing Western painterly perspective. Monet: Impression Sunrise is running until September 1 at the National Gallery of Australia, Canberra. Head to the website to purchase tickets and for more information.
It isn't called the big screen for nothing — and, when you head to the pictures, that's typically what you spend a couple of hours peering at. But you won't just be staring at a giant rectangle at Wonderdome, Sydney's new pop-up cinema experience. In a blend of film, music and art that takes its cues from planetariums, you'll be sat in a dome watching movies that've been specifically designed to take up the whole 360-degree space that's towering above you. When Wonderdome hits Entertainment Quarter between Saturday, December 4–Sunday, January 30, it'll offer Australia's largest-ever 360-degree projection cinema. The structure itself is a geodesic steel dome that spans 21 metres in diameter, and is filled with multiple projectors, as well as a 7.2 surround sound system. To watch, you'll recline on throne-style beanbags and stare up at the movie. Given that the projection sprawls all around you, it's been likened to virtual reality — but without the goggles. The 22-film lineup includes the dazzling Coral Rekindling Venus, which sees Emmy Award-wining Australian filmmaker Lynette Wallworth focus on fluorescent coral reefs, bioluminescent sea creatures and rare marine life; National Geographic's David Attenborough-narrated Flying Monsters, about flying dinosaurs; the climate-focused Dynamic Earth, which benefits from Liam Neeson's vocal work; and Carriberrie, which focuses on Indigenous Australian dance and song. Fulldome cinema is also known for its psychedelic and eye-popping visual displays, which is where Samskara, from artist Android Jones, comes in — plus Labyrinth, which is filled with squares, streets, passages, corridors and rooms; and Luminokaya, which lets you explore Cambodian temple complex Angkor Wat. Snacks-wise, you'll be able to grab something to eat and drink either before or after each Wonderdome session, with the menu including jaffles, chips, slushies, chocolates and ice creams. Plus, there'll be a gin bar, as well as a lineup of craft beers. Wonderdome's Entertainment Quarter season will also accept New South Wales' Dine & Discover vouchers, if you have some left — or you're eager to get your hands on more when two extra vouchers become available for NSW residents over the age of 18 sometime this summer. Tickets go on sale from 11am AEST on Wednesday, November 17 via the Wonderdome website.
Adelaide has been getting a major dose of cool as of late. Though the small bar scene may be a Melbournian namesake, this SA sister city is in the midst of a rebirth and has all of the makings to become its own small bar mecca. If you're headed to Adelaide, you'll want to check out the East End, along with Peel and Leigh streets, which house many of the city's newer bars — many of which only opened in 2015. From underground speakeasies and sake bars to American style dives and even a bar fitted out to resemble a log cabin, Adelaide has it all and in partnership with the Hahn Brewers we're bringing you the best of it. MAYBE MAE The concealed entrance to this 1950s cocktail lounge is not easy to find, but Maybe Mae is well worth the extra effort. Hidden in a tunnel beneath the Bread and Bone Wood Grill, the timber wall has no signage or even a door handle — this spot is as speakeasy as it gets. The space, inspired by movie star and sex symbol Mae West, is marked by a glamorous, Hollywood interior of green leather booths and large brass mirrors. It only opened last year, but this throwback of a bar is already a favourite stop on a night out. 15 Peel Street, Adelaide. PINK MOON SALOON Pink Moon Saloon is possibly the coolest-looking bar in the city. Located in the site of a former service laneway, the space best resembles a log cabin set in between two tall city buildings. Opened in 2015, this newcomer is a perfect addition to Adelaide's blooming small bar scene. The vibe itself is worth the visit alone. The drinks menu is inventive and playful (you can still grab a beer) while the small food menu is well designed for drink-induced nibbling. 21 Leigh Street, Adelaide. BANK STREET SOCIAL For a busy local hotspot, the Bank Street Social is your go-to. Get your boogie on to DJs spinning funk and disco, or relax on one of their luxe, golden-clad booths. On the food side of things, the regional pizza bar is focused on fresh, local ingredients and keeps the post-dance hanger at bay. 48 Hindley Street, Adelaide. MR. GOODBAR The vibe at Mr. Goodbar is best understood by their shrine to Saint Amand — that is, the patron saint of bartenders. The joint is dedicated to good times and, in their own words, to "the best kinds of sin". The waistcoat-wearing staff serve up their drinks alongside a simple food menu includes a daily cheese and charcuterie selection ($16-18) and blue swimmer crab cakes ($16). Overall, the space has a emphasises the old-world chic to it and is well-deserving of its name. 12 Union Street, Adelaide. [caption id="attachment_589691" align="alignnone" width="1280"] @jenjen_fifinha via Instagram[/caption] BADDOG BAR Baddog is a grunge-lovers haven, with an interior combination of leather, concrete and steel that just works. The well-lit bar boasts an impressive selection of small batch, local and international liquor, but is a great spot to settle down with a beer. Their in-house piano is the centre for which their blues and roots live acts congregate and play most nights until late. 63 Hyde Street, Adelaide. BRKLYN Housed upstairs at 260 Rundle Street, BRKLYN pays homage to New York's most loved borough. The entrance to this hidden gem is styled to look like a NYC subway — complete with subway-style mosaic tiling — and one half of the bar has even been made to look like a Brooklyn street, with various shopfronts and even an in-house barber. To cap it all off, their menu pays homage to the Jewish-owned delis of NYC, serving up the classic Reuben pastrami on rye with house-made pickles and Old Bay popcorn. 260A Rundle Street, Adelaide. 55ML 55ml is an intimate hole-in-the-wall with a simple but top-notch booze list, board games and tacos — need we say more? It has all the makings of great night out and is an ideal location for getting stuck in. Patrons easily lose time in this dimly-lit small bar, where the relaxed vibe is matched with pickleback specials — and they're just a few reasons to check this place out. We suggest you settle in with a beer and some chorizo tacos, grab the Jenga and let the hours fly by. 55 Mill Street, Adelaide. THE QUEEN'S HEAD This gem is the oldest licensed venue in its original location in the whole of South Australia, it's been sitting pretty on the corner of Kermode Street and Abbott Lane for 175 years. Not only a sunny spot for an afternoon beer, the kitchen at Queen's Head has award-winning pizza, burgers, steaks and sides and each weeknight has its own food special. 2KW BAR When you want to go somewhere a little bigger (and a little fancier) than the above, which also has incredible views of Adelaide and is cool in summer and warm in winter, then head to 2KW Bar. Sit back in the privacy of perfectly manicured hedges and enjoy a drink and some fancy food (try the crayfish). GONDOLA GONDOLA Gondola Gondola is an Asian-inspired bar and bistro that serves up sake, Japanese whiskies and craft beer. The food menu is also varied, from Vietnamese lamb shank stew and banh xeo (savoury pancake) to some Thai-flavoured sashimi and lemongrass beef. Despite this variety, the space has an authentic vibe and is a must do on any boozy (or foodie) visit to Adelaide. 1 Peel Street, Adelaide. Sign up to Hahn Brewers and use your weekend to take a trip to Adelaide.
Located smack bang in the geographical centre of the Sydney metropolis, Parramatta is a food lover's haven — especially if you're the type who likes an international adventure. Without leaving the CBD, you can taste your way all over the planet, from Vietnam and Thailand to Greece, Italy and the Middle East. And don't forget the craft beers, fine wines and creative cocktails aplenty available to match your picks. Whether you work in the area, live there or just feel like paying a visit, when you're in the mood for a feast, get yourself along to one of these ten Parramatta gems. You'll discover everything from a world-class rooftop bar to a cosy Malaysian eatery. RUSE BAR & BRASSERIE Parramatta Square was one of the only good things to come out of 2020, gifting Sydneysiders with another precinct filled with top-notch drinking and dining options. One such offering is all-day spot Ruse Bar & Brasserie. The European-inspired diner spotlights an open basque grill, from which the chefs serve dry aged pork loin, King George Whiting and top-of-the-line tomahawks. With expansive indoor and outdoor spaces, including a private dining room, Ruse is the perfect setting for a group feast. If you've only got time for a quick drink, swing by for happy hour (3–5.30pm from Tuesday to Friday, 5–7pm on Saturday) to enjoy $8 wine, house spirits and schooners and $12 Aperol Spritzes. [caption id="attachment_746762" align="alignnone" width="1920"] Destination NSW[/caption] ALEX&CO. Fancy a cocktail with water views? Pop into riverside lounge ALEX&Co. The drinks list covers both classics and creatives, like the One in a Melon, with sour patch-infused vodka, watermelon, lemon and aquafaba. Meanwhile, in the kitchen, head chef Kamal Karki does wonders with super-fresh produce to create what is best described as elevated pub fare. Grab a couple of entrees to share, like the stuffed zucchini flowers and kingfish sashimi, before tucking in to a szechuan chicken burger, seared barramundi or herb-crusted lamb cutlet. The massive venue hosts more than 300 people and offers a variety of spaces. [caption id="attachment_746761" align="alignnone" width="1920"] Destination NSW[/caption] KOUZINA GRECO Like all great Greek eateries, Kouzina Greco isn't just about feasting on delicious fare. It's also about having a damn good time. So, settle in and prepare for the ride. The menu features all the Greek cuisine classics — think taramosalata and pita, meatballs with tomato salsa, dolmades, calamari, haloumi, chicken souvlaki and the signature kleftiko (three-hour slow-roasted lamb with lemon potatoes). Pick a handful of favourites or, if you're dining with one or more mates, let them do the hard work for you — the set menu gives you stacks of dishes for just $69 per head. [caption id="attachment_746760" align="alignnone" width="1920"] Destination NSW[/caption] NICK AND NORA'S Towering 26 floors above the Parramatta CBD, Nick and Nora's affords epic views — all the way to the Sydney CBD and Sydney Harbour. The Speakeasy Group, which owns the venue, is well established on the Australian hospo scene, thanks to excellent venues like Eau de Vie and Mjolner. This bar takes its titular inspiration from fictional sleuths Nick and Nora Charles (The Thin Man) and its aesthetics from the indulgent post-prohibition era. Sip on glorious champagne or choose from more than 900 spirits, while sinking into a banquette surrounded by art deco fittings and feasting on oysters and caviar. [caption id="attachment_653250" align="alignnone" width="1620"] Kitti Gould[/caption] PHO PASTEUR Pho Pasteur isn't just a Vietnamese restaurant. It's the realisation of a dream. Owners Mr and Mrs Pham fled to Australia in the 1970s, as refugees of the Vietnam War, and, in 1992, opened this old-school eatery. Their hope? To share the recipes of their home province, Tay Ninh, with their newfound neighbourhood. Arrive hungry: the dishes are generous. And fair warning: you'll struggle to go past the beef pho, a heartwarming noodle soup containing the works — rare beef, brisket, meatballs, tendon and tripe. TEMASEK For some of the best laksa outside Singapore, hunt down Temasek, a Malaysian-Singaporean eatery hidden up a laneway in Parramatta CBD. For more than 25 years, owner Susan Wong has been keeping locals happy in this no-frills space with piping hot bowls of laksa. Choose chicken, prawns or both. If laksa's not your thing, go for the Hainanese chicken rice, Singapore chilli crab or nasi lemak. There's also a brief selection of Chinese dishes. This is another one that gets packed out, so don't be surprised to find yourself queueing. [caption id="attachment_787134" align="alignnone" width="1920"] Nikki To[/caption] LILYMU Another gem within the Parramatta Square dining precinct is Lilymu, which we consider one of the best restaurants in Sydney. Head here to enjoy contemporary spins on Chinese and South-East Asian flavours, like the tom yum prawn dumplings and grilled wagyu beef skewers with sesame, soy and wasabi — both crowd favourites that have been on the menu since day one. The elevated flavours continue with larger dishes. We're talking massaman curry served with Kiwami 9+ wagyu beef, banana leaf roasted barramundi and rib eye served with yuzu nori, nahm jim jaew and Japanese hot mustard. Hot tip: the bottomless weekend lunches are as delish as they are generous. For $99pp, you'll get bottomless cocktails, wine and beer, plus six share plates. BABA GHANOUJ It's a truth universally acknowledged that when you have a big group of people to feed, Lebanese cuisine is the answer. Baba Ghanouj gives you just that with an extensive menu of tasty Lebanese style dishes designed to share. Opt for one of the banquet menus for minimum ordering stress and maximum value. The Mama ($60pp) includes nine mezza plates and three meats, including Lebanese bread, olives, pickles, baba ghanoush, hummus, labneh, tabouleh, falafel, batata b kezebra (fried potato), sabih (fried Lebanese pastry filled with three cheeses), arabit meélah (fried cauliflower), shish tawouk (marinated chicken skewers), lahem meshwi (grilled lamb skewers) and kafta (grilled mince lamb). RESTAURANT 317 As one of the longest-standing restaurants on Church Street, Restaurant 317 is considered a local favourite — and there are a few reasons why. It was the first restaurant in NSW to be accredited by Coeliac Australia, with every single dish on the menu available gluten-free, from pizzas and pasta to chicken parmi and salt and pepper-battered squid. This extends to desserts, too, including tiramisu and sticky date pudding — all sans gluten. The menu is also halal certified and a good chunk of it is vegan, so the varied dietary requirements that make group dining difficult are a non-issue here. Discover more spots to eat, drink and play in Parramatta by visiting the website. Top image: Nick and Nora's, Jiwon Kim.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=aSfX-nrg-lI MANK In 2010's The Social Network, David Fincher surveyed the story of an outsider and upstart who would become a business magnate, wield significant influence and have an immense impact upon the world. The applauded and astute film tells the tale of Mark Zuckerberg and of Facebook's development — but it's also the perfect precursor to Fincher's latest movie, Mank. This time around, the filmmaker focuses on a man who once spun a similar narrative. A drama critic turned screenwriter, Herman J Mankiewicz scored the gig of his lifetime when he was hired to pen Orson Welles' first feature, and he drew upon someone from his own life to do so. Citizen Kane is famous for many things, but its central character of Charles Foster Kane is also famously partially based on US media mogul William Randolph Hearst, who Mankiewicz knew personally. Accordingly, Mank sees Fincher step behind the scenes of an iconic movie that his own work has already paralleled — to ponder how fact influences fiction, how stories that blaze across screens silver and small respond to the world around them, and how one man's best-known achievement speaks volumes about both in a plethora of ways. Mank is a slice-of-life biopic about Mankiewicz's (Gary Oldman) time writing Citizen Kane's screenplay, as well as his career around it. It's catnip for the iconic feature's multitudes of fans, in fact. But it also peers at a bigger picture, because that's classic Fincher. When the film introduces its eponymous scribe, it's 1940, and he's recovering from a car accident. In a cast and confined to bed due to a broken leg, he has been dispatched to a Mojave Desert ranch by Welles (Tom Burke, The Souvenir) and his colleague John Houseman (Sam Troughton, Chernobyl), all so he can work his word-slinging mastery. As Mankiewicz toils, the movie wanders back to times, places and people that inspire his prose, especially from the decade prior. Dictating his text to British secretary Rita Alexander (Lily Collins), he draws upon his friendships with Hearst (Charles Dance, Game of Thrones) and the news baron's starlet mistress Marion Davies (Amanda Seyfried) in particular. And yes, as anyone who has seen Citizen Kane will spot, Mank's nonlinear structure apes the script that Mankiewicz pens. Many of the latter film's glimmering black-and-white shots do as well, although you won't spot a sled called Rosebud here. In a script by Jack Fincher — father of David, who wrote the screenplay in the 90s before passing away in 2003 — Mank suggests other factors that made Mankiewicz the person he was, and that shaped Citizen Kane's script as well. Combine all of the above, and a dense and detailed movie results. That's Fincher's wheelhouse, after all. Mank is also visually ravishing and textured, and tonally cutting and icy — which, along with weighty performances, are all Fincher hallmarks. But there's both depth and distance to Mank. It peers in and pokes about, but it never wholly lures the audience in. Watching Oldman and Seyfried's rich scenes together, viewers will wish it did, though. Read our full review. https://www.youtube.com/watch?v=ETK0fOKwJNQ MONSOON Home may mean different things to different people but, in Monsoon, Vietnam doesn't mean home to Kit (Henry Golding). He was born there, in the aftermath of the war. He spent his earliest years in the Asian nation, with his parents caught up in the aftermath of the conflict. But when he was still a child, his family left for a refugee camp in Hong Kong and then moved permanently to London. Now, as an adult who has lived the bulk of his existence far away, he returns for the first time to bring back his mother's and father's ashes. He's instantly thrown off balance upon his arrival, whether he's driving through moped-filled streets or walking around crowded markets. Little of what he remembers is the same — his old house and his neighbourhood stomping grounds, particularly — and he doesn't recall as much as his childhood best friend Lee (David Tran), who stayed behind, would clearly like. Of what he does recollect, some crucial details clash with Lee's versions, too. Consequently, as Kit roves around Saigon and then Hanoi (his place of birth and his parents' original home, respectively), he's searching for a connection. He'll make one, but not in the way he expects. Monsoon tells a noticeably slight tale, but Cambodian-born Chinese British writer/director Hong Khaou (Lilting) is keenly and overwhelmingly aware that a sense of belonging doesn't simply come with one's birth certificate. He's also a minimalistic filmmaker, in a sense. He delves into straightforward scenarios, and knows that he needn't layer them with too many external complicating factors. In other words, he's cognisant that merely examining how a person copes — even in a very commonplace situation — can deliver several lifetimes worth of complexity without a wealth of other narrative roadblocks or setbacks. As a result, both Khaou and Monsoon ask a significant amount of Golding; they demand more than his previous charisma-driven roles in Crazy Rich Asians, A Simple Favour and Last Christmas have combined, actually. Viewers of those three films already know that he can radiate charm like few other actors currently appearing on-screen, but Monsoon requires Golding's soulful best. At every moment, he's tasked with conveying the potent thoughts and jumbled emotions swelling inside Kit, and with doing so largely without dialogue. It's a quietly powerful performance, and it's one that the movie steadfastly needs. It's one that Monsoon depends upon, kin fact. Thanks in no small part to his efforts, Monsoon feels comfortable and intimate and eye-opening and new all at once — and proves immensely affecting viewing. Read our full review. https://www.youtube.com/watch?v=Xq1F1opr_FE&t=2s ELLIE AND ABBIE (AND ELLIE'S DEAD AUNT) As a teen rom-com about two high schoolers working through their attraction for each other as they're also trying to work out what to do with their lives and how to simply be themselves, there's a strong sense of familiarity about Ellie and Abbie (and Ellie's Dead Aunt). That isn't a sign of laziness, however, because first-time feature writer/director Monica Zanetti wants you to register how much her film resembles other entries in its genre — and to notice what it's doing differently. There's a purposeful sense of clumsiness about the Sydney-set movie, too. Again, that's by design. Studious school captain Ellie (Sophie Hawkshaw, Love Child) has a simmering crush on the far cooler, calmer and more collected Abbie (Zoe Terakes, Janet King), but is struggling to stump up the courage to ask her to the school formal. When the pair do slowly start becoming closer, Ellie doesn't know exactly what to do, or what's expected, or how to be the person she wants to be in her first relationship. Complicating matters is the distance she feels from her mother, Erica (Marta Dusseldorp, Stateless), as she navigates such new emotional terrain — oh, and the fact that, as the title gives away, Ellie's dead aunt Tara (Julia Billington) suddenly starts hovering around and dispensing advice about following her feelings. So far, so sweet. Of course, unfurling a queer romance within such well-worn confines shouldn't be such a remarkable act (and an Australian teen queer romance at that), but it still currently is. Ellie and Abbie (and Ellie's Dead Aunt) isn't just entertaining and understanding, cute and creative with its teen romance, and proudly celebratory of LGBTQIA+ perspectives, though. It's all those things, but Zanetti's decision to open the door to a deeper contemplation of Australia's historical treatment of the queer community gives considerable depth and weight to a movie that mightn't have earned those terms otherwise. The brightly shot feature has a strong sense of place, but without including all of the usual landmark shots that make many features feel like tourism campaigns. More importantly, it has a clear understanding of what LGBTQIA+ Sydneysiders have weathered in past decades. That activism is layered throughout the film in an overt subplot and, while it's hardly treated with nuance (an observation that applies to much of the picture), it's a powerful inclusion. Simply by reaching local cinema screens, Ellie and Abbie (and Ellie's Dead Aunt) makes a statement, but it also pays tribute to all the statements made in big and bold ways — and with tragic and painful outcomes, too — to get to this point in Australian queer history. Read our full review. https://www.youtube.com/watch?v=-rIcXgMx7hU PINOCCHIO It has been 80 years since Disney's Pinocchio unleashed a wooden puppet and the woodcarver who made him upon animation-loving audiences, adapting Carlo Collodi's 1883 Italian children's novel The Adventures of Pinocchio in the process. And, over that period, that film has remained the version of record. Indeed, it's the reason that generations of viewers are familiar with the story. Matteo Garrone's (Gomorrah) new live-action movie of the same name earns a place alongside it, however. It's one of three new and upcoming features tackling the narrative, ahead of a stop-motion flick co-directed by The Shape of Water's Guillermo del Toro that's due to hit Netflix next year and Disney's own flesh-and-blood iteration that's slated to be helmed by The Witches' Robert Zemeckis — and it serves up a tender and sumptuous take on the fairytale. In relaying how the kindly Geppetto (Life Is Beautiful Oscar-winner Roberto Benigni) shaped a lively log into a boy-sized puppet (Federico Ielapi), who then decides to see the world and strive to become a real child, it also hews far closer to the source material than its animated predecessor. This is a movie clearly made with an abundance of affection for its inspiration, too, and that love and devotion shines through in every frame. In fact, the feature's visuals prove its strongest element, including in bringing Pinocchio to life. He's a detailed marvel who appears oh-so realistic and yet also looks uncanny as well, as intended, and the decision to use a child actor wearing prosthetics rather than relying heavily upon CGI works a charm. The world that Garrone spins around the eponymous puppet is similarly rich and fantastical — and whimsical, although the latter is overdone. Pinocchio is far more resonant when it's letting its central figure discover that being human involves weathering all the cruelties that the earth's population has in store for each other, and watching him learn that Geppetto's unconditional fondness and acceptance is sadly rare. It's much less involving when it's leaning overtly into quirkiness, although that should probably be expected with Benigni involved. Where eccentricity is concerned, this tale already has plenty baked in, as the Fox (Massimo Ceccherini), the Cat (Rocco Papaleo) and the Fairy with Turquoise Hair (Marine Vacth, If You Saw His Heart) all make plain. But even if the whole movie is a little overstated, Garrone has still made a beautiful movie — and one that feels like the natural next step after 2015's Tale of Tales and even 2018's Dogman. https://www.youtube.com/watch?v=CxWfz5hRt94 MORGANA Many a big-screen drama has stepped through the plight of a middle-aged woman unhappy with the state of her life, constrained by the path she's been forced to take, and uncertain about her next steps or committed to do whatever it takes to leave the existence she hates behind. Indeed, it's a list too long to detail; however, the entire history of fiction on celluloid couldn't conjure up anything as distinctive, empowering and intriguing as Morgana Muses' tale — or the wealth of literary narratives about the same idea, either. After charting the course expected of her when she grew up, she found herself not just unhappily married, but despondent in her domestic trappings. Accordingly, the Albury housewife decided to leave her husband and the small town she called home, initially in a tragic fashion. But, as perceptive Australian documentary Morgana shows, Muses thankfully only achieved the first two parts of that equation in her quest to regain control and agency over her choices. From there, she decided to step into the world of feminist pornography, resulting in an acclaimed career that has earned her accolades, applause and attention from Melbourne to Berlin and back again (and, obviously, that has resulted in her journey being immortalised in this movie). It's no wonder that filmmakers Isabel Peppard and Josie Hess were eager to document Muses' story and share it with the world, because it's quite the tale. This isn't likely to be the last film made about Muses, actually, because she instantly screams for several documentaries dedicated to her exploits — and will likely one day inspire a fictionalised drama as well. There's much to unpack, including Muses' resolute determination to bravely put herself first, express her own desires, and create both sex-positive and age-positive erotica. Every one of those decisions isn't just revelatory, but also proves revolutionary in their own way. Candid and complex, Muses is the type of subject that all filmmakers wish they could stumble across, as Peppard and Hess continually show in their engaging film. Morgana isn't just a celebration, though, because even Muses' new life has had its ups, downs, highs and lows — all of which are captured with help from the documentary's willing point of focus, with the help of both talking-head interviews and fly-on-the-wall-style footage, and with glimpses of the work that's transformed Muses' existence. https://vimeo.com/469681168 LOVE OPERA Australia's performing arts scene has been shuttered for much of 2020 due to the COVID-19 pandemic. But documentary Love Opera lets viewers peer behind the scenes of a production that hit the stage long before anyone had ever heard of the novel coronavirus that changed life as we know it this year — and to spend time with the talented folks who toiled to make the show in question happen, too. The opera: Carmen. The bodies responsible: the Lisa Gasteen National Opera Program (LGNOP) and the Queensland Symphony Orchestra. The year: 2017. Established by internationally renowned Australian soprano Lisa Gasteen, the intensive program trains Australian and New Zealand opera singers, and has put on a semi-staged production at the end of each year since 2017. Accordingly, Love Opera follows LGNOP's first attempt to do just that, from the casting through until the final product. Gasteen features prominently, understandably, chatting not just about the show at hand and the process of bringing it to fruition, but also running through her career, its ups and downs, the reality of getting to the top of the industry and her decisions for embarking upon her current path. Also lending the film their thoughts, feelings and observations are the program's cofounder Nancy Underhill, plus conductors Alondra de la Parra and Simone Young, as well as singers such as Rachel Pines and Morgan England-Jones. There's much to cover, as filmmaker Liselle Mei recognises, with the film quickly flitting through a wealth of material — and touching upon a plethora of topics in the process. The physicality required to be an opera singer, the passion that drives it, the difficulty of being a younger talent when many roles are written for older characters, the way the art form has been changing over the years, the treatment of queer creatives: all of this earns the documentary's attention, and each could've received more screen time if there wasn't so much to cover. But Love Opera never feels slight on any area of interest. It doesn't break the behind-the-scenes doco mould, either, but it delivers a broad rather than shallow snapshot of everything required to make the LGNOP's version of Carmen happen. Brisbanites will notice all of the drone shots of the movie's setting, which can border on intrusive; however, both opera lovers and newcomers alike receive an insightful glimpse at the ins and outs of the medium, its homegrown stars both established and emerging, and the hard work behind crooning its tunes in such a resonant fashion. https://www.youtube.com/watch?v=sS9AYlUfp0A FATMAN When a film or TV show fills one of its roles in a gimmicky way that's obviously designed to garner publicity, it's called stunt casting. The term wholeheartedly applies to Fatman, a flimsy action-comedy that features Mel Gibson as Santa (and delivers his second big-screen release of 2020 after the abysmal Force of Nature). Even just reading about the premise, you can probably see the light bulbs going off in casting executives and other filmmaking powers-that-be's heads when they came up with the idea — because enlisting the American-born, Australian-raised actor as the symbol of all things wholesome and jolly sits in stark contrast to the far-from-jovial string of controversies that have popped up in his personal life, especially over the past decade. But a movie needs more than a blatant stunt to actually serve up something worth watching. And as far as shameless attempts to grab attention go, getting Gibson to play the red-suited figure just proves ill-advised and uncomfortable rather than provocative. Writer/directors Eshom Nelms and Ian Nelms (Small Town Crime) must feel otherwise, though, because there's very little else to this festive-themed movie. 'Tis the season for dull and muddled movies that aren't anywhere near as edgy as its makers think, and aren't funny or entertaining at all, it seems. Three male characters drive Fatman's narrative, starting with Chris Cringle (Gibson), who oversees a Canadian workshop that's forced to take a military contract to get by. Kids just aren't behaving themselves enough these days, so he's delivering more lumps of coal than presents — and the stipend he receives from the US government to cover the elf-made gifts has decreased as a result. One of those bratty children, 12-year-old rich kid Billy Wenan (Chance Hurstfield, Good Boys), decides he isn't happy with his haul one Christmas. His solution: enlisting an assassin to bump off Santa as payback. Said hitman, who is just called Skinny Man (Walton Goggins), has been harbouring a lifelong grudge against the titular character anyway and doesn't take much convincing. Ant-Man and the Wasp and Them That Follow star Goggins is the best thing about a movie that has very little going for it, which speaks volumes about the one-note plot points. But given the distinct lack of jokes, the clumsy attempts to satirise today's supposedly uncaring times and the routine feel that infuses even its frenzied scenes of violence, he can't turn the film into a gift for anyone. Fatman wants to be an action-packed take on a Bad Santa-esque comedy, but ends up faring even worse than that beloved movie's awful sequel Bad Santa 2. https://www.youtube.com/watch?v=Tdce40rfRbk ALL MY LIFE No one with cancer would wish for their experience with the horrific disease to be turned into a schmaltzy movie about how hard their illness was for their partner. Based on the true story of digital marketer-turned-chef Solomon Chau and his psychology masters student girlfriend and later wife Jennifer Carter, that's what All My Life serves up — and while it feigns to focus on both of them, this overt attempt at tugging on viewers' heartstrings makes it clear that it's really about the latter. The title refers to Jenn (Jessica Rothe, Happy Death Day) and the 'make every moment count' wisdom she discovers watching Sol (Harry Shum Jr, Crazy Rich Asians) battle liver cancer. Over and over again, especially in tough and devastating situations, the film's visuals focus on her rather than him, too. It cuts away from him when he's explaining how difficult it all is, to follow her anger about their changed wedding plans instead. It literally foregrounds her in a shot when he's just received a big blow, and is understandably failing to cope. And it gives her time to scream in anguish in her car after yet more unpleasant news comes his way, in case viewers weren't certain who the movie thinks is the real victim. All My Life may be shot in the soft and sunny hues of a trite Nicholas Sparks-penned romance — and clearly aspire to sit in their company — but it's insidious in the way it uses one real-life person's sickness to make its preferred protagonist seem more interesting. It's a gender-flipped, illness-driven variation on the dead wife trope, as seen in the likes of Inception and Shutter Island, where the male lead is given a sob story to make his tale more dramatic. It's firmly in line with the way that cinema routinely sidelines those dealing with cancer over those standing by their sides, as seen far too often (when a movie about cancer or featuring a cancer-stricken character doesn't stick to the template, such as Babyteeth earlier this year, it stands out). The narrative details that All My Life chronicles may stem from reality, but they're ground down to a formula: girl meets boy, sparks fly, their future sprawls out before them, then cancer gets in the way and she can't have her dream nuptials. There's also never any doubt that this movie wouldn't exist if the GoFundMe campaign set up for Sol and Jenn's initially postponed wedding didn't garner significant media attention, as if some level of fame makes one cancer story more important than the rest. But it's the choice of focus that transforms this film from an expectedly cliched addition to the weepie genre and into overt slush. Director Marc Meyers' My Friend Dahmer also struggled with a similar approach, also choosing to spin a story around someone other than the obvious point of interest — and the fact that Shum puts in All My Life's best performance makes the tactic all the more galling and grating here. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5 and November 12. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies and Freaky. Top image: Mank, Nikolai Loveikis/Netflix; Monsoon, Dat Vu.
Normal life can wait, there's movies to watch: in Sydney each June, that's the mantra. 2024's Sydney Film Festival has been unveiling its packed lineup since early April, including a Midnight Oil documentary to open this year's fest, a Bondi Icebergs doco, Hellraiser with a new live score and a retrospective that pays tribute to Senegalese filmmaker Ousmane Sembène. Now arrives the full program, from Yorgos Lanthimos' Poor Things follow-up Kinds of Kindness playing straight from Cannes in SFF's official competition — and yes, it stars Emma Stone (The Curse) — through to the usual latest and greatest in Australian and world cinema. "Usual" is never quite the word for a major film fest like Sydney's winter showcase, of course. As SFF will demonstrate from Wednesday, June 5–Sunday, June 16, every year's festival looks and feels different because variety is at the heart of its choices. And with a couple of hundred flicks always on the bill — 197 films is 2024's tally, hailing from 69 countries, with 92 narrative features and 54 documentaries, and also 28 world premieres and 133 Australian premieres — Sydney Film Festival's titles can boast a heap of well-known talents and still never resemble past fests. As he has every year that he's been at the helm since 2012, Festival Director Nashen Moodley has stuffed the event's 71st iteration with everything from Hunter Schafer (Euphoria)-starring thriller Cuckoo and Sundance hit I Saw the TV Glow from We're All Going to the World's Fair's Jane Schoenbrun — which is about two teens grappling with their favourite television show getting cancelled — through to Indigenous Aussie horror via The Moogai, which makes the leap from SFF-winning short to feature vying for the new $35,000 First Nations Award. Or, there's also Dahomey, which won this year's Berlinale Golden Bear; The Bikeriders, starring Jodie Comer (Killing Eve), Austin Butler (Dune: Part Two), Tom Hardy (Venom: Let There Be Carnage) and Mike Faist (Challengers); and Grand Tour, as directed by 2015 Sydney Film Prize-winner Miguel Gomes (Arabian Nights). Kinds of Kindness, an anthology effort from Lanthimos, is joined in SFF's official competition by not only Grand Tour and opening night's Midnight Oil: The Hardest Line, but also by titles from India, Germany, Ireland, France, Argentina, Mexico, Italy and Vietnam. They include All We Imagine as Light, the first Indian film playing in Cannes' competition in three decades; three IRL Belfast rappers starring as themselves — and co-starring with Michael Fassbender (Next Goal Wins) — in comedy Kneecap; a tribute to Italian acting great Marcello Mastroianni; Sujo, the cartel drama that won 2024's Sundance Grand Jury Prize; and September Says, the directorial debut of actor Ariane Labed (which means that she's competing against her Alps and The Lobster director Lanthimos). The highlights keep coming across the rest of the program. Aussie boxing drama Kid Snow with Phoebe Tonkin (Boy Swallows Universe), the Kate Winslet (The Regime)- and Alexander Skarsgård (Mr & Mrs Smith)-led Lee about WWII reporter Lee Miller, Armand starring The Worst Person in the World's Renate Reinsve, Saoirse Ronan (Foe) as a recovering addict in page-to-screen adaptation The Outrun, Australian surfing culture documentary You Should Have Been Here Yesterday: they're all on the list. Or, get excited about Aubrey Plaza's (Scott Pilgrim Takes Off) new comedy My Old Ass, which Margot Robbie (Barbie) produced; The Convert, which features Guy Pearce (The Clearing) and is directed by Once Were Warriors' Lee Tamahori; and Japan's My Sunshine, which follows a boy who learns to figure skate solely to get his crush's attention. Problemista, directed by and starring Los Espookys' Julio Torres opposite Tilda Swinton (The Killer), is one of the standout indies on the bill. So is Stress Positions, as led by John Early (The Afterparty) and set in New York City during lockdown. Also boasting familiar faces, The Dead Don't Hurt is a feminist western helmed by and starring Viggo Mortensen (Crimes of the Future), and also featuring Vicky Krieps (Corsage) — and A Different Man features Sebastian Stan (Dumb Money), Ghostlight has Triangle of Sadness' Dolly De Leon, and Peter Sarsgaard (The Batman) and Jessica Chastain (George & Tammy) are in Memory. Sasquatch Sunset, directed by the Zellner brothers (Damsel), also sees Riley Keough (Daisy Jones & the Six) and Jesse Eisenberg (Fleishman Is in Trouble) in front of the camera, but playing a sasquatch family. From acclaimed filmmakers, Radu Jude follows up Bad Luck Banging or Loony Porn with Do Not Expect Too Much From the End of the World, Lav Diaz (When the Waves Are Gone) is in police-procedural mode with Essential Truths of the Lake (which clocks in at almost four hours, which is short for the Filipino director), and About Dry Grasses is the newest drama from Winter Sleep and The Wild Pear Tree's Nuri Bilge Ceylan. Fancy two films from Korean action great Choi Dong-hoon (Assassination)? There's an Alienoid and Alienoid: The Return of the Future double. For feline fans, doco The Cats of Gokogu Shrine is about Japanese street cats. Still on documentaries, Untitled Blur Documentary goes to the British band's 2023 Wembley Stadium shows, Federer: Last Twelve Days hails from Asif Kapadia (Senna, Amy and Diego Maradona), Super/Man: The Christopher Reeve Story pays tribute to its namesake and Made in England: The Films of Powell and Pressburger steps through the titular pair's films with Martin Scorsese (Killers of the Flower Moon). The Bones digs into the fossil trade, while Occupied City marks the return of Steve McQueen's (Small Axe) work to SFF after he won the first-ever Sydney Film Prize with Hunger. Also, if you're keen for Skywalkers: A Love Story, catch it in IMAX — it's about a couple of daredevils climbing the planet's tallest structures. And in the Box Set box seat — aka the part of the fest that serves up a TV binge — is six episodes of mystery series Exposure, as led by Alice Englert (Bad Behaviour) and executive produced by Justin Kurzel (Snowtown, Nitram). Screening at The State Theatre, Event Cinemas George Street, Dendy Newtown, Hayden Orpheum Picture Palace Cremorne, Palace Central, Palace Norton Street, Ritz Cinemas Randwick, IMAX Sydney, the Art Gallery of NSW and the State Library of NSW, SFF's 2024 must-sees keep going — because if you've got enough holiday leave for it, dedicating the full 12 days to movies, movies and more movies is one of the ultimate cinephile experiences. "The 71st Sydney Film Festival unfurls a canvas of bold narratives and remarkable visions, mirroring the evolving dynamics of our world," said Moodley about the 2024 lineup. "This year, we are proud to present films that challenge, entertain, and provoke dialogue, from the sweeping landscapes of Australian dramas to the complex human stories from global cinema. The 2024 selection reinforces our commitment to fostering a diverse cinematic experience, spotlighting works that engage with pressing social issues, personal stories and transformative historical moments." "These films invite the audience to journey through myriad cultures and experiences, reflecting the rich complexity of the human condition." [caption id="attachment_954171" align="alignnone" width="1920"] David Dare Parker[/caption] Sydney Film Festival 2024 takes place from Wednesday, June 5–Sunday, June 16 at various cinemas and venues around Sydney. For more information — and for tickets from Wednesday, May 8, 2024 — head to the festival's website.
An expansive venue open from breakfast until late has taken over the former digs of Jet Cafe inside Sydney's century-old Queen Victoria Building. The historic George Street building constructed in 1898 is a popular thoroughfare for commuters travelling to and from Town Hall Station and is home to boutique retail tenants and a wide range of food and drink offerings ranging from cheap and cheerful takeaway to fine dining. Manon, an all-day European brasserie, comes from Marco Ambrosino (Fratelli Paradiso) and Manny Spinola, the team behind Bondi's new 94-seat Mediterranean restaurant and bar, Lola's Level 1. "I have walked past the site for 24 years, dreaming of opening a grand cafe," Spinola says. "I am so thrilled to be in partnership with Marco to bring a French brasserie to the QVB. Manon will be a place to sit and people-watch while enjoying French cuisine, giving customers a taste of the European lifestyle whether it's at breakfast before work, a long lunch or an ambient dinner." Starting with breakfast, takeaway coffee and pastries are available from 6am. Visitors can also nab a table and enjoy a seated breakfast full of a mix between French and Australian morning favourites. [caption id="attachment_858437" align="alignnone" width="1920"] Queen Victoria Building[/caption] There's a range of viennoiseries and baguettes, including pain au chocolat croissants ($5.50) and a goat's cheese toastie made with croissant dough ($12) — plus breakfast hits like avocado and feta toast ($19), bloody marys (known as Bloody Marie Antoinettes here — $14), buckwheat crepes ($19) or crab on toast with remoulade, avocado and a poached egg ($28). Come lunchtime, you can choose from The Classics range that includes highlights from the breakfast menu and French bistro standouts like steak frites ($39). There's also a raw bar with oysters ($6.50), kingfish tartare ($28) and scallop carpaccio ($29); and extravagant mains ranging from pan-fried coral trout ($39) to one-kilogram rib-on-bone côte de boeuf ($190 for two people). From 5pm dinner follows a similar trajectory. The array of entrées includes bone marrow tartine ($18), snail meurette ($27) and grilled split prawns ($26). And the mains add canard a l'orange duck ($58) and cheesy crab souffle ($33) to highlights from lunch. Each Friday and Saturday, Manon offers up its services to those looking for a late-night feed, with weekend supper on offer following dinner. As expected for a luxe European brasserie in one of the city's most glitzy buildings, the fit-out is a sleek French-inspired design. The interior was a return to collaborator Chris Grinham who also worked on Lola's. "Marco and Manny's vision coupled with this site is a dream for us to work with and create something," Grinham said. "There's an alluring romanticism set within this design — so too a heady dollop of unique 'French' appeal." [caption id="attachment_858433" align="alignnone" width="1920"] Monon team, Nikki To[/caption] Images: Nikki To
A city-wide celebration of all things France will return this July when the Bastille Festival takes over the Sydney CBD from July 11–14. It's gearing up for the biggest program yet, with events focusing on French wine, food, art and film all on the docket. But hanging around The Rocks and Circular Quay isn't the only way to indulge your inner Francophile this year. You can also feast on raclette, pretend you're in Paris for the night, slurp freshly shucked oysters and sip Champagne with the best of 'em. While a trip to France might not be on the cards anytime soon, you can still plan a French-inspired staycation right here in Sydney. Base yourself at the new West Hotel on Sussex Street, part of the Curio Collection by Hilton, and you'll be a pétanque throw away from the Bastille Festival and other Frenchie activities around the city. Grab your stripes, your beret, a baguette and read on. [caption id="attachment_648425" align="alignnone" width="1920"] Black Bottle. Image: Nikki To.[/caption] SEEK OUT SOME OF THE CITY'S BEST APERITIF HOURS The French do 'happy hour' well. And while Sydney tends to have more aperitivo hours than aperitifs, there are a few places championing the beloved apéro. And one of the best is Restaurant Hubert. Available Monday to Saturday from 4–6pm, the aperitif menu features beaucoup cheap eats and drinks, including $5 G&Ts, $10 negronis, $5 glasses of house wine, $10 burgers, $5 croque monsieur and $5 parfait. In Darlinghurst, Black Bottle offers a very French atmosphere (thanks to the fact that most people working there speak the language) alongside an incredible Thursday deal — $2 glasses of wine and $2 pintxos from 5pm. Busy Thursdays? Pas de problème, there's also a daily apéro offering $5 Aperol spritzes, $10 negronis, $15 wine carafes and $1.50 oysters from 5–7pm. [caption id="attachment_629244" align="alignnone" width="1920"] Handpicked Cellar Door.[/caption] FEAST ON EVERYONE'S FAVOURITE GOOEY FRENCH CHEESE Raclette is really having its moment in Sydney, with the gooey French cheese popping up all over the city. Typically, the cheese is melted and then poured on top of potatoes, cornichons and a plate of mixed charcuterie. At Surry Hills' Loluk Bistro, you can nab an all-you-can-eat version of the stuff for $49 per person. Or head to Chippendale's Handpicked Wines every Tuesday and Thursday in July for a $24 plate of raclette, with a $20 vego option available, too. But the originator is the CBD's Bistro Papillon, and it has brought back its own version this winter — a two-course Monday feast for $55. It includes one of the bistro's French-style entrees (like garlic and parsley baked snails or a chicken liver pâté), followed by the raclette — scraped right from the cheese wheel — on top of smoked and cured meats, potatoes and baguette slices. [caption id="attachment_671208" align="alignnone" width="1920"] Felix.[/caption] PRETEND YOU'RE IN PARIS FOR THE NIGHT If you really want to immerse yourself in Parisian-style surrounds, Sydney has you sorted there, too. Start by stepping back in time at CBD cocktail bar Kittyhawk. It boasts a French military atmosphere with a never-ending WWII liberation party vibe — and a drinks list, Parisian street food and decor to match. Plus, you can enjoy those 'liberation drinks' a little more before 6pm each day when a whole heap of them are just $6. Merivale's Felix offers its own authentic bistro feels, with its buzzing atmosphere, crisp white tablecloths and gorgeous wooden finishes. Tuck into the 'plat du jour', chicken liver pâté or freshly shucked oysters, all with champagne in hand. Or head down the block for more Hubert action, where its upstairs wine bar Bridge Bon Appétit is waiting to welcome you with natural wines, share plates and creative cocktails. VIEW FAMED ARTWORKS BY FRENCH MASTERS While you won't find the likes of the Louvre in Sydney, you can view famed French artworks just by heading to the European Galleries at the Art Gallery of NSW. Here, you can get up close to paintings by several French masters, including Delacroix, Cézanne, Lorrain, Soutine and Cazin. The wing spans five different collections, with works from the 15th century through to the 20th century on display. You could spend hours immersing yourself in these galleries, feeling like you've been transported to Paris in the meantime. Once those museum legs kick in, head back to West Hotel to refuel at its restaurant, Solander, which is offering 50% off food throughout July. CATCH A FRENCH FLICK AT LE MULLED WINE CINEMA If you missed out on the Alliance Française French Film Festival earlier this year, the Bastille Day program gives you a second chance to catch some (less high-brow) French and French-inspired flicks. It's offering a wintertime outdoor cinema experience, complete with lounge chairs, blankets and mulled wine aplenty — plus views of Sydney Harbour to boot. The festival will host screenings of eight movies set in France, including French hit comedy Welcome to the Sticks, Coco Before Chanel, Julie & Julia, Les Miserables and the live action Beauty and The Beast. Rug up with vin chaud in hand and grab some popcorn and lollies while you're at it. Two films will be screened per night (at 5.30pm and 8pm) so you can settle in for a Frenchie double feature. For the full lineup, head here. [caption id="attachment_712450" align="alignnone" width="1920"] The Artisan Cheese Shop.[/caption] HEAD TO ONE OF SYDNEY'S SPECIALTY CHEESE SHOPS Though France is, of course, the world's top cheese destination, Sydney's specialty cheese game is not to be looked down upon. One of our favourites is Newtown's Stinking Bishops, where you'll find varieties you've never heard of, plus a mac 'n' gruyere that's a thing of legend. On the lower north shore, The Cheese & Wine Co serves up artisanal cheeses and Australian wines to Neutral Bay, and in Manly, you'll find The Artisan Cheese Room, which offers a whopping 50 types of cheese from around the globe. But Surry Hills' Formaggi Ocello takes top marks with over 200 types of cheese available for purchase — here, you'll tuck into fromage from across France (and beyond). There's tangy, nutty cheese from Corsica, chevre and brebis (sheep's milk cheese) from the Midi-Pyrenees, creamy cheese washed with Chablis wine from Burgundy and, of course, the bold, buttery Roquefort blue cheese. [caption id="attachment_715779" align="alignnone" width="1920"] Damian Flanagan.[/caption] SIP CHAMPAGNE LIKE FRENCH ROYALTY You can't let Bastille Day pass you by without having at least one Champagne toast, and you should do so at the Sydney bars where you can sip some brands that aren't so common in Australia. Start at the Queen Victoria Building's new Champagne bar, Reign, which offers over 150 drops until 2am, including Pierre Gimonnet and Nathalie Falmet Champagnes. Choose from glasses, bottles, tasting flights and signature Champagne cocktails, alongside a menu of French-style snacks like plates of oysters, duck liver mousse and steak tartare. Barangaroo offers its own go-to in the form of Solera, which is just a five-minute walk from West Hotel. The small bar has a full list of cocktails, wines, beers and spirits, but you should come for the Champagnes like Deutz, Pol Roger, Louis Roederer and Krug. It's not exactly cheap but it's a wonderfully luxe way to celebrate. WANDER THROUGH THE ROCKS' FRENCH-STYLE MARKETS The Rocks' Christmas in July Markets will return for its second year from July 11–14. Coinciding with Bastille Day, the festivities will again take on a French village theme, with 25 wooden chalets being shipped over from Europe. This year, the markets will also have its own kind of alpine ski resort with snow machines, antique ski racks and Christmas pines, plus heaps of themed food markets. Wander through the Customs House Parisian Foodie Village and snack on saucisson, crepes and raclette. Head to east Circular Quay for the Gourmet Produce Alley, where you can find truffles, macarons and cheese aplenty. Or check out the French Food Fusion Village for camembert arancini, mushroom gnocchi and cheesy 'French' burgers. Mulled wine, fairy lighting and Christmas carolers are also on the docket. [caption id="attachment_527643" align="alignnone" width="1280"] La Renaissance[/caption] ENJOY A FRENCH PASTRY FROM SYDNEY'S BEST BAKERIES From croissants and baguettes to macarons and chocolate eclairs, Sydney has authentic versions of all the French treats you love — you just need to know where to look. During your staycation, head out for a petit déjeuner and grab yourself a pastry from one of the city's top bakeries. The Rocks' hidden gem La Renaissance is the perfect place to start. It's owned by French-trained, award-winning pastry chef Jean-Michel Raynaud and serves all the treats you'd find in a boulangerie from pain au chocolat to quiche and baguette sandwiches. Rozelle's Victoire Boulangerie also offers authentic French breads aplenty, plus all the usual pastries, macaron-topped desserts and lemon tarts. Or head to Surry Hills' Lavie & Belle, where you can nab chocolate eclairs, raspberry tarts and praline cream-filled chou pastries. [caption id="attachment_723878" align="alignnone" width="1920"] The Clam Bar, Image: James Adams[/caption] GO FOR FRESHLY SHUCKED OYSTERS ON THE CHEAP Pretend you're at a grand brasserie in France, and opt for some fresh, raw seafood. Sydney's newest raw bar addition, The Clam Bar, is a 30-seat wine bar located in Marys Underground. It has a dedicated chef shucking and plating oysters to order, along with lobster, crab and sea urchin. If you want a place that's right near the hotel, a five minutes walk will bring you to Barangaroo's rooftop venue Untied, which offers its own oyster bar fare. Go on Thursday night between 5pm and 8pm to score $2 oysters, along with $15 glasses of G.H.Mumm Champagne. And, of course, The Morrison is a regular go-to for its own $1.50 oyster hour every Wednesday between 6-7pm. Plus, it's also offering a negroni and raw oyster pairing till July 24. Bastille Festival runs from July 11–14. Extend the celebrations with a stay at West Hotel and discover more ways to indulge your inner Francophile around the city.
I often wish I'd done more Latin. Anyone who had could explain much more elegantly that the name of this show refers to being roughed up by turbulence and is a term for a newly classified kind of cloud, and they would also be able to talk knowledgeably about the bones of the creatures displayed in the gallery here rather than just mumbling "osseo-blar-blar-whoa-that's-BIG". Huynh's new series - all ominous and with the subconscious looming through the wet-and-dry finished charcoal and gesso illustrations - will be brooded over by an elephant and a whale skeleton as well as by arty types on the one night the works will be on display. The images on display are urban in stylistic vocabulary and dreamy by virtue of their familiar unreality: everything is recognisable, but something is a little off, with a vague sense of threat coming through the impossible spaces and proportions of the scenes and their disengaged, childlike inhabitants. There's an allusive, pre-conscious feel to the symbolism here that is very well served by being put in the Skeleton Gallery context of explicable monstrum and scary storms.
Situated on the corner of Crown and Stanley Street, Bar Nina features a menu full of Italian-inspired dishes set alongside a classic cocktail list and craft brews. Owners Rebecca O'Shea and Jeffrey Sue have enlisted the help of Head Chef Luke Davenport in crafting the Bar Nina menu. Formerly of two Michelin star English restaurant The Ledbury, Davenport brings his expertise to Sydney with a menu full of pasta and plentiful share plates. Diners can select from a range of pasta Davenport hand creates every day — from fettuccine with slow-cooked pork mafaldine, to a prawn bisque spaghetti. Groups looking to sample the menu will find plenty to share, including Sydney rock oysters, prawn toast and salmon caviar or tuna tostada. If you venture away from the share plates and pasta, you'll find heartier meals like Nina's cheeseburger or a 300g striploin. The drinks list centres around an extensive cocktail menu containing tried-and-true classics alongside a few of Bar Nina's own creations. Keeping with the southern European theme, you'll find a Mediterranean G&T made with Cinzano 1757 and Four Pillars olive leaf gin, or the summery electric blue La Nina, featuring two types of rum, orgeat, lime and blue curacao. Cocktails are $17–19, but those that head down between 4–6pm each day can score an affordable selection of happy hour drinks including $7 Pirate Life tap beer, $10 margaritas and $10 Aperol spritzes. The fun doesn't stop at happy hour though, with bottomless brunch on offer every Saturday and Sunday. The boozy brunch can be booked between 11am–3pm on weekends and for $59–79 comes with two hours of drinks alongside a set selection of highlights from the Bar Nina menu. Truly a jack-of-all-trades, Bar Nina is open from 8am each morning, serving The Little Marionette coffee to CBD workers and early risers looking for their caffeine fix. Pastries are also on offer each morning for commuters to snack on, before the full menu becomes available from midday on weekdays and 11am on weekends.
Discover the therapeutic qualities of Sydney's saltwater coastline at Wylie's Baths. The ocean pool was established in 1907 when the health benefits of sea bathing were the height of fashion. Casual visits are currently on hold under the Bath's COVID Safety Plan, but you can get multi-visit or annual passes, which give you access to the historic building and its unparalleled sea therapy — think soothing ocean waves, invigorating waters and stunning views of Wedding Cake Island and the blue Pacific. These baths are perfect for lap swimmers and casual pool-goers alike. Replenish your energy with kiosk snacks, or enjoy an outdoor massage on the decks at Massage by the Sea for an extra fee. Treat it like a spa day for body and soul — recharge, refresh and restore balance, naturally. Images: Destination NSW
Catch iiiiiiiiit! If summer for you was all about hitting the crease and making sure you yelled "out" as loudly as possible, you'll want to stop hitting refresh on your email and take a little break to reminisce over the good times. Together with TikTok, who ran a summer-long activation called #ClassicCatch in Australia, we've picked out five TikTok videos that have us wishing we'd spent more time perfecting our bowl. Here are five legends who did just that, showing us how to land the perfect catch on the sand to hitting a six in the sweltering Aussie heat. [embed]https://www.tiktok.com/@fairmoodz/video/6785779214101630214?lang=en[/embed] According to TikTok maker and photographer Joel (@fairmoodz), old mate Doug here has never played cricket before, yet he smashes it — only to be caught out. What a catch. [embed]https://www.tiktok.com/@harlsmalone/video/6745028181704625413?lang=en[/embed] What can we say? Harley has clearly been smashing the Weet-Bix for brekkie. No, you didn't just flip the dial to Channel Nine, @harlsmalone has only gone and given his beach cricket match an upgrade to professional level with a little audio. And why the hell not? Did you see that catch? Right between his teeth. [embed]https://www.tiktok.com/@kaybawa/video/6716017780166102277[/embed] Melbourne-based TikToker Kaybawa has opted for some truly inspired slo-mo action to show off his sweet bowling skills. He's also paired it with R Nait's beats, a stormy looking sky and the facial expression of a master. What a ledge. [embed]https://www.tiktok.com/@cricketdistrict/video/6900918387866619138[/embed] Hear that encouraging clap? These cricktokkers are not messing around. Cricket District posts hours of spins, bowls and LOLs on its page. This mid-air catch is a classic. [embed]https://www.tiktok.com/@bigmads/video/6813258573473238277[/embed] One of our personal faves, AFLW player Maddi Newman isn't just an all-rounder on the sports field but she's also a fan of Lizzo. Here, she brings three loves together in one clip (her dad, cricket and Lizzo) to show it ain't just the fellas hitting it out of the backyard this summer. Onya, Maddi. Download TikTok to watch more #ClassicCatch videos and look for TikTok's cricket themed activations in your city. Top image: Lochie Blanch; Unsplash
When the Sydney Film Festival last happened in-person back in 2019, it awarded its annual prize to the movie that everyone had been talking about since its Cannes Film Festival Palme d'Or win a few weeks earlier: Bong Joon-ho's Parasite. Returning to Sydney's cinemas after a year's gap — longer, actually, after a few delays this year — SFF 2021 has declared another international festival favourite its latest Official Competition winner: Iranian drama There Is No Evil, which also nabbed Berlinale's Golden Bear in 2020. Receiving SFF's annual $60,000 award, the anthology film explores capital punishment and its impacts, with writer/director Mohammad Rasoulof examining the ripples that state-sanctioned killing has upon Iranian society. Pondering the threats and freedoms of life under an oppressive regime, it steps through the stories of a stressed husband and father (Ehsan Mirhosseini), a conscript (Kaveh Ahangar) who can't fathom ending someone's life, a soldier (Mohammad Valizadegan) whose compliance causes personal issues and a physician (Mohammad Seddighimehr) unable to practise his trade. Headed by Animal Kingdom, The Rover and The King filmmaker David Michôd, and also including actor Simon Baker (High Ground), NITV Head of Commissioning and Programming Kyas Hepworth, director and producer Maya Newell (Gayby Baby, In My Blood It Runs) and filmmaker Clara Law (Floating Life), the 2021 SFF Official Competition jury selected There Is No Evil "for its moving, multi-angled exploration of a singular theme, about the ways in which an entire culture can carry the burden of institutional cruelty." "Picking a winner from a collection of films as diverse as this one is never easy," said Michôd in a statement. "It's a movie adventurous with form and genre, beautifully performed and realised with a deft touch for simple, elegant filmmaking craft." Rasoulof has actually been banned from filmmaking in Iran, all for examining the reality of his homeland — and, after 2013's Manuscripts Don't Burn and 2017's A Man of Integrity, There Is No Evil continues the trend. "I want to thank the jury. I am really happy there is something more than a simple appreciation in this prize," the filmmaker said, accepting the award virtually from Tehran. "Being heard and understood is what keeps hope alive." In winning the Sydney Film Prize, Rasoulof's film follows in the footsteps of not only Parasite, but of other past winners The Heiresses (2018), On Body and Soul (2017), Aquarius (2016), Arabian Nights (2015), Two Days, One Night (2014), Only God Forgives (2013), Alps (2012), A Separation (2011), Heartbeats (2010), Bronson (2009) and Hunger (2008). SFF announced There Is No Evil's win at its closing night ceremony, as well as a Special Mention to fellow Official Competition title Limbo — and a number of other awards spanning the rest of the 2021 program. The $10,000 Documentary Australia Foundation Award for Australian Documentary went to I'm Wanita, a portrait of the self-described 'Australian queen of honky tonk', while producer and director Karina Holden received the $10,000 Sydney-UNESCO City of Film Award. In the Dendy Awards for Australian Short Films, Sophie Somerville's Peeps won the Dendy Live Action Short Award, Taylor Ferguson received the Rouben Mamoulian Award for Best Director for tough and Olivia Martin-McGuire's Freedom Swimmer nabbed the Yoram Gross Animation Award. As previously announced before and during the festival, filmmaker Darlene Johnson received the 2021 Deutsche Bank Fellowship for First Nations Film Creatives, while Australian documentary Burning, directed by Eva Orner, scored the first-ever Sustainable Future Award. The 2021 Sydney Film Festival ran in-person from November 3–14, with the festival's online program SFF On Demand now streaming until November 21.
Glamping fiends have a new go-to escape from city life as eco-accommodation Turon Gates adds six glamping tents to its 6000-acres of bushland. Located a three-hour drive from Sydney in Capertee, just north of the Blue Mountains, the riverside tents offer an ideal getaway and chance to reconnect with nature — in style, of course. The rather cavernous tents sit on 65–75 square metres of land and boast a romantic four-poster bed, an ensuite with a two-person bathtub and a kitchenette with a Nespresso coffee machine and a Danish wood burner stove. There's also wifi, a daybed, a living area and an expansive deck, which overlooks the river and comes complete with two lounge chairs. And it's all solar powered to boot. Each guest receives a complimentary bottle of local wine and honey on arrival, and each tent is stocked with board games, magazines and books, too. If you want to go real luxe, you can also get a massage — inside your tent. For outdoor activities, guests can book horseback riding or canoeing within the property, as well as enjoy bush walks aplenty, where you're likely to come across kangaroos, wombats and echidnas. Turon Gates Glamping sites are now open for booking at 942 Upper Turon Road, Capertee. A two-person tent starts at $171 per night. Looking for more glamping options? Check out our picks for the nine best glamping spot near Sydney. CORRECTION: FEBRUARY 28, 2019 — The original article stated that Turon Gates glamping is pet friendly, but it is not — only the cabins and the camping on the property are.
Yulli's Brews finally opened its own (100-percent vegan) Alexandria taproom back in July 2018, and now it's giving Sydney's inner west another reason to celebrate with its monthly markets. Each season, the brewery will invite local merchants, artisans and independent makers to display an array of homewares, smallgoods and other handmade items. After kicking off back in November with monthly events, Yulli's Brewery Markets will now run seasonally with the next one scheduled for Sunday, July 14. Among the products for sale will be indoor plants, eco-friendly clothing, and heaps of preserves, condiments and jarred goodies. Yulli's own eats will be up for grabs too, including ready-made dumplings, kimchi and other pickled veg (all vegan, of course). The market opens at 9am, with a barbecue of vegan hot dogs welcoming guests alongside the stallholders. But the day really kicks into gear at 11am when live acts take the stage and the bar starts slinging its namesake brews. The full brewery menu is available from noon, too. Updated: May 16, 2019.
On most weekends, somewhere in Sydney is hosting a beer festival. They might not happen every single weekend, but they definitely pop up with frequency. Only one is called the Great Australasian Beer Spectapular, however, and dedicates itself to weird, wild, wonderful and inventive varieties that are made exclusively for the booze-fuelled party. And that very fest has locked in its dates for 2023. If you're a newcomer to GABS, as the festival is known, it started off as a Melbourne-only celebration of ales, lagers, ciders and more. Then, it started spreading along Australia's east coast capitals, as well as to New Zealand. Now, its 2023 plans will see it return for its Sydney event from Friday, June 2–Saturday, June 3 at ICC Darling Harbour. While only dates and venues have been confirmed so far, and not brewers heading along or the beers they'll be whipping up, attendees can look forward to an event that's considered to be one of the best craft beer and cider festivals in the Asia Pacific region. And, you can grab tickets from the GABS website from 3pm on Friday, March 3. One big reason: it'll pour at least 1200 kegs — which in past years have been inspired by breakfast foods, savoury snacks, desserts, cocktails and more — from 240 taps. In 2022, peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum and sour gummy bears all got a whirl. The event surveys both Australian and New Zealand breweries, plus folks from the US and UK, with more than 120 set to be pouring their wares this year. Also on the bill: other types of tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines. In fact, Archie Rose, Monkey Shoulder Whisky and Yellow Tail Wines will all be making their GABS debuts. GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which'll span a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders in 2023, as well as local food trucks and vendors to line your stomach. Yes, that includes the Mountain Goat air guitar championship, the Balter tins of glory, the Atomic wheel of pourtune and the Black Flag skate ramp. Updated March 3.
Staircases are structures which most of us use everyday without a second thought. But like most pieces of design, a healthy dose of intelligence and inventiveness can always be injected. With a little creative flair, staircases can become the focal point of a room, a structure of dual purpose with storage capabilities, or even a type of artistic sculpture, which goes above and beyond and it's simple architectural function. Here are ten of the most innovative and incredible staircases in the world. Jagged Wooden Staircase This staggered staircase is a highly effective use of space as it not only includes storage areas within each step, but the size of the rise is also twice that of the run. Despite appearing somewhat dangerous, these stairs made by Swedish architects Gabriella Gustafson and Mattias Stahlbom are actually both comfortable and safe. Storybook Staircase Adding the spines of your favourite storybook classics to your household staircase is a fantastic and original way to add some flavour to an otherwise boring structure. Share your stair-climbing adventures with Tom Sawyer, Peter Pan or Mowgli to ensure you never have a dull ascent of the stairs again. Lello Bookshop Staircase This beautifully ornate staircase appears in the Lello Bookshop in Portugal. The smooth lines of the stairs and railings glide seamlessly over each other as they part and rejoin and fold over each other to create a magnificent grand staircase. Tate Modern Slide Staircase Carsten Höller is an incredibly unique designer who has undertaken many exciting and interactive projects such as flying machines, frisbee houses, and sliding staircases. The above photo depicts Höller's spiral staircase at the Tate Modern Exhibition in London as part of the Unilever series. Höller is interested in the spectacle of watching people spiral down these 'slides for adults', as well as the 'inner spectacle' one has as they hurtle down the delightful structures. Light Bulb Staircase Captured perfectly by Dennis Fischer, this staircase is a marvel of art, architecture and ingenuity. Bookshelf Staircase This white bookshelf staircase provides the perfect storage space for books and ornaments. Rather than having the awkwardly sized cupboard under the stairs or a wall of wasted space, this bookshelf is a much more effective and aesthetically pleasing solution of what to do with the area beneath a staircase. Void Staircase Chic, clean and seemingly floating in mid-air, this void staircase designed by Guido Ciompi provides a novel way for guests at The Gray Hotel in Milan to ascend and descend stairs. Whilst also providing its functional purpose, the staircase is a pioneering design that is becoming much more popular in residential settings. Spiral Staircase to Nowhere This spiral staircase in Munich goes exactly where its name suggests. Wall Stairs Not only an effective use of space, these wall spaces are also a clever way to block off upstairs areas from unwanted visitors. The disappearing staircase design from Aaron Tang arose when he was asked to 'define what a door was and could be'. Undulating Steel Staircase The fluid strips of hot-rolled steel in the flagship Longchamps store in New York City were designed by Thomas Heatherwick, who is renowned for his unorthodox solutions to architectural problems. Here, he aimed to attract shoppers to the above-street-level store through the striking steel strips flowing smoothly upstairs. Tansu Cabinet Staircase This organic staircase is a seamless integration of functional stairs with a wooden cabinet set. The structure assimilates perfectly to the warm decor of the room, thanks to the inspired design by Dan Morsheim from Dorset Custom Furniture. Flying Roller Coaster Staircase This roller coaster staircase is a a public art sculpture in Duisberg, Germany named 'Crouching Tiger and Turtle'. The intricate structure takes visitors on a wild spin - and pretty intense workout - over and around the steel and zinc construction to take in the sights of the surrounding area. We can thank Ulrich Genth and Heike Mutter for this innovative design, which took eight weeks to assemble.
A jaunt around Victorian-era Europe, a destination wedding in Sydney or hopping between Greek islands? Animated ducks or a kingdom based around wishes? An affecting true tale of heroism or superhero fare? Cinemagoers of Australia, they're among your choices on the annual movie calendar's release day to end all release days. That'd be Boxing Day, which always packs picture palaces with new flicks, plus eager audiences keen to see them. Indeed, along with hitting the sales, enjoying the beach and recovering from your Christmas food coma, seeing a movie on December 26 is a yearly tradition. Feel like you're spoiled for choice? Not sure which film should tempt you out of the summer sun and into an air-conditioned darkened room? Keen to see a few movies, but don't know where to start? Thanks to Boxing Day's hefty array of newcomers, plus Wonka still a fresh arrival on big screen, there's plenty of picks. We've watched them all — and here's our rundown. POOR THINGS Richly striking feats of cinema by Yorgos Lanthimos aren't scarce. Sublime performances by Emma Stone are hardly infrequent. Screen takes on Mary Shelley's Frankenstein couldn't be more constant. For Lanthimos, see: Dogtooth and Alps in the Greek Weird Wave filmmaker's native language, plus The Lobster, The Killing of a Sacred Deer and The Favourite since he started helming movies in English. With Stone, examples abound in her Best Actress Oscar for La La Land, supporting nominations before and after for Birdman or (The Unexpected Virtue of Ignorance) and Lanthimos' aforementioned regal satire, and twin 2024 Golden Globe nods nods for their latest collaboration as well as TV's The Curse. And as for the best gothic-horror story there is, not to mention one of the most influential sci-fi stories ever, the evidence is everywhere from traditional adaptations to debts owed as widely as The Rocky Horror Show and M3GAN. Combining the three results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning creation, as zapped to life with Lanthimos' inimitable flair, a mischievous air, Stone at her most extraordinary and empowerment blazing like a lightning bolt. With cascading black hair, an inquisitive stare, incessant frankness and jolting physical mannerisms, Poor Things' star is Bella Baxter in this suitably wondrous adaptation of Alasdair Grey's award-winning 1992 novel, as penned by Australian screenwriter Tony McNamara (The Great, and another Academy Award-nominee for The Favourite). Among the reasons that the movie and its lead portrayal are so singular: as a character with a woman's body revived with a baby's brain, Stone plays someone from infancy to adulthood, all with the astonishingly exact mindset and mannerisms to match, and while making every move, choice and feeling as organic as birth, living and death. In this fantastical steampunk vision of Victorian-era Europe, London-based Scottish doctor Godwin Baxter (Willem Dafoe, Asteroid City) is Bella's maker. Even if she didn't call him God, he's been playing it. But curiosity, the quest for agency and independence, horniness and a lust for adventure all beckon his creation on a radical, rebellious, gorgeously rendered, gloriously funny and generously insightful odyssey. So, Godwin tries to marry Bella off to medical student Max McCandles (Ramy Youssef, Ramy), only for her to discover "working on myself to get happiness" and "furious jumping" — masturbation and sex — and run off to the continent with caddish lawyer Duncan Wedderburn (Mark Ruffalo, She-Hulk: Attorney at Law) instead. Read our full review. ANYONE BUT YOU Greenlighting Anyone But You with Sydney Sweeney and Glen Powell as its leads must've been among Hollywood's easiest decisions. One of the rom-com's stars has been everywhere from Euphoria and The White Lotus to Reality of late, while the other is fresh off feeling the need for speed in Top Gun: Maverick. They both drip charisma. If this was the 80s, 90s or 00s, they each would have an entire segment of their filmographies dedicated to breezy romantic comedies like this Sydney-shot film, and probably more than a few together. Indeed, regardless of his gleaming casting, Anyone But You director and co-writer Will Gluck makes his first adult-oriented flick in 12 years — since Friends with Benefits, with Annie and the two Peter Rabbit movies since — as if it's still two, three or four decades back. The gimmick-fuelled plot, the scenic setting, swinging between stock-standard and OTT supporting characters: even amid overt riffs on Shakespeare's Much Ado About Nothing, they're all formulaically present and accounted for. So is the fact that Anyone But You's story always comes second to Sweeney and Powell's smouldering chemistry, and that most of its obvious jokes that only land because the pair sell them, as well as the whole movie. Bea (Sweeney) and Ben (Powell) meet-cute over a bathroom key in a busy cafe. That first dreamy day ends badly the next morning, however, with more pain in store when Bea's sister Halle (Hadley Robinson, Winning Time: The Rise of the Lakers Dynasty) gets engaged to Ben's best friend Pete's (GaTa, Dave) sister Claudia (Alexandra Shipp, Barbie). Cue their feud going international at the destination wedding in Australia, then getting a twist when Bea and Ben pretend that they're together. They're trying stop their fighting ruining the nuptials, get her parents to back off from pushing for a reunion with her ex (Darren Barnet, Gran Turismo: Based on a True Story) and make his own past love (model-turned-acting debutant Charlee Fraser) jealous. Every expected narrative beat is struck, then, while nodding to other rom-com wedding flicks — My Best Friend's Wedding co-stars Dermot Mulroney and Rachel Griffiths play Bea's mum and dad, with the latter also a Muriel's Wedding alum — and getting cheesily Aussie via koalas, endless shots of the Sydney Harbour Bridge and the Sydney Opera House, and Bryan Brown (Faraway Downs) and Joe Davidson (Neighbours) playing the stereotypical parts. And yet, Sweeney and Powell ace their performances and rapport, and also couldn't be more watchable. Read our full review. ONE LIFE Nicholas Winton's "British Schindler" label wasn't invented for One Life, the rousing biopic that tells his story; however, it's a handy two-word description that couldn't better fit both him and the film. In the late 1930s, when the then-Czechoslovakia's Sudetenland was occupied by Nazi Germany, the London-born banker spearheaded a rescue mission to get children — mostly Jewish — out of the country. After being encouraged to visit Prague in 1938 by friends assisting refugees, he was so moved to stop as many kids as possible from falling victim to the Holocaust that he and a group of fellow humanitarians arranged trains to take them to England. The immense effort was dubbed kindertransport, with Winton assisting in saving 669 children. Then, in the decades that followed, his heroic feat was almost lost to history. In fact, it only returned to public knowledge in 1988 when his wife Grete Gjelstrup encouraged him to show his scrapbook from the time to Holocaust researcher Elizabeth Maxwell, who was married to media mogul Robert Maxwell. Smartly, One Life captures both remarkable aspects to Winton's story, flitting between them as it tells its powerful and stirring true tale. The film's jumps backwards and forward also allow room for two excellent performances, enlisting Anthony Hopkins as the older Winton and Johnny Flynn (Operation Mincemeat) to do the honours in his younger years. With The Two Popes, his Oscar win for The Father, Armageddon Time and now this, Hopkins has been enjoying a stellar run in his 80s. If matching one of Hopkins' great portrayals in a period filled with them — a career, too, of course — was daunting for Flynn, he doesn't show it. As with Kurt and Wyatt Russell on the small screen's Monarch: Legacy of Monsters, they're playing the same man but also someone who changes, as everyone does, through his experiences. Accordingly, a lively Flynn captures Winton's zeal and determination, while a patient Hopkins wears the haunted disappointment of someone who has spent half of their life thinking that he hasn't done enough. When he finally realises the full impact of his efforts, it's a devastatingly touching moment in a potent feature that looks the standard sombre part, but also knows that flashiness isn't what leaves an imprint in a story as important as this. AQUAMAN AND THE LOST KINGDOM The DC Extended Universe is dead. With Aquaman and the Lost Kingdom, the comic book-to-screen franchise hardly swims out with a memorable farewell, hasn't washed up on a high and shouldn't have many tearful over its demise. More movies based on the company's superheroes are still on the way. They'll be badged the DC Universe instead, and start largely afresh; 2025's Superman: Legacy will be the first, with Pearl's David Corenswet as the eponymous figure, as directed by new DC Studios co-chairman and co-CEO James Gunn (The Suicide Squad). Aquaman and the Lost Kingdom ends up the old regime about as expected, however: soggily, unable to make the most of its star, and stuck treading water between what it really wants to be and box-ticking saga formula. Led by Jason Momoa (Fast X), the first Aquaman knew that it was goofy, playful fun. Its main man, plus filmmaker James Wan (Malignant), didn't splash around self-importance or sink into seriousness. Rather, they made a giddily irreverent underwater space opera — and, while it ebbed and flowed between colouring by numbers and getting entertainingly silly, the latter usually won out. Alas, exuberance loses the same battle in Aquaman and the Lost Kingdom. Having spent its existence playing catch-up with the Marvel Cinematic Universe, the DCEU does exactly that for a final time here. As with Ant-Man and the Wasp: Quantumania, there's such a large debt owed to Star Wars that elements seem to be lifted wholesale; just try not to laugh at Jabba the Hutt as a sea creature. 2018's initial Aquaman used past intergalactic flicks as a diving-off point, too, but with its own personality — no trace of which bobs up this time around. Wan helms again, switching to workman-like mode. He's co-credited on the story with returning screenwriter David Leslie Johnson-McGoldrick (Orphan: First Kill), Momoa and Thomas Pa'a Sibbett (The Last Manhunt), but there's little but being dragged out with the prevailing tide, tonal chaos and a CGI mess on show. Now king of Atlantis and a father, Arthur Curry has another tussle with Black Manta (Yahya Abdul-Mateen II, Ambulance) to face, with his enemy aided by dark magic and exacerbating climate change. Only Aquaman teaming up with his imprisoned half-brother Orm (Patrick Wilson, Insidious: The Red Door) will give the world a chance to survive. Even with an octopus spy and Nicole Kidman (Faraway Downs) riding a robot shark, a shipwreck results. Read our full review. MIGRATION It mightn't seem like Migration and Chicken Run: Dawn of the Nugget should be twin films. The first is Illumination's latest non-Minions effort. The second is the long-awaited sequel to 2000 claymation favourite Chicken Run. But this pair of animated movies is definitely the newest example of the long-running cinematic déjà vu trend. Past birds of a feather have included Antz and A Bug's Life, Deep Impact and Armageddon, Churchill and Darkest Hour, and Ben Is Back and Beautiful Boy — and oh-so-many more — aka pictures with similar plots releasing at around the same time. The current additions to the list both arrive in December 2023, focus on anthropomorphised poultry, and initially find their clucking and quacking critters happy in their own safe, insular idylls, only to be forced out into the scary wider world largely due to their kids. Chaos with humans in the food industry ensues, including a life-or-death quest to avoid being eaten, plus lessons about being willing to break out of your comfort zone/nest/pond. Famous voices help bring the avian protagonists to the screen, too — Elizabeth Banks (The Beanie Bubble) and Kumail Nanjiani (Welcome to Chippendales) are the parents in Migration, for instance, and Thandiwe Newton (Westworld) and Zachary Levi (Shazam! Fury of the Gods) in Dawn of the Nugget — although that's long been the industry standard in animation in general. If you've seen Chicken Run's return, then, Migration will instantly feel familiar. This is an instance of two studios hatching near-identical films that both have their own charms, however. With Migration, a voice cast that also spans Awkwafina (Quiz Lady), Keegan-Michael Key (Wonka), Danny DeVito (It's Always Sunny in Philadelphia) and Carol Kane (Hunters) brings plenty of energy. As the key behind-the-camera talents, director Benjamin Renner (Ernest & Celestine) and screenwriter Mike White (yes, The White Lotus' Mike White) know how to enliven the narrative. That tale tells of mallards Mack (Nanjiani) and Pam (Banks), one nervous and the other adventurous, who follow another family from New England to Jamaica via New York City with their eager ducklings Dax (Caspar Jennings, Operation Mincemeat) and Gwen (first-timer Tresi Gazal), and cantankerous uncle (DeVito). But the Big Apple brings a run-in which a chef, after initially falling afoul of a flock of pigeons, befriending their leader (Awkwafina) and endeavouring to rescue the homesick parrot (Key) who knows the way to their sunny winter getaway. WISH Arriving in the year that Walt Disney Animation Studios celebrates its 100th birthday shouldn't mean that Wish needs to live up to a century's worth of beloved classics. And it wouldn't for viewers, even with the Mouse House's anniversary celebrations everywhere, if the company's latest film didn't bluntly draw attention to Disney hits gone by. Parts are cobbled together from Cinderella, Snow White And The Seven Dwarfs and Pinocchio. Not just fellow animated efforts get referenced; alongside shoutouts to Bambi and Peter Pan, Mary Poppins earns the nod well. Overtly elbowing rather than winking, directors Chris Buck (Frozen and Frozen II) and Fawn Veerasunthorn (head of story on Raya and the Last Dragon) plus screenwriters Jennifer Lee (another Frozen alum) and Allison Moore (Beacon 23) ensure that their audience has the mega media corporation's other fare in their heads. It's a dangerous strategy, calling out other movies if the feature doing the calling out is by-the-numbers at best, and it does Wish no favours. No one might've been actively thinking "I wish I was watching a different Disney movie instead" if they weren't pushed in that direction by the flick itself, but once that idea sweeps in it never floats away. While the importance and power of dreams is Wish's main theme, the film forgot to have many itself. If it hoped to be a generic inspiration-touting fairy-tale musical, however, that fantasy was granted. Ariana DeBose (West Side Story) and Chris Pine (Dungeons & Dragons: Honour Among Thieves) star as teenager Asha and all-powerful sorcerer Magnifico, respectively. The latter created the kingdom of Rosas as a sanctuary to protect people's wishes, which hover in his castle — but he's stingy with granting them. When Asha discovers that the land's sovereign isn't as benevolent as he seems, then wishes on a star that becomes her beaming friend (and makes her goat Valentino talk, sporting the voice of Peter Pan & Wendy's Alan Tudyk), she decides to topple his rule and free the deepest desires of her fellow townsfolk. Oscar-winner DeBose brings her best to the movie's songs, which would've fallen flat and proven forgettable in anyone else's hands, but they're the most vivid part of a film that starts with the storybook cliche, leans too heavily on chattering critters and can't match its classic look with an instant-classic picture. TWO TICKETS TO GREECE Laure Calamy is heading away again. In Full Time, France's current go-to actor could only dream of a getaway. Around that career-best performance, however, she's trekked with a donkey in Antoinette in the Cévennes, enjoyed family reunions on Côte d'Azur island Porquerolles in The Origin of Evil and now holidays on the Balkan Peninsula in the likeable-enough Two Tickets to Greece. Her latest packs more than a few other familiar elements into its suitcase: chalk-and-cheese protagonists, midlife crises, confronting the past, seizing the future, reviving old friendships, making new pals and finding oneself. Writer/director Marc Fitoussi, who reteams with Calamy after Call My Agent!, knows that every trip swims or sinks based on the company, though. He explores that very idea in his narrative, and has the film live it via Calamy as the chaotic Magalie, Olivia Côte (The Rose Maker, and also in Antoinette in the Cévennes) as her strait-laced childhood bestie Blandine — who she hasn't seen for decades after a teenage falling out — and an against-type-and-loving-it Kristin Scott Thomas (Slow Horses) as the go-with-the-flow Bijou. Scott Thomas puts in such an earthy-yet-layered performance as Magalie's friend, who lives the island life in Mykonos with artist Dimitris (Panos Koronis, The Lost Daughter), that Two Tickets to Greece is a better movie once she's on-screen. It's a more-rounded film, relying less on an odd-couple dynamic — even though both Calamy and Côte perfect their parts. Fitoussi first introduces his main duo as high-schoolers (Les invisibles' Marie Mallia and Vise le coeur's Leelou Laridan) who obsessively adore 1988 diving drama The Big Blue. They only meet again as adults after Blandine's son Benjamin (Alexandre Desrousseaux, Standing Up) pushes them back into each other's lives out of worry for his divorced-and-unhappy-about-it mum. He's meant to be going to Greece with his mother, in fact, but soon the erratic and impulsive Magalie has his ticket. Their destination is Armogos, The Big Blue's setting, although every detour that can redirect the pair's sun-dappled path away from a stock-standard luxe hotel stay — ferry mishaps, cute surfers, dancing on restaurant tables, island-hopping, big fights, hard truths, health scares and the like — does. COUP DE CHANCE A stroke of luck starts Coup de Chance, befitting the name of this French-language romantic thriller-slash-farce from Woody Allen. On the streets of Paris, gallerist Fanny (Lou de Laâge, The Mad Women's Ball) is recognised by writer Alain (Niels Schneider, Spirit of Ecstasy), with the pair classmates during their school days abroad in New York. He had a hefty crush all those years back, he reminds her. Even in their first reacquainted encounter, it's plain to see that he still does now. Reminiscing leads to future plans to catch up, then to leisurely walks and sandwich-fuelled picnics in parks on her lunch breaks. And, with Fanny clearly unhappily married to flashy, self-made millionaire wealth manager Jean (Melvil Poupaud, One Fine Morning), who possessively and controllingly considers her a trophy more than a person, an affair springs, too. Cue the suspicions of Jean, complete with a private detective doing his snooping and a raging case of entitlement seeping from his pores. Cue Fanny's mother Camille (Valérie Lemercier, Aline) figuring out the situation, and getting involved as well. Also, cue Allen in familiar territory from 2005's Match Point, which was set in London rather than Paris. Only a non-French filmmaker would have his Parisian characters order foie gras and frogs' legs in a restaurant. Working in Europe almost by necessity, and a writer/director whose output will always lurk under a cloud, only Allen would make the movie's yearning romantic alternative a bookish sort called Alain that's his latest on-screen surrogate. But those cliches and box-ticking elements don't stop Coup de Chance from being his best film in some time — since 2013's Blue Jasmine, which won Cate Blanchett an Oscar — with considerable help from his cast. The helmer's 50th movie sports warm autumnal hues via cinematographer Vittorio Storaro (who also shot Cafe Society, Wonder Wheel and A Rainy Day in New York), a jazzy soundtrack, plus actors who can effortlessly ride the plot's conveniences, twists and constant musings on fate alike. That said, almost any filmmaker could point their lens de Laâge, Schneider, Poupaud and Lemercier's way with engaging results; however, Allen's first film in a language other than English is repeatedly buoyed by their presence.
Is your wardrobe overflowing with clothes that you don't wear? We've all been there, and we've all been too busy to do anything about it. Through its op shops, Australian Red Cross finds a new home for your pre-loved outfits, shoes and accessories, with proceeds going towards its charity efforts — but we all know that wanting to donate your old threads is one thing and finding the time to do it is another. That's why Australian Red Cross has once again partnered with Uber for its annual Uber x Red Cross Clothing Drive. When it launched in 2018, it collected over 43,500 kilograms of clothing in that first year alone, which saw clothing items worth an estimated $800,000 donated. And you'd best take the drive part literally, as the ride-sharing service will actually drive to your house, pick up your unwanted clothes and accessories, and deliver them to Red Cross Shops. Even better: it's not only super easy to take part, but it's free as well. Sydneysiders just make sure you're ready between 10am–4pm on Saturday, October 19, 2024. Once you've bagged up all of your old bits and pieces (items you'd happily give your best friend, and no toys, books, furniture or electrical objects) into a bundle that weighs no more than 20 kilograms, it's all incredibly simple. Open the Uber app during that six-hour window, then find the Red Cross Clothing Drive image. After that, you need to set Red Cross Clothing Drive as the drop-off spot — and it should come up with a $0 amount. An Uber driver will then stop outside your house, meaning that you just need to take your preloved goods out to their car. Voila, you've cleared out your closet and you've helped folks in need, all with the tap of a button.
Kangaroo Island is known for its spectacular coastal views, wildlife, wineries and pristine beaches. It's clear to see how it got on the New York Times list of the best places to visit in 2023 and our own list of the best islands to visit in Australia. To help travellers get the most out of a trip to Kangaroo Island, we decided to create this complete guide. It highlights the best places to stay, where to eat and drink and what special activities to book ahead of time — whether you're looking for adventure or a little bit of luxury. All you have to do is get yourselves there, either by ferry or plane from Adelaide. [caption id="attachment_759309" align="alignnone" width="1920"] Bay of Shoals Wine by Meaghan Coles[/caption] EAT AND DRINK Straight off the ferry? Head to Millie Mae's Pantry for a full brunch made with ingredients from the kitchen garden, or pick up something to take with you for lunch while you adventure through the island. If you've stayed in Kingscote, start the day off with coffee from Cactus. It's well worth coming back later in the day for dumplings, tacos or whatever is on the menu that night. A winery tour is a must while you're in town, so make sure to hit Bay of Shoals Wines, which boasts the closest vines to the sea in the southern hemisphere. Nearby, there's also The Islander Estate Vineyards for vino made by a renowned Bordeaux winemaker and, for balance, Kangaroo Island Brewery where you can stop for lunch and try a few local cold ones. Also worth checking out on the far east side of the island is False Cape Wines — known for its minimal intervention drops — and Dudley Wines, which has incredible views and live music on the first Sunday of the month. But if organising this alone seems like too much hassle or you'd rather someone else drive you around, then wine tours are the way to go. This full-day wine and nature tour starts from Kangaroo Island and this alternative food and wine tasting safari starts from Adelaide. On each of these Kangaroo Island day trips, you'll taste great local vinos, eat some tasty local produce and get up and close with friendly Aussie wildlife. [caption id="attachment_759308" align="alignnone" width="1920"] Penneshaw Hotel by Adam Bruzzone[/caption] For the island's best fish and chips, we have to recommend KI Fresh Seafood in Kingscote. It's attached to a petrol station, but don't let that put you off — take away and enjoy on the water's edge. For a finer affair, head to dinner at Sunset Food and Wine. The modern bistro looks out over American Beach and is owned by Jack Ingram, former executive chef of Southern Ocean Lodge, a Kangaroo Island favourite that was sadly destroyed in the bushfires of 2020. The menu is stacked with fresh local seafood and produce, including rock lobster, kingfish sashimi and Kangaroo Island honeycomb. Otherwise, the Penneshaw Hotel is perched on a clifftop and offers a decent pub feed overlooking the wide open sea. And lastly, you should check out the monthly farmers and community market day at Penneshaw Oval, which also happens on the first Sunday of the month (between October and April). [caption id="attachment_759315" align="alignnone" width="1920"] Chapman River[/caption] DO If you're arriving by ferry, you'll get into Penneshaw — and from there you can head straight to Kangaroo Island Ocean Safari to swim with dolphins. In Lashmar Conservation Park, you can also watch out for wildlife as you kayak along the Chapman River to Antechamber Bay, where you'll find a lovely private beach perfect for a dip. Making your way west, seafood lovers should spend an afternoon at American River, where The Oyster Farm Shop will sort you out with fresh local oysters, marron, abalone and King George whiting, before you explore the protected wetlands of Pelican Lagoon. Of course, one of the best things about Kangaroo Island is the beaches: crystal clear, blue waters, long stretches of glittery white sand and lazy days spent soaking it all in. The best ones? Emu Bay on the island's north coast, where you can drive your car right onto the four-kilometre stretch of white sand and spend a day in the tranquil waters, or — a little further west — Snelling Beach for an epic sunset. Spend a day exploring the shops and sights of Kingscote, the island's largest town, just south of Emu Bay. Stop in at the Spinners and Weavers Shop for handmade natural fibre treasures, take a tour of Island Beehive and pick up some local honey, shop art at Shep's Studio and Fine Art Kangaroo Island, and visit Emu Ridge Eucalyptus Oil distillery. Be sure to make time for a two-hour blend-your-own-gin experience at Kangaroo Island Spirits. Next, you should head southwest to Vivonne Bay for surf and to sandboard down Little Sahara with the help of Little Sahara Adventure Centre. Alternatively, you cab join a quad bike tour to explore the grass and bushland before heading to the Seal Bay Conservation Park for a guided tour of the sea lion colony. [caption id="attachment_759307" align="alignnone" width="1920"] Ecopia Retreat by Stirling West[/caption] STAY Kangaroo Island has lots of luxury accommodation and you can go off-grid in style at Stowaway Kangaroo Island. Imagine curling up in the window seat of a luxurious private cabin on the edge of Lathami Conservation Park and a privately owned sheep farm, soaking in views of the bush and ocean in the distance. Both of the cabins, aptly named The Nest and The Sleepy Hollow, come with a huge soaker bath with sweeping views, a hot tub out on the deck, a sauna and a local produce hamper. Otherwise, make yourself at home at Ecopia Villas on a vast property in the middle of the island, complete with exclusive access to the Eleanor River and hundreds of acres of wilderness. Or you can book an all-inclusive package with bespoke 4WD tours at the Sea Dragon Lodge and Villas, or fall asleep to the sound of waves crashing against the cliffs of the island's eastern-most point at Mercure Kangaroo Island Lodge within the Cape Willoughby Conservation Park. If you'd rather keep it simple (and cheap), pitch a tent at one of these gorgeous camping spots that are all mere steps from the beach and have their own toilets, barbecues and picnic facilities. These stunning sites help place Kangaroo Island on our list of the best camping spots in Australia, as voted by our readers. We aren't the only ones who love Kangaroo Island — you guys do, too. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world. All images courtesy of the South Australia Tourism Commission.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this months latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from November's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW THE GREAT Huzzah! The best satirical comedy about Russian history there is has returned for another run, and proves as much of a delight this time around as it did in its first batch of episodes. The concept was already there — following the rise and reign of Catherine the Great, including her marriage to and overthrowing of Emperor Peter III, with only the slightest regard for the actual facts — but The Great definitely doesn't suffer from second-season syndrome. Indeed, while the series has always been supremely confident in its blend of handsome period staging, the loosest of historical realities and that savage sense of humour (it does spring from Oscar-nominated The Favourite screenwriter Tony McNamara, after all), this season it feels even more comfortable in its skin. Smoother, too, yet just as biting. In fact, its ability to seesaw tonally is as sharp as a shot of vodka — or several. Following the events of the first season, Catherine (Elle Fanning, Maleficent: Mistress of Evil) is still waging war with Peter (Nicholas Hoult, Those Who Wish Me Dead) — via soldiers on the battlefield to begin with, and then in the royal court in the aftermath of her bloody coup. Her pregnancy is also ticking along, the couple's various hangers-on have chosen sides, and changing Russia into a progressive nation isn't going to be an easy task. This time around, Gillian Anderson (The Crown) joins the cast as Catherine's acid-tongued mother, but both Fanning and Hoult continue to turn in the performances of their careers. Devastatingly witty and entertaining — and addictive — The Great has lived up to its name for two seasons now. Season two of The Great is available to stream via Stan. BURNING "This could be the new normal," a snippet from a news report comments early in Burning. The reason for the statement: Black Summer, the Australian bushfire season of 2019–20 that decimated large swathes of the country, sent smoke floating around the world and attracted international media attention. Australians don't need a documentary to confirm how horrific the situation was, and this is now the second in months — after the gripping first-person accounts in A Fire Inside — but this powerful film from Chasing Asylum's Eva Orner also lays bare all the factors that coalesced in the tragic events of just two years ago. Accordingly, this is a doco about inaction, government indifference to the point of failure, and the valuing of fossil fuels over their destruction of the environment. It's a movie about climate change as well, clearly, because any film telling this tale has to be. Orner, an Oscar-winner for producing 2007's Taxi to the Dark Side and an Emmy-winner for 2016's Out of Iraq, takes a three-pronged approach: providing context to the bushfires, including charting the Australian government's choices before and after; amassing expert and experienced testimonies, spanning activists and those on the ground alike; and bearing witness. Facts — such as the three billion animals killed — sit side by side with personal recollections and devastating images. The latter includes not only the fires and their ashy aftermath, but political arguing and Scott Morrison's Hawaiian holiday; all hit like a punch to the gut. The result is urgent, important and stunning — and absolutely essential viewing. Burning is available to stream via Amazon Prime Video. MR MAYOR Here are five of the most glorious words you're ever likely to read: Ted Danson plays the mayor. The sitcom stalwart (see also: Cheers, Becker, Bored to Death and Curb Your Enthusiasm) has hopped from The Good Place into Mr Mayor, actually, and into the latest TV comedy created and/or produced by Tina Fey. Fans of the latter's other shows — 30 Rock, obviously, and also Unbreakable Kimmy Schmidt, Great News and Girls5Eva — will know the sense of humour her series tend to work with, and it's a fabulous match for Danson. So too is Mr Mayor's setup, which sees a wealthy, clueless but amiable businessman decide he can improve a post-COVID-19 Los Angeles, and get elected. Firmly a workplace comedy, the series chronicles the ups and downs in the mayor's office as Danson's Neil Bremer tries to do a job he clearly isn't qualified for. Naturally, with the arrogance of a rich, white and otherwise successful man of a certain age, he believes otherwise. Mr Mayor is firmly an ensemble comedy as well, however, and both Holly Hunter (Succession) and Bobby Moynihan (Saturday Night Live) are comedic gems as Bremer's over-enthusiastic deputy mayor and bumbling communications director, respectively. The series is a tad less successful when it endeavours to be a family comedy, too, bringing the mayor's teenage daughter Orly (Kyla Kenedy, Speechless) into the mix. But when its gags land — and whenever Danson and Hunter share the screen, which is often — it's smart, hilarious and all-too-easy to binge. Season one of Mr Mayor is available to stream via 9Now. FINCH There's a sweetness to Finch that transcends its easy-sell concept — because tasking the always-likeable Tom Hanks with navigating a solar flare-ravaged earth was always going to be inherently watchable. Perhaps Turner and Hooch meets Cast Away meets Chappie meets The Road was the elevator pitch? Maybe seeing not just America's on-screen dad, but the world's, play father to a cute pooch and a teenager-like robot was the key selling point? Either way, filmmaker Miguel Sapochnik (Game of Thrones) and first-time feature screenwriters Craig Luck and Ivor Powell tap into a tender and selfless existential quest in their post-apocalyptic drama. The titular Finch isn't attempting to survive, but trying to ensure that the dog that's been his only flesh-and-blood companion for a decade or so can live on after he's gone. In Hanks' second protective father-figure role in as many features, following News of the World, he also plays Geppetto to a robot Pinocchio or Victor Frankenstein to a new mechanical life, too. Jeff, the wiry being born of his labour, is far from perfect — and Finch's slow, initially begrudging acceptance that he can't mould and control everything about his creation ranks chief among the movie's touching emotional journeys. The film's musings on mortality, leaving a legacy and being a better person are also layered and thoughtful, and never feel well-worn even though science-fiction can't stop pondering such ideas. In an excellent motion-capture performance, Caleb Landry Jones (Nitram) also leaves an imprint as Jeff. Unsurprisingly, however, Hanks is always Finch's key source of texture and empathy. Finch is available to stream via Apple TV+. COWBOY BEBOP A TV show can live or die based on its casting alone. With Netflix's live-action adaptation of Cowboy Bebop, it frequently seems as if it only exists because some immensely clever person had the stroke of genius to cast John Cho (The Grudge) as Spike Spiegel. While being the best thing about a series or a movie isn't always a good thing — on the big screen, both Jungle Cruise and Venom: Let There Be Carnage haven't managed to match their ace lead casting in recent months — Cho always makes Cowboy Bebop much more than watchable. Well, Cho, his effortless swagger, sleek costumes, and the film's overt eagerness to look and feel as much like anime come to life as it possibly can. It isn't on the same level as its source material, and it doesn't even try to improve it, but it's still an exuberant, stylish and frequently engaging piece of sci-fi television. As anyone familiar with the 90s anime will know, Spike is just one of Cowboy Bebop's bounty hunters on the spaceship Bebop. After a disaster has scattered humanity across the solar system, chasing down criminals is Spike and Jet Black's (Mustafa Shakir, The Deuce) way of making a living. That's true both before and after they cross paths with Fay Valentine (Daniella Pineda, Jurassic World: Fallen Kingdom), with the series as concerned with the sitcom-esque odd-threesome vibe between its key figures as it is with their quests. Everyone has their complications, but almost everything is madcap and manic here — and when it works it works, with particular thanks to Cho, naturally, as well as Shakir and Pineda. Season one of Cowboy Bebop is available to stream via Netflix. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK YELLOWJACKETS When Yellowjackets begins, it's with an intriguing mystery, a killer cast — led by the compulsively watchable Melanie Lynskey (Mrs America), Juliette Lewis (Breaking News in Yuba County) and Christina Ricci (Percy vs Goliath) — and a deep valley full of trauma. In their high-school years, Shauna Sheridan (Lynskey, and also The Kid Detective's Sophie Nélisse as a teenager) and Natalie (Lewis, plus The Tomorrow Man's Sophie Thatcher) were key players on the titular high-achieving New Jersey soccer team, while Misty (Ricci, as well as Shameless' Samantha Hanratty) was the squad's frequently bullied student manager. Then, en route to a big match in Seattle on a private plane in 1996, they entered Lost territory. That crash saw the survivors stranded in the wilderness for 19 months, and living their worst Lord of the Flies lives, too. As established in a tremendous first episode directed with the utmost precision by Destroyer's Karyn Kusama, Yellowjackets isn't simply interested in an inherently disturbing experience that'd change anyone's life. It's just as obsessed with that transformation itself — with how, after falling from the sky, learning to endure in such remote surroundings and plummeting into a horror movie, someone copes when normality supposedly comes calling afterwards. Flitting between the two 25-years-apart time periods, it's about tragedies endured, paths taken, necessities accepted and the echoes that linger from all three. Even just a handful of episodes in, this instant must-see is chilling, perceptive, resonant and potent. Yellowjackets is streaming via Paramount+, with new episodes dropping weekly. CURB YOUR ENTHUSIASM There's no one on television quite like Larry David. Famously, the Seinfeld creator was the inspiration for George Constanza, but that comparison will never do justice to the on-screen version of David himself. The writer and comedian has played that fictionalised, satirised version in Curb Your Enthusiasm for 11 seasons over the course of more than two decades now, and he's a character that overflows with complexities and contradictions. He's notoriously and excruciatingly petty. He has zero tact or sensitivity. He's constantly in everyday situations that seem him forced to navigate social codes and conventions, and he's always putting them to the test. When he's wrong, he's the king of cringe comedy. When he's right, he's the champion of everyday grievances. In this HBO comedy, they don't just get aired at Festivus around a pole. Setting up a spite store — opening a coffee shop next door to an identical cafe purely for malicious reasons — anchored Curb Your Enthusiasm's tenth series. In season 11, David is trying to make TV again. He has an idea for a Young Rock/Everybody Hates Chris-style show called Young Larry which he's shopping around to streaming platforms but, as always, he's his own worst enemy. The episode featuring the great Albert Brooks as himself is one of the show's best ever, and also a delightful tribute to the late Bob Einstein, a former CYE regular and Brooks' real-life brother. Watching David at his best and worst is always this discomfort-courting series' core, though, and he's as stellar as he's ever been. Season 11 of Curb Your Enthusiasm is streaming via Binge, with new episodes dropping weekly. HAWKEYE Another month, another reason to direct your eyeballs towards Marvel. 2021 hasn't quite played out like that, but only just — there's been three MCU movies so far (Black Widow, Shang-Chi and the Legend of the Ten Rings and Eternals), three streaming series before now (WandaVision, The Falcon and the Winter Soldier and Loki), and there's still Spider-Man: No Way Home to come. And, Hawkeye has just started bringing the franchise's arrow-slinging hero to the small-screen. Jeremy Renner (Mayor of Kingstown) returns to the eponymous character, aka Clint Barton, but he isn't actually the main attraction in this miniseries. That'd be Hailee Steinfeld (Dickinson) as Kate Bishop, who has taken inspiration from from Barton, is just as handy with a bow and arrow, and finds herself becoming his protege. There's a lot of scene-setting in the series' first episodes — establishing Bishop's story, including links back to The Avengers in 2012, and also stepping inside Barton's ordinary life with his family (the presence of which, even as just a background detail, has always made the character stand out). Nonetheless, Steinfeld's addition to Marvel's ever-growing on-screen realm provides just the spark that Hawkeye needs, and that the broader MCU could use as well. The fact that Florence Pugh is set to reprise her Black Widow favourite Yelena Belova in the show, too, firmly thrusts it towards the future — and hopefully, finally and welcomely sets the scene for a different generation of heroes. Hawkeye is streaming via Disney+, with new episodes dropping weekly. EXCELLENT RECENT CINEMA RELEASES TO CATCH UP WITH IMMEDIATELY NITRAM It's terrifying to contemplate something so gut-wrenchingly abominable as the bodies-in-barrels murders, which director Justin Kurzel and screenwriter Shaun Grant depicted in 2011's Snowtown, and to face the fact that people rather than evil were behind them. Nitram courts and provokes the same response. Exploring the events preceding the Port Arthur massacre, where 35 people were murdered and 23 others wounded in Tasmania in 1996, it focuses on something equally as ghastly, and similarly refuses to see the perpetrator as just a monster or a Hollywood horror movie-style foe. It too is difficult, distressing, disquieting and disturbing, understandably. In their third collaboration — with 2019's bold and blazing True History of the Kelly Gang in the middle — Kurzel and Grant create another tricky masterpiece, in fact. That Nitram is about a person is one key reason for its brilliance. The film's core off-screen duo don't excuse their protagonist. They don't justify the unjustifiable, explain it, exploit it, or provide neat answers to a near-unfathomable crime. Rather, they're careful in depicting the lone gunman responsible for Australia's worst single-shooter mass killing, right down to refusing to name him. In an exacting movie in every way possible, they also benefit from exceptional performances by Caleb Landry Jones (Finch) as the film's namesake, Judy Davis (Mystery Road) as his wearied mother, Anthony LaPaglia (Below) as his father and Essie Davis (The Justice of Bunny King) as his lottery heiress friend. Nitram is available to stream via Stan. Read our full review. BECOMING COUSTEAU He's been parodied in a Wes Anderson film and mentioned in a Flight of the Conchords song. His red beanie, and those worn by his fellow crew members on his research ship Calypso, are an enduring fashion symbol. He won the second-ever Cannes Film Festival Palme d'Or — becoming not only the first filmmaker to receive the prestigious prize for a documentary, but the only one to do so for almost half a century afterwards. When he started making television in the 60s, he turned his underwater-shot docos about the sea into truly must-see TV. He helped create undersea diving as we know it, and he's the most famous oceanographer that's ever lived. He was also one of the early voices who spoke out about climate change and humanity's impact upon the oceans. He's a rockstar in every field he dived into — and he's Jacques Cousteau, obviously. Becoming Cousteau touches on all of the above — except The Life Aquatic with Steve Zissou and Flight of the Conchords' 'Fou de Fafa', of course — and makes for a a riveting splash into its namesake's life and career. There's just so much to tell, to the point that it frequently feels as if director Liz Garbus (an Oscar-nominee for What Happened, Miss Simone?) could've filled an entire series instead. This isn't just an affectionate ode, though, even with ample praise floated Cousteau's way. Garbus knows that Cousteau's achievements, and the glorious archival footage that comes with it, elicit an awe-struck reaction, but doesn't shy away from thornier aspects, the tragedies and struggles among them. Becoming Cousteau is available to stream via Disney+. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September and October this year — and our top straight-to-streaming movies and specials from 2021 so far, and our list of the best new TV shows released this year so far as well.
No one celebrates their birthday just once in any given year, especially if you're hitting a big milestone. Where's the fun in that? Yes, that proves true of cinemas as well, including the Ritz in Randwick — which is marking 85 years of screening movies, movies and even more movies with not one but two huge retrospective programs. The first, called 85 Films in 85 Days, is already underway — and, as the name makes plain, it's showing a different film from each of the venue's 85 years on each and every day until mid-October. That's a hefty effort, but the cinema's Australia on Celluloid program has it beat, at least in terms of duration. [caption id="attachment_622123" align="alignnone" width="1920"] Kimberly Low[/caption] Again, that title is descriptive. In this retro showcase — which runs from Saturday, July 30, 2022–Monday, July 24, 2023 — the Randwick picture palace is diving back into Aussie movie history, and also screening each and every flick on its list in glorious 35mm. So, you're getting a blast from the past in two ways: in what you're watching and via how it's being shown. The program is filled with gems, unsurprisingly, kicking off with 1978's Newsfront — which is set in the 1940s, and follows two Cinetone newsreel company employees (Bill Hunter and Chris Haywood) covering news stories in the days before TV. Also on the list: the original Storm Boy, Aussie war dramas such as Gallipoli and Breaker Morant, and everything from They're a Weird Mob and The Chant of Jimmie Blacksmith through to Love Serenade and The Last Days of Chez Nous, plus Jedda, Shame, Don's Party, The Man From Hong Kong and The Coca-Cola Kid as well. Almost every genre is covered — and if it's an Aussie film released between the 50s and the 90s, odds are it'll flicker across the Ritz's screens at some point during this lineup. Among the many highlights, expect to see plenty of Aussie stars in their early days — including Bryan Brown in 1980's Stir, Noni Hazelhurst and Michael Caton in 1982's Monkey Grip, Colin Friels in 1986's Malcolm, Ben Mendelsohn and Claudia Karvan in 1990's The Big Steal, and Hugo Weaving and Russell Crowe in Proof the same year. Sessions run on Saturday afternoons weekly, with encores on Monday evenings. The Ritz's Australia on Celluloid program runs from Saturday, July 30, 2022–Monday, July 24, 2023. For more information or to book tickets, head to the cinema's website.
There's yoga and then there's yoga while surrounded by koalas. On a rooftop. At sunset. For a good cause. The latter is exactly what you can do at Wild Life Sydney Zoo's two Koala Sunset Yoga sessions, which it's hosting on its openair Koala Rooftop on Tuesday, December 10 and Wednesday, December 11. You'll be shavasana-ing and tree posing surrounded by ten of the extremely adorable marsupials, with the beginner-appropriate classes run by Kiin Yoga and Flow Athletic. They'll also be providing the mats, so just rock up in comfy clothes and get ready to get stretchy. Tickets to each class will set you back $45 will 100 percent of proceeds going to Koalas in Care and WIRES Bushfire Emergency Fund, both which are helping rescue and care for wildlife injured during the catastrophic bushfires across NSW. According to WIRES, 850,000 hectares of land has been destroyed so far and, with 90 fires still burning (at time of publication), this number is expected to continue growing. There'll be raffles held on both nights, too, with prizes including yoga memberships and breakfasts on the Koala Rooftop. Tickets are $5, so bring cash if you're keen.
Snow place like home, right? Here at CP, we're excited for winter playtime. Whether you can't wait to hit the slopes again or you're a curious first-timer, we know just the snow-covered playground that will hit the spot: Thredbo. Just a 5 and a 1/2 hour drive from Sydney, winter holiday goers congregate to the alpine village in their masses for the longest ski runs in Australia (when the mountain is fully covered in snow). And we've got the lowdown: where to stay, where to re-fuel, and where to party in your snow boots. Athol Got a lot of friends? This cosy, rustic self-contained chalet sleeps up to 12 people with a perfect communal layout for a big group. Gather round the open fire, sprawl out on the balcony and dig in to some hearty food at the canteen-style dining table. Diggings Terrance, Thredbo Village; Athol website Banjo Townhouses Each townhouse is a modern apartment with one or two bedrooms and beautiful views of the mountains. Loft units have their own slow-burning wood fire: lush! Banjo Drive, Thredbo Village; stayz.com.au/93085 Bernti’s Mountain Inn Bernti's is restaurant, hotel and nightlife all rolled into one. This European-style boutique inn has 30 rooms (and a rather entertaining host in Donna), gourmet food and a popular al fresco deck. Why would you ever leave? 4 Mowamba Place, Thredbo Village; (02) 6457 6332; berntis.com.au Black Bear Inn In the heart of Thredbo, and at the centre of all the action, this traditional lodge and restaurant has rooms to rent from single to family-sized. It’s a stone’s throw from the shuttle stop, plus never-ending German beer at the Inn. 30 Diggins Terrace, Thredbo Village; (02) 6457 6216; blackbearinn.com.au Thredbo Alpine Hotel Thredbo Alpine Hotel is boutique accommodation with the pick of rooms or chalets for an easy, comfortable stay at the base of the Kosciuszko chairlift. Thredbo Resort Centre, Thredbo Village; 1300 020 589; Thredbo Alpine Hotel Moonbah Hut A short 30 minute drive from Thredbo, and 15 minutes from Jindabyne town, Moonbah Hut is in a whole world of its own. This completely isolated, unique stone hut is fully equipped with underfloor heating, a rocking chair and fluffy robes for a romantic getaway. Jindabyne; (02) 6457 8311; moonbahhut.com Paringa Self contained, all the mod-cons and a shuttle bus on your doorstep, Paringa apartments are two bed units plus loft space, the obligatory balcony BBQ and a Swedish sauna. (02) 6457 7030; skiinskiout.com.au River Inn Priding itself on being a ski-in, ski-out hotel, River Inn has modern rooms and suites with plenty of extras, like wireless, a heated indoor pool and laundry service. 4 Friday Drive, Thredbo Alpine Village; (02) 9369 3010; riverinn.com.au Rockpool Lodge Like a little luxe? When only 5 star will do, Rockpool Lodge is a good pick. It’s got the spa, faux fur throws, sauna and champagne on chill (okay, we can’t guarantee the last one, but you get the picture). (02) 6457 7132; rockpoollodge.com.au Kareela Hutte Breakfast, coffee, champagne or cellar door, Kareela Hutte is a well-loved haunt for skiers and boarders on their up or down the mountain. On the Supertrail at 1810m altitude; (02) 6457 6099; kareelahutte.com.au Merritts Mountain House On-slope marketplace dining, from fresh juices and salads to stews, soups and strudel. Merritts uses artisan produce to create lovingly homemade food, conveniently located between slopes. Top of Merritts chairlift at 1660m altitude; (02) 6457 6084; merritts.com.au Black Sallee's Nestled amongst the gum trees off Crackenback Supertrail, Black Sallee's is famous for its hot chocolate, European beer selection (try the Maisel's Weisse) and schnapps. The service is quick, so you’ll be shoop shooping again in no time. At the top of Snowgums chairlift; (02) 6457 6439; Black Sallee's Bullwheel Bar & Bistro Laying claim to being Australia’s highest bar and bistro, Bullwheel has quick snacks and warming drinks, as well as German wheat beers, gluhwein and schnapps. At the top of Kosciuszko chairlift at 1937m altitude; (02) 6457 6019; Bullwheel Bar & Bistro Bernti’s Tapas Bar Serving a gourmet selection of international tapas, from smoked trout bruschetta to veal schnitzel, Bernti’s has al fresco dining and plenty of wine and beer to wash it down with. 4 Mowamba Place, Thredbo Village; (02) 6457 6332; berntis.com.au/tapas-bar The Knickerbocker Pan fried market fish, duck confit, spinach and ricotta dumplings... Yum! Riverside Cabins, Diggings Terrace, Thredbo; (02) 6457 6844; theknickerbocker.com.au The Terrace Relaxed fine dining: head chef Karen Forsstrom, formerly of Sydney’s Kingsleys restaurant, cooks up the finest ingredients to serve up her handcrafted menu. The Denman Hotel, 21 Diggings Terrace, Thredbo; (02) 6457 6222; thedenman.com.au The Wildbrumby Open daily for breakfast and lunch, the kitchen at Wildbrumby schnapps distillery door has a hearty selection of soups, pates, sandwiches and burgers - all created using local produce. Cnr of Wollondibby Rd and Alpine Way, Jindabyne; (02) 6457 1447; wildbrumby.com Apres Bar For a sophisticated start to the night, head to Apres Bar at The Denman. Cocktails, retro decor and tapas. The Denman, 21 Diggins Terrace, Thredbo Village; (02) 6457 6222; thedenman.com.au/bar Schuss Bar A little more laid-back, the Schuss Bar has live music and entertainment every night throughout winter. Threadbo Village Resort, Alpine Way; (02) 6459 4200. Thredbo Alpine Lounge Bar From 12 noon to midnight, the Alpine Lounge Bar is the place to kick-back and enjoy a coffee (or something stronger) beside the fire. Relaxed vibe, live music and great views. Thredbo Village Resort, Alpine Way; (02) 6459 4200. The Keller Looking to party late into the night? Revellers migrate to Thredbo’s famous nightclub. Thredbo Village Resort, Alpine Way; (02) 6459 4200.
Summer may be most Sydneysiders' season of choice, but there is one very compelling reason to enjoy the cooler months while they're here, and that's the ability to test your limits on spicy food. Beaches and barbecues are great, but so is rugging up in a cosy cardi, popping on the heater and devouring a hot (both temperature and spice level) meal. And chilli has benefits beyond lighting a little fire in your belly — think antioxidants and endorphins. So, with our mates at DoorDash, we've rounded up an array of spice-heavy dishes from all manner of cuisines that'll help you keep temperatures high. No matter where you live in Sydney, the choice is yours. 'Tis the season for cosy decadence, after all.
It's time to get the word "Jellicle" stuck in your head once more: to mark 40 years since it first hit the stage in Australia, Cats is prowling through theatres again in 2025. Back in July 1985, Aussie audiences initially experienced Andrew Lloyd Webber's acclaimed production, which turned a tale inspired by poems from T.S. Eliot's Old Possum's Book of Practical Cats into an award-winning theatre hit. The place: Sydney, aka where Cats plays again from Tuesday, June 17. Four decades ago, the show pranced through Theatre Royal Sydney — and the new season is scampering across the boards there again, too, to help you make some new Cats memories. If you're new to Cats, it spends its time with the Jellicle cat tribe on the night of the Jellicle Ball. That's the evening each year when their leader Old Deuteronomy picks who'll be reborn into a new Jellicle life by making the Jellicle choice. And yes, "Jellicle" is uttered frequently. Of late, audiences might be more familiar with Cats as a movie. In 2019, the musical made the leap from stage to screen with a star-studded cast including Idris Elba (Hijack), Taylor Swift (Amsterdam), Judi Dench (Belfast), Ian McKellen, (The Critic) James Corden, (Mammals) Jennifer Hudson (Respect), Jason Derulo (Lethal Weapon), Ray Winstone (Damsel) and Rebel Wilson (The Almond and the Seahorse) playing singing, scurrying street mousers. If you ever wanted to see Swift pouring cat nip on a crowd of cats from a suspended gold moon, or were keen to soothe your disappointment over the fact that Elba hasn't yet been James Bond by spotting him with whiskers, fur and a tail, this was your chance. For its efforts, the Tom Hooper (The Danish Girl)-directed film picked up six Golden Raspberry Awards, including Worst Picture. But while the movie clearly didn't hit the mark, you can see why this feline-fancying musical has been such a huge theatre hit thanks to its Aussie stage comeback. Images: Alessandro Pinna.
City of Sydney Council is officially considering banning short-term rental properties within its local government area. Booking platforms like Airbnb and Stayz are snapping up precious properties amid the country's ongoing housing supply shortage, and this could lead to a prohibition in areas where bookable home and apartment stays outnumber publicly listed rentals. The motion was put forward by Greens Councillor Sylvie Ellsmore, who believes that NSW's existing 180-day limit on short-term rentals in Greater Sydney is ineffective, telling 702 ABC Sydney, "a cap may not work." The proposal isn't an all-out ban on short-term rentals, which are being enforced in more and more cities worldwide, since the City of Sydney LGA is a prime location for tourism, but it would come into effect when local rental housing vacancy rates drop below three percent. Currently, multiple suburbs in the City of Sydney LGA sit below a three percent vacancy rate. The lowest figure is 0.9 percent in Redfern, followed by Darlinghurst and Surry Hills at 1.2 percent, 1.3 percent in Woolloomooloo, Rushcutter's Bay and Elizabeth Bay, 1.5 percent in Paddington, 1.6 percent in Glebe, 1.8 percent in Pyrmont and 2.3 percent in Camperdown. City of Sydney Deputy Lord Mayor Jess Miller admitted that the council currently lacks the resources to differentiate between short-term rentals and primary residencies. Cr Miller did admit to the ABC that short-term renting in the area is "out of control," and called on the NSW Government to take a page from Western Australia, where verified short-term data is shared with councils to enforce restrictions. [caption id="attachment_1098717" align="aligncenter" width="1920"] iStock[/caption] Cr Miller specifically said, "I would love to have that replicated in New South Wales so that individual councils can access a robust, verified, reliable database so that we can make decisions that are appropriate to our LGA." Cr Ellsmore argued that, "We need to start thinking about the difference between whether someone's trying to Airbnb the house, the home that they live in, or as an investment property." "The investor issue, what we're seeing more of — people owning five, 10, 20, 30 properties, running it as a business. Because they can make so much money short-term renting, they're taking properties off the market that used to be someone's home." [caption id="attachment_829959" align="aligncenter" width="1920"] Nikki To[/caption] Stayz Corporate Affairs Director, Eacham Curry, argued against the ban, saying "These measures ... could jeopardise the value that the short-term rental accommodation (STRA) sector brings to local communities and their economies." "Stayz supports fit-for-purpose regulation of the STRA sector, administered consistently at a state or territory level…Local regulation increases costs, time, and resources, deterring the economic benefits that STRA brings to communities." The proposal is still under early investigation, and as of late last week, NSW Premier Chris Minns had not yet seen the full details of the proposal, stating that he wanted to understand how it could impact the tourism sector if it were put into place. Lead image: iStock Like what you see? Subscribe to the Concrete Playground Newsletter to get stories just like these straight to your inbox.
Just over 12 months ago, in January 2023, Danny and Michael Philippou's Talk to Me screened at the Sundance Film Festival. From there, it was picked up by A24, released to hefty crowds and fanfare midyear, and collected 11 nominations from the Australian Academy of Cinema and Television Arts Awards. Now, at the Aussie organisation's night of nights, the homegrown horror hit has won eight accolades, the most of any movie — including Best Film of 2023, plus Best Director for the RackaRacka YouTubers-turned-filmmakers. It's official: Talk to Me is the top Australian flick of the past year, a huge feat not only for a horror movie but for the Philippou brothers' first feature. In the film categories, it had company from Warwick Thornton's The New Boy, which picked up four awards from 12 nominations. A heap of other pictures collected a prize each: Noora Niasari's Shayda, with one win from nine nods; The Rooster, with one from four; Ivan Sen's Limbo, Carmen and John Farnham: Finding the Voice, each with one from three; and Ego: The Michael Gudinski Story and The Giants, with one from two apiece. That's an impressive spread, including the Best Actress accolade going to Talk to Me's Sophie Wilde, Best Actor to The New Boy's Aswan Reid, Best Supporting Actress to Deborah Mailman for the latter film and Best Supporting Actor to The Rooster's Hugo Weaving. The AACTAs aren't just about the big screen, however, also rewarding the year's best TV efforts. There, The Newsreader and Deadloch each picked up five awards — including Kate McCartney and Kate McLennan nabbing Best Screenplay in Television for writing Deadloch. Across the small-screen fields, they were joined by fellow big winners Colin From Accounts, The Lost Flowers of Alice Hart and Love Me. The hefty affair, which was held on Saturday, February 10 on the Gold Coast for the first time amid a four-day AACTA Festival, also found more than one way to give Margot Robbie and Barbie some love. Cue Robbie receiving the annual Trailblazer Award, plus the Audience Choice Award for Favourite Actress. Also among the public's picks was Barbie for Favourite Film. And, the list of gongs goes on — for Robbie and Barbie, and in general, with International Awards also handed out. Succession, The Bear, Oppenheimer, Poor Things: they all earned a shiny trophy or two as well. Here's the full rundown: AACTA Nominees and Winners 2024: Film Awards: Best Film Of an Age Shayda Sweet As Talk to Me — WINNER The New Boy The Royal Hotel Best Indie Film A Savage Christmas Limbo — WINNER Monolith Streets of Colour The Rooster The Survival of Kindness Best Direction Jub Clerc, Sweet As Kitty Green, The Royal Hotel Noora Niasari, Shayda, Danny Philippou, Michael Philippou, Talk to Me — WINNER Goran Stolevski, Of an Age Warwick Thornton, The New Boy Best Lead Actress Zar Amir Ebrahimi, Shayda Shantae Barnes-Cowan, Sweet As Cate Blanchett, The New Boy Julia Garner, The Royal Hotel Sarah Snook, Run Rabbit Run Sophie Wilde, Talk to Me — WINNER Best Lead Actor Elias Anton, Of an Age Simon Baker, Limbo Thom Green, Of an Age Phoenix Raei, The Rooster Aswan Reid, The New Boy — WINNER Osamah Sami, Shayda Best Supporting Actress Alex Jensen, Talk to Me Deborah Mailman, The New Boy — WINNER Tasma Walton, Sweet As Mia Wasikowska, Blueback Ursula Yovich, The Royal Hotel Selina Zahednia, Shayda Best Supporting Actor Mojean Aria, Shayda Eric Bana, Blueback Wayne Blair, The New Boy Rob Collins, Limbo Zoe Terakes, Talk to Me Hugo Weaving, The Rooster — WINNER Best Screenplay Kitty Green, Oscar Redding, The Royal Hotel Noora Niasari, Shayda Danny Philippou, Bill Hinzman, Talk to Me — WINNER Goran Stolevski, Of an Age Warwick Thornton, The New Boy Best Cinematography Carl Allison, Godless: The Eastfield Exorcism Sherwin Akbarzadeh, Shayda Aaron McLisky, Talk to Me Katie Milwright, Sweet As Warwick Thornton, The New Boy — WINNER Best Editing Dany Cooper, Carmen Katie Flaxman, Sweet As Geoff Lamb, Talk to Me — WINNER Michelle McGilvray, Matt Villa, Courtney Teixera, Scarygirl Nick Meyers, The New Boy Best Casting in Film Run Rabbit Run Shayda — WINNER Sweet As The New Boy The Royal Hotel Best Costume Design Blueback Carmen — WINNER Seriously Red The New Boy The Rooster Best Original Score Blueback Godless: The Eastfield Exorcism Suka Talk to Me — WINNER The Big Dog Best Production Design Carmen Scarygirl The New Boy — WINNER The Portable Door True Spirit Best Sound Godless: The Eastfield Exorcism Scarygirl Seriously Red Talk to Me — WINNER Three Chords and the Truth Best Short Film An Ostrich Told Me the World is Fake and I Think I Believe It Ashes Finding Addison — WINNER Jia Mud Crab Not Dark Yet Documentary Awards: Best Documentary Ego: The Michael Gudinski Story Harley & Katya John Farnham: Finding the Voice — WINNER The Dark Emu Story The Giants The Last Daughter This Is Going to Be Big To Never Forget Best Cinematography in a Documentary Australia's Wild Odyssey Shackleton: The Greatest Story of Survival The Dark Emu Story The Giants — WINNER This Is Going To Be Big Best Editing in a Documentary Because We Have Each Other Folau Harley & Katya Queerstralia The Australian Wars — WINNER Best Original Score in a Documentary John Farnham: Finding The Voice Kindred Splice Here: A Projected Odyssey The Dark Emu Story — WINNER Under Cover Best Sound in a Documentary Ego: The Michael Gudinski Story — WINNER John Farnham: Finding The Voice Kindred Memory Film — A Filmmaker's Diary The Dark Emu Story Television Awards: Best Drama Series Bay of Fires Black Snow Bump Erotic Stories Love Me The Newsreader — WINNER Best Narrative Comedy Colin From Accounts — WINNER Deadloch Fisk Gold Diggers Upright Utopia Best Miniseries Bad Behaviour In Our Blood Safe Home The Clearing The Lost Flowers of Alice Hart — WINNER While The Men Are Away Best Lead Actor in a Television Drama Tim Draxl, In Our Blood Travis Fimmel, Black Snow Joel Lago, Erotic Stories Sam Reid, The Newsreader Richard Roxburgh, Bali 2002 Hugo Weaving, Love Me — WINNER Best Lead Actress in a Television Drama Kate Box, Erotic Stories Aisha Dee, Safe Home Bojana Novakovic, Love Me Teresa Palmer, The Clearing Anna Torv, The Newsreader — WINNER Sigourney Weaver, The Lost Flowers of Alice Hart Best Acting in a Comedy Celeste Barber, Wellmania Kate Box, Deadloch — WINNER Patrick Brammall, Colin From Accounts Harriet Dyer, Colin From Accounts Kitty Flanagan, Fisk Nina Oyama, Deadloch Helen Thomson, Colin From Accounts Julia Zemiro, Fisk Best Comedy Performer Tom Gleeson, Hard Quiz Jim Jefferies, The 1% Club Luke McGregor, Taskmaster Australia Rhys Nicholson, RuPaul's Drag Race Down Under Nina Oyama, Taskmaster Australia Charlie Pickering, The Weekly with Charlie Pickering Natalie Tran, The Great Australian Bake Off Cal Wilson, The Great Australian Bake Off — WINNER Best Supporting Actress in a Television Drama Alycia Debnam-Carey, The Lost Flowers of Alice Hart Marg Downey, The Newsreader Michelle Lim Davidson, The Newsreader Heather Mitchell, Love Me — WINNER Leah Purcell, The Lost Flowers of Alice Hart Brooke Satchwell, Black Snow Best Supporting Actor in a Television Drama Tim Draxl, Erotic Stories Alexander England, Black Snow William McInnes, The Newsreader Bob Morley, Love Me Hunter Page-Lochard, The Newsreader — WINNER Guy Pearce, The Clearing Best Direction in a Drama or Comedy Ben Chessell, Deadloch (episode one) Emma Freeman, The Newsreader (episode four) — WINNER Glendyn Ivin, The Lost Flowers of Alice Hart (episode one) Matt Moore, Colin From Accounts (episode six) Trent O'Donnell, Colin From Accounts (episode three) Best Direction in Non-Fiction Television Katie Bender Wynn, Matildas: The World at Our Feet (episode two) Stamatia Maroupas, Queerstralia (episode one) Josh Martin, Adam and Poh's Great Australian Bites (episode one) Rachel Perkins, Dylan River, Tov Belling, The Australian Wars (episode one) — WINNER Henry Stone, Aaron Chen: If Weren't Filmed, Nobody Would Believe Best Screenplay in Television Patrick Brammall, Colin From Accounts (episode six) Harriet Dyer, Colin From Accounts (episode three) Kate McCartney, Kate McLennan, Deadloch (episode one) — WINNER Adrian Russell Wills, The Newsreader (episode four) Lucas Taylor, Black Snow (episode one) Best Cinematography in Television Sam Chiplin, The Lost Flowers of Alice Hart (episode one) — WINNER Earle Dresner, The Newsreader (episode four) Aaron Farrugia, Aunty Donna's Coffee Cafe (episode one) Tania Lambert, Erotic Stories (episode two) Katie Milwright, Deadloch (episode one) Best Editing in Television Peter Bennett, Aunty Donna's Coffee Cafe (episode one) Danielle Boesenberg, Colin From Accounts (episode three) Angie Higgins, Deadloch (episode one) — WINNER Angie Higgins, The Newsreader (episode four) Deborah Peart, The Lost Flowers of Alice Hart (episode one) Deborah Peart, Dany Cooper, The Lost Flowers of Alice Hart (episode six) Best Entertainment Program Dancing with the Stars Eurovision Song Contest 2023 — WINNER Lego Masters: Grand Masters Mastermind The 1% Club The Amazing Race Australia: Celebrity Edition Best Comedy Entertainment Program Hard Quiz — WINNER RocKwiz Taskmaster Australia Thank God You're Here The Cheap Seats The Weekly with Charlie Pickering Best Factual Entertainment Program Alone Australia Gogglebox Australia Kitchen Cabinet Old People's Home for Teenagers — WINNER Take 5 with Zan Rowe Who The Bloody Hell Are We? Best Documentary or Factual Program Matildas: The World at Our Feet Ningaloo Nyinggulu Queerstralia The Australian Wars — WINNER War on Waste Who Do You Think You Are Best Children's Program Barrumbi Kids Beep and Mort Bluey — WINNER Crazy Fun Park The PM's Daughter Turn Up the Volume Best Standup Special Aaron Chen: If Weren't Filmed, Nobody Would Believe Celeste Barber: Fine, thanks Hannah Gadsby: Something Special — WINNER Jim Jefferies: High & Dry Lizzy Hoo: Hoo Cares!? Rhys Nicholson's Big Queer Comedy Concert Best Lifestyle Program Adam and Poh's Great Australian Bites Gardening Australia — WINNER Grand Designs Australia Love It or List It Australia Selling Houses Australia The Great Australian Bake Off Best Reality Program Australian Survivor: Heroes v Villains FBOY Island Australia Hunted Australia MasterChef Australia — WINNER Real Housewives of Sydney RuPaul's Drag Race Down Under Best Casting in Television Colin From Accounts Deadloch — WINNER Safe Home The Lost Flowers of Alice Hart The Newsreader Best Costume Design in Television Ten Pound Poms (episode one) The Claremont Murders (episode one) The Clearing (episode one) The Newsreader (episode four) — WINNER While the Men Are Away (episode two) Best Original Score in Television Bad Behaviour (episode one) Deadloch (episode one) — WINNER Fisk (episode four) In Limbo (episode one) RFDS (episode five) Best Production Design in Television Beep and Mort (episode two) Black Snow (episode one) Deadloch (episode one) Gold Diggers (episode three) The Lost Flowers of Alice Hart (episode one) — WINNER The Newsreader (episode four) Best Sound in Television Black Snow (episode six) Last King of the Cross (episode four) The Clearing (episode one) The Lost Flowers of Alice Hart (episode six) — WINNER The Newsreader (episode six) Best Online Drama or Comedy Appetite Latecomers — WINNER Me & Her(pes) Monologue The Disposables The Future of Everything AACTA Audience Awards: Audience Choice Award for Favourite TV Show Ginny & Georgia — WINNER My Life with the Walter Boys Outer Banks The Kardashians The Summer I Turned Pretty Young Sheldon Audience Choice Award for Favourite Film Barbie — WINNER Mean Girls Saltburn Taylor Swift: The Eras Tour The Hunger Games: The Ballad of Songbirds & Snakes Wonka Audience Choice Award for Favourite Actress Jenna Ortega Jennifer Aniston Jennifer Lawrence Margot Robbie — WINNER Millie Bobby Brown Sydney Sweeney Audience Choice Award for Favourite Actor Adam Sandler — WINNER Chris Hemsworth Jacob Elordi Ryan Gosling Timothėe Chalamet Vin Diesel Audience Choice Award for Favourite Australian Media Personality Abbie Chatfield Chloe Hayden Em Rusciano Jimmy Rees Shameless Podcast Sophie Monk — WINNER Audience Choice Award for Favourite Australian Digital Creator Anna Paul @anna..paull Bridey Drake @brideydrake Georgia Productions @georgia Indy Clinton @indyclinton Kat Clark and family @katclark — WINNER Luke and Sassy Scott @lukeandsassyscott Maddy MacRae @maddy_macrae_ Sofia Ligeros @sofialigeros Audience Choice Award for Favourite Australian Sporting Moment AFL: Carlton reach the finals AFL: Grand Final Collingwood vs Brisbane F1: Daniel Ricciardo returns to F1 Netball: Australian Diamonds win Netball World Cup NRL: Grand Final Panthers vs Broncos Soccer: Matilda's World Cup run — WINNER AACTA International Awards: AACTA International Award for Best Drama Series Beef Succession — WINNER The Crown The Last of Us Yellowjackets AACTA International Award for Best Comedy Series Only Murders in the Building Sex Education Ted Lasso The Bear — WINNER The Marvellous Mrs Maisel AACTA International Award for Best Actor in a Series Kieran Culkin, Succession Matthew Macfadyen, Succession Pedro Pascal, The Last of Us Jeremy Strong, Succession Jeremy Allen White, The Bear — WINNER AACTA International Award for Best Actress in a Series Elizabeth Debicki, The Crown Helen Mirren, 1923 Bella Ramsey, The Last of Us Sarah Snook, Succession — WINNER Ali Wong, Beef AACTA International Award for Best Film American Fiction Barbie — WINNER Killers of the Flower Moon Oppenheimer Poor Things AACTA International Award for Best Direction in Film Greta Gerwig, Barbie Martin Scorsese, Killers of the Flower Moon Bradley Cooper, Maestro Christopher Nolan, Oppenheimer — WINNER Yorgos Lanthimos, Poor Things AACTA International Award for Best Lead Actor in Film Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Cillian Murphy, Oppenheimer — WINNER Andrew Scott, All of Us Strangers Jeffrey Wright, American Fiction AACTA International Award for Best Lead Actress in Film Cate Blanchett, The New Boy Lily Gladstone, Killers of the Flower Moon Carey Mulligan, Maestro Margot Robbie, Barbie — WINNER Emma Stone, Poor Things AACTA International Award for Best Supporting Actor in Film Matt Damon, Oppenheimer Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Jacob Elordi, Saltburn Ryan Gosling, Barbie — WINNER AACTA International Award for Best Supporting Actress in Film Penélope Cruz, Ferrari Vanessa Kirby, Napoleon — WINNER Julianne Moore, May December Rosamund Pike, Saltburn Da'Vine Joy Randolph, The Holdovers AACTA International Award for Best Screenplay in Film Cord Jefferson, American Fiction Greta Gerwig and Noah Baumbach, Barbie Bradley Cooper and Josh Singer, Maestro Christopher Nolan, Oppenheimer Tony McNamara, Poor Things — WINNER The 2024 AACTA Awards were announced on Saturday, February 10. For further details, head to the awards' website.
If you're reading this article, you almost certainly know about food and craft beer matching and you may know about locations and craft beer matching, but have you heard of (or tried) books and craft beer matching? There are a number of elements to this growing trend. In the US, for example, book bars are becoming part of the urban landscape. Operating on the same principle as book cafes, only with craft beer instead of coffee, these establishments have a strong craft element. The books stocked are often non-mainstream, much like the beers served to accompany them. Elsewhere in North America — Canada, to be precise — beer and book clubs are being formed "for those who like to read a good book, drink a good beer, and maybe combine the two once in a while". Meeting at various pubs within a certain area, these gatherings bring a craft beer twist to the traditional book club. And then, of course, there’s the internet — where all manner of unlikely combinations get together. You'll find blogs about the right beer to drink while following the adventures of your favourite comic book hero, or about craft beers to match to certain authors. But in sites like Book and Beer, you'll also find recommendations for a particular beer to enjoy with a particular book. (For the record, the author — Jason Hensel, a writer, musician and comedian living in Dallas — reckons American Gods by Neil Gaiman is best enjoyed with a glass of James Squire Jack of Spades Porter.) So which book (or series of books) is best suited to the various beers in the James Squire craft beer range? Get reading and sipping this summer, there's Kerouac-paired beers afoot. F. Scott Fitzgerald: The Great Gatsby "It’s a great advantage not to drink among hard drinking people." Pair with James Squire The Chancer Golden Ale. Joseph Heller: Catch-22 "He knew everything there was to know about literature, except how to enjoy it." Pair with James Squire Jack of Spades Porter. Ian Fleming: The James Bond series "You only live twice: Once when you're born. And once when you look death in the face." Pair with James Squire Four 'Wives' Pilsener. J.R.R. Tolkien: The Lord of the Rings "Ho! Ho! Ho! to the bottle I go, to heal my heart and drown my woe." Pair with James Squire Nine Tales Amber Ale. Fyodor Dostoyevsky: Crime and Punishment "The darker the night, the brighter the stars." Pair with James Squire One Fifty Lashes Pale Ale. Alexandre Dumas: The Count of Monte Cristo "All human wisdom is contained in these two words: wait and hope." Pair with James Squire Stowaway IPA. Jack Kerouac: On the Road "The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars." Pair with James Squire Orchard Crush Cider. Ian Rankin: The Inspector Rebus series "Rebus drank his coffee and felt his head spin. He was feeling like the detective in a cheap thriller, and wished that he could turn to the last page and stop all his confusion, all the death and the madness and the spinning in his ears." Pair with James Squire The Constable Copper Ale. Ali Baba and the 40 Thieves "Open Sesame!" Pair with James Squire Hop Thief American-style Pale Ale. Jon Cleary: The Sundowners "Do me a favour, will you? If you're gonna be a drover, look like a drover. Get rid of that silly flaming hat." Pair with James Squire Sundown Australian Lager (what else?).
When it comes to exploring Broome (Rubibi) and the Kimberley, we recommend packing your sense of adventure. This vast, varied stretch of country holds some of the most breathtaking landscapes and unique experiences in the world. There's ocean wilderness and colourful coral wonderlands, Aboriginal cultural sites and places of ancient, enduring story and significance. You'll see otherworldly rock forms, lush greenery and sprawling lakes, optical lunar illusions and sideways — yes, sideways — waterfalls. There's nowhere like it, and there are so many ways you can explore. Whatever way you want to adventure, we've got a standout spread of activities here to choose from — and a few ready-to-go trips if you're already packed and ready. It's time to choose your own quest out west.
As Sydney's Little India, Harris Park in Parramatta is the city's go-to for truly authentic Indian fare. However, in recent years, the CBD's satellite suburbs have produced some of the most innovative Indian diners in town — the likes of Foreign Return and Don't Tell Aunty in Surry Hills, and the superb but sadly recently closed Raja in Potts Point. Among these pioneering contemporary curry houses is Madam Ji in Darlinghurst, which has taken over the storied spot on Burton Street once occupied by Pocket Bar — one of the original vanguard of small bars that flourished after NSW's licencing laws were amended in 2017. Offering a menu that mixes tried-and-true favourites alongside radical fusions, this colourful addition to Darlo's thriving dining scene is ready to welcome those in search of classics like butter chicken and biryani, as well as epicurean adventurers hungry for something surprising. Somewhat ironically, among those unexpected dishes are riffs on two of the most predictable starters you can find on countless menus across Sydney and beyond. Creamy burrata and its faithful sidekick, tomato, are enlivened by a fiery house-made tadka — a mix of fresh and dried chillies — while a ceviche of kingfish balances its citrus edge with the earthy spice of curry leaf oil. The restaurant's co-owners, who are also lifelong friends, were both born in India, but cut their teeth in the hospitality industry in top Sydney venues and hotels. While Executive Chef Rakshit Sondhi commands the kitchen, Maninder Singh, who studied at the prestigious Le Cordon Bleu Sydney before taking on senior roles with the Hilton group, looks after front-of-house operations. Adorning the walls of the dining room are portraits of Indian women wearing vibrant saris. Sondhi and Singh wanted their new venture to be "a celebration of empowerment and individuality, inspired by the resilience and freedom of women in Indian culture". Beyond these artworks, the restaurant's fitout — much like its menu — is a mix of traditional cues, such as dark-stained wood panelling and mosaic floors, and modern touches, most notably the bar's eye-popping pink neon sign. In addition to its evening dinner service, Madam Ji also offers a tasty addition to Sydney's increasingly diverse array of bottomless brunches. On Saturdays and Sundays from midday, guests can enjoy free-flowing house wines for $79 or bottomless cocktails for $99 per person for two hours. Soaking up those drinks is a multi-course feast with sides, including a starter of papadams served with signature dips and chutneys; the aforementioned tadka-spiked burrata; buttery, flakey parotta drizzled with chilli oil; and ribs of bhutta (a variant of white corn popular on the Indian subcontinent) served with sigdi chicken tikka. The main course stars Madam Ji's signature butter chicken with all the trimmings, including the all-important naan bread. Images: Katje Ford
Ten-year anniversaries are traditionally celebrated with tin, but fantastic NZ designer Karen Walker has no time for such banalities. To mark ten unconventional years in the eyewear game, she has released the 'Celebrate' collection, entirely done in gold. If they look like lavish versions of what's come before, well, that's exactly what they are. Each style is an iconic favourite from a previous year's collection. So there's 2005's Annie, earlier seen on this vampire; 2013's Northern Lights, earlier seen on this grande dame; and 2012's Number One, earlier seen on this balloon. The metal frames have been encased in a clear epoxy resin, making them look like solid gold. But you'll be looking more Greek island hopper, less Daft Punk member thanks to the warm, amber-brown mirrored lenses, which is what's really elevating these golden oldies to the next level. Here's to another ten years of taking loud, playful and sometimes silly risks on our faces, and another ten years of waiting to see who/what will model Karen Walker's designs next. Check out the festive campaign for Celebrate, shot by Derek Kettela, below. To see out the full collection or just dive in and buy, head to the Karen Walker Eyewear website. Each style is priced at NZ$399 ($358) and is in store from October 9.
"I do love this film." So advises Bob Odenkirk, exclaiming his fondness for Nobody 2 as soon as he starts chatting with Concrete Playground. As evident to everyone who sees the sequel to Nobody, that affection is already splashed across the screen. The same proved true in 2021, too, when the franchise's first movie initially gave its star a chance to switch up from leading one of TV's greatest-ever tragedies and series overall, aka Better Call Saul, with a jump into action mode. His task: playing Hutch Mansell, a seemingly ordinary suburban dad with a past that meant that he was never going to let gun-wielding thieves break into his home and upset his family life with his wife Becca (Connie Nielsen, Gladiator II) and their two children (Law & Order Toronto: Criminal Intent's Gage Munroe and Harland Manor's Paisley Cadorath) without making those responsible pay for it. The debut picture set Hutch against the Russian mafia, all to take care of his loved ones. That isn't Mr Show with Bob and David and Breaking Bad alum Odenkirk's IRL path at all, but elements of Nobody were indeed personal. The idea to begin with started with him in his prime Saul Goodman/Jimmy McGill/Gene Takovic days. And, as the Nobody 2 director Timo Tjahjanto (The Shadow Strays) explained back when the sequel's initial trailer dropped, "the first film is also sort of based on what happened to Bob in real life — the whole idea that he was confronting this thing that happened in his house, when somebody broke into his house. So he exorcised that sort of, I guess, trauma, by writing a script or writing a story." Four years later, with a movie that follows the Mansells on vacation to Plummerville — Hutch's dad David (Christopher Lloyd, Wednesday) included — this is still a action-flick saga with IRL connectioms for its lead. In his childhood, Odenkirk once went on a similar getaway. Again, the exact scenario that awaits Hutch isn't how its star's real life panned out; however, links to reality remain, including in exploring Plummerville's criminal element. Getting personal and relatable has always been baked into the Nobody films as well in a broader sense, given that both hone in on someone trying to do the best for their nearest and dearest. That's Hutch's emotional journey. Crucially for Nielsen, she tells us, the same applies to Becca. Nobody 2 kicks off pre-holiday, with Hutch working off his $30-million mob debt from the feature's predecessor, and barely spending time at home as a result. Becca isn't thrilled. Cue the trip, at Hutch's suggestion, to Plummerville's Wild Bill's Majestic Midway and Waterpark — a place with youthful memories for the film's protagonist. Of course, running afoul of the corrupt owner of the local theme park (John Ortiz, The Madness), a take-no-prisoners crime boss (Sharon Stone, The Flight Attendant) and underhanded law enforcement (with And Mrs' Colin Hanks as the sheriff) wasn't on anyone's dream vacation itinerary. Writing for Saturday Night Live, plus featuring in everything from Nebraska, Fargo, Little Women, Undone and Lucky Hank to The Bear and Glengarry Glen Ross on Broadway, are all on multiple Emmy-nominee Odenkirk's resume. Whether as Hutch in the Nobody films or as Jimmy-slash-Saul, he's been especially focused on bringing to life figures who refuse to get knocked down and stay down for over 15 years now, though — but that's a trait that he stresses he believes applies to everyone. Indeed, there's always a relatability-meets-wish fulfilment mix to Hutch, Becca and the situations they're in. Who can't relate to struggling with work-life balance, or their partner's lack thereof? Or a holiday not quite panning out the way you'd hoped and wanting to set that right? Or protecting those most important to you? Nobody 2 sees Nielsen on-trend in her own career. For the second time in less than a year, she's returning to a big-screen part. First came Lucilla in Gladiator II; now follows Becca. While both are formidable women, as she has played repeatedly across a career that started with screen roles in the 80s and also spans The Devil's Advocate, Rushmore, Brothers, Wonder Woman, Origin and plenty beyond, it is particularly satisfying and gratifying to portray someone who is meant to be an everywoman — as Hutch is an everyman — and who demonstrates that she too, like all women, can hold her own, she notes. Alongside digging into why Nobody 2 is personal, and its focus on family as well as everyday woes — amid and sometimes through the action setpieces — Odenkirk and Nielsen also chatted with us about the origins of all things Nobody, further fleshing out Becca's story in the sequel, tenacity and more. On Whether Odenkirk Was Keen to Find His Next Recurring Character Beyond Better Call Saul and Breaking Bad — and What He Was Looking For Bob: "I didn't really think on the grand scale that you've described to me. I was really thinking about how Better Call Saul, to my surprise, was pleasing people in countries around the world. I really was mystified initially that Better Call Saul played so well in Italy and Romania and Russia and even England — and everywhere. I actually asked a journalist in Europe 'how do you understand the show? Do you have lawyers like this?'. And they said 'well, we've seen a lot of American entertainment and we understand enough about American culture to understand who Saul is in his community, in his world'. And then I saw that it played in China, and it gave me the thought 'well, if I did an action film, that could play around the world, too' — because action is fairly simple and easy to follow. And the value or the kind of drive of the film is easy to relate to. So I asked my manager 'what about an action film?' — and I thought he'd laugh me off the phone, but he did not. He said 'I get what you're saying. That could work'." On Nielsen's Opportunity to Further Build and Flesh Out Becca Mansell in Nobody 2 Connie: "I think Bob is just such a generous writer. He just writes all these situations where the humanity of his wife is just so clear. There is a wisdom that he builds into Becca — and a zenness, like a knowingness, that I find so attractive about Becca. Becca is patient, but she's not long-suffering. The difference is huge. And she is critical but never blames, never uses blame. She holds him accountable for the sake of the family, for what's best for all of them, but not to control. So there's this wonderful way you can build a character, and I think that Bob just really writes that into Becca since day one. I remember the first time when I read the first script and the reason why I decided I wanted to do it, even though I knew that they wouldn't be developing Becca until the second installation — I just knew that I wanted to do it because there was this sensitive, beautiful scene of two people sleeping with a pillow in-between them. And they're both awake, and they just can't figure out how to how to ford that river between them. And I just thought that I've never seen that in an action movie, something as sensitive as that. And I just love that." On Nobody 2's Personal Ties for Odenkirk, as the First Nobody Also Sported Bob: "Nobody 2 is about a family going on vacation. When I was a kid, we went on two vacations: one to the Illinois State Fair and one to the Wisconsin Dells. And the Wisconsin Dells are just like Plummerville — or at least they were 35, well 45 years ago, when I went on vacation to them. They're mostly water-based. There's duck boats. There's a guy who owns all the attractions in town — just like Wyatt Martin, played by John Ortiz. Wisconsin is where Al Capone ran his booze through. He actually had a home there, in Lake Geneva, I believe. So all that stuff that The Barber [Colin Salmon, EastEnders] says to Hutch, 'used to be a bootlegging route' — that's true of this place where I used to go. All of that is true. The backroads of Wisconsin was where they ran alcohol up to Canada during prohibition, ran it out to the other states, ran it through to Wisconsin. So all that stuff is based on my memories of childhood — and also Derek Kolstad [John Wick], who wrote the movie, his memories. He grew up in Madison, Wisconsin, very close to the Wisconsin Dells. So yes, this movie too is connected to my personal experience." On Doing What's Best for Your Family Always Being at the Heart of the Nobody Films, Even as Action Movies Filled with Violence and Vengeance Connie: "It really is, and I think that that's what attracted me to the story — is that it always stays grounded in something real. There's a real family there, kids, and the real community as well. So I love it when you see writing that just makes the small things come alive, because they are the ones that we just inherently use to create reference points to who we are all the time, and I love that kind of writing." On What Appeals to Odenkirk About Playing Characters Who Refuse to Get Knocked Down and Stay Down, and Are Determined to Bounce Back Up However They Can Bob: "Well, you can say that they're special people or they're indefatigable spirits, but I actually think that's actually pretty common. Most people I know don't quit until they're forced to. They kind of just don't quit. People don't quit. Sometimes I think people are limited by what they imagine they'd be capable of. And that limits them more than their spirit of fighting. I think most people fight pretty hard." On What's Satisfying and Gratifying for Nielsen About Portraying Formidable But Also Relatable Women Connie: "I think the most important thing is really showing normal people trying to address the enormous difficulties of living. There's just so much stuff that's hard to do. Family is hard. Relationships are hard. Jobs are hard. And just showing that, I think, at the same time as you're also entertaining, I think that makes people feel like they're seen — that their lives make sense, because everybody is going through that. So I think I really respond to writing where I see a real human struggle, and I also see indicators for where it becomes meaningful — like, that struggle has meaning." Nobody 2 opened in cinemas Down Under on Thursday, August 14, 2025.
Situated in the oldest laneway in The Rocks, The Fine Food Store is one to go searching for. Take a quick stroll down Kendall Lane, and you'll be greeted by a bustling Brooklyn-inspired eatery. Inside, an industrial fit-out and spacious interiors prove the perfect setting for a leisurely lunch. And, luckily, team here takes food and coffee very seriously. Expect wholesome eats including Riverina farmland poached eggs with your choice of sides, and decadent Belgian waffles with caramelised banana, macadamia and gelato. Order a house-roasted batch brew or single origin coffee, or a glass of Sigurd chenin blanc if you're feeling a little bit fancy.
There aren't many spots in the city catering to both the pre-work and post-work crowds, but Kahii Kissaten Bistro aims to do just that. It transitions from a cafe slinging specialty tea, coffee, sandwiches and pastries to an intimate cocktail, wine and snack bar, ideal for after-work drinks or date night spots. The younger sibling to the nearby bar and restaurant Kuro, Kahii Kissaten is found on Kent Street in a heritage building. It's a modern take on the traditional Kissaten coffeehouses in Japan, which focus on coffee, socialising and small bites. Wile away the morning with house-roasted small-batch coffee, Uji-sourced matcha or the viral black sesame cloud drink and croissant. Return for lunch to enjoy one of Kahii's famous pork katsu sando or green tea soba noodles As day transitions to night, Kahii converts into a bistro with a largely French wine menu carefully constructed by their in-house head sommelier. There are also classic, tea-based and coffee-based cocktails from renowned bartender Fumiaki Michishita, plus an extensive range of sake and spirits. Kuro also offers a curated evening menu for Kahii's punters. Small bites include appellation rock oysters, confit salmon with herb tofu and seared kingfish sashimi. Or for something heartier: fried chicken and wagyu steak with crispy potatoes. Images: KW Photography, Matthew Wong
Good morning to 2022's newly minted batch of Academy Awards nominees, and to fantastic news for the past year's very best film. The Power of the Dog leads this year's list of contenders with 12 nods, including three for filmmaker Jane Campion — who is now the first woman in history to receive two nominations for Best Director (after also being nominated for The Piano back in 1993), and could become the second female filmmaker in a row to win the coveted field (after Chloé Zhao's 2021 win for Nomadland). The Power of Dog's cinematographer Ari Wegner is also just the second woman to be nominated in her category, while the film's main cast all scored nods — including a Best Actor nomination for Benedict Cumberbatch, a Best Supporting Actress nom for Kirsten Dunst, and Best Supporting Actor nods for both Jesse Plemons and Australian talent Kodi Smit-McPhee. For real-life couple Dunst and Plemons, they nabbed their first-ever Oscar nominations together. For Smit-McPhee, if he wins, he'll become the second-youngest actor to score the shiny statuette in his category. That's the power of The Power of the Dog, clearly. Following Campion's exceptional New Zealand-shot western at the top of the 2022 Oscar nominations list is Dune with ten, including for Best Picture — although the film must've directed itself, with Denis Villeneuve missing out. After the sci-fi epic sits Steven Spielberg's new version of West Side Story and Kenneth Branagh's black-and-white memoir Belfast with seven apiece, also including Best Picture slots in a field that spans The Power of the Dog (obviously), CODA, Don't Look Up, Drive My Car, King Richard, Licorice Pizza and Nightmare Alley as well. Inspired by Haruki Murakami's short story of the same name, Drive My Car is now the most-nominated Japanese film in history, thanks to its Best Director and Best Adapted Screenplay nods for filmmaker Ryûsuke Hamaguchi, and its spot in the Best International Feature and Best Picture categories. Also making history: astonishing animated documentary Flee, which became the first movie to nab a spot in the Best International Feature, Best Animated Feature and Best Documentary Feature fields. Other standouts nods: Kristen Stewart's Best Actress nomination for playing Princess Diana in Spencer; Penélope Cruz's place in the same field for Parallel Mothers; Troy Kotsur's nod for CODA, becoming just the second actor who is deaf to be recognised by the Academy; both Olivia Colman (Best Actress) and Jesse Buckley (Best Supporting Actress) getting nods for sharing the same part in The Lost Daughter; Questlove earning some love for Best Documentary Feature for Summer of Soul (…Or, When the Revolution Could Not Be Televised); and The Worst Person in the World picking up places in the Best International Feature and Best Original Screenplay fields. Licorice Pizza's strong showing — including a Best Director spot for Paul Thomas Anderson — is also well-deserved, although the Oscars couldn't find room for Alana Haim's glorious lead performance. Oddities and omissions come with the territory every year, of course. The Academy went big for the average-at-best Being the Ricardos performance-wise, including nominating Nicole Kidman for Best Actress — and Don't Look Up's Best Picture nod probably at least means that filmmaker Adam McKay won't make a followup about how people ignored a movie that riffs on the response to climate change because they were more interested in better features. Also, despite a big public campaign, Spider-Man: No Way Home was only recognised in the Best Visual Effects category. That's a reflection of the film itself, though, and not of any supposed anti-superhero/supervillain flick bias, given that Black Panther scored seven nominations in 2019 and Joker picked up 11 in 2020. From all of this year's nominations, movie lovers will learn who'll emerge victorious on Monday, March 28, Australian and New Zealand time. And if it feels like we just went through all of this, that's because 2021's awards were held a little later than usual due to the pandemic — and because chatter about who's won Oscars and who'll win next, aka the sport of the film world, has become a year-round affair. The 94th Academy Awards will take place on Monday, March 28, Australian and New Zealand time. Here's the full list of nominations: OSCAR NOMINEES 2022 BEST MOTION PICTURE The Power of the Dog West Side Story Belfast Dune Licorice Pizza King Richard CODA Don't Look Up Drive My Car Nightmare Alley BEST DIRECTOR Jane Campion, The Power of the Dog Paul Thomas Anderson, Licorice Pizza Steven Spielberg, West Side Story Kenneth Branagh, Belfast Ryusuke Hamaguchi, Drive My Car PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Olivia Colman, The Lost Daughter Nicole Kidman, Being the Ricardos Jessica Chastain, The Eyes of Tammy Faye Kristen Stewart, Spencer Penélope Cruz, Parallel Mothers PERFORMANCE BY AN ACTOR IN A LEADING ROLE Will Smith, King Richard Benedict Cumberbatch, The Power of the Dog Andrew Garfield, Tick, Tick... Boom! Denzel Washington, The Tragedy of Macbeth Javier Bardem, Being the Ricardos PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Ariana DeBose, West Side Story Kirsten Dunst, The Power of the Dog Aunjanue Ellis, King Richard Judi Dench, Belfast Jessie Buckley, The Lost Daughter PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Kodi Smit-McPhee, The Power of the Dog Ciarán Hinds, Belfast Troy Kotsur, CODA Jesse Plemons, The Power of the Dog JK Simmons, Being the Ricardos BEST ORIGINAL SCREENPLAY Licorice Pizza, Paul Thomas Anderson Belfast, Kenneth Branagh King Richard, Zach Baylin Don't Look Up, Adam McKay (story by McKay and David Sirota) The Worst Person in the World, Joachim Trier and Eskil Vogt BEST ADAPTED SCREENPLAY The Power of the Dog, Jane Campion The Lost Daughter, Maggie Gyllenhaal CODA, Sian Heder Dune, Jon Spaihts, Denis Villeneuve and Eric Roth Drive My Car, Ryusuke Hamaguchi and Takamasa Oe BEST INTERNATIONAL FEATURE FILM Drive My Car (Japan) The Worst Person in the World (Norway) Flee (Denmark) The Hand of God (Italy) Lunana: A Yak in the Classroom (Bhutan) BEST ANIMATED FEATURE Encanto Luca The Mitchells vs the Machines Flee Raya and the Last Dragon BEST DOCUMENTARY FEATURE Summer of Soul (…Or, When the Revolution Could Not Be Televised) Flee Ascension Attica Writing with Fire BEST ORIGINAL SCORE The Power of the Dog, Jonny Greenwood Dune, Hans Zimmer Don't Look Up, Nicholas Britell Encanto, Germaine Franco Parallel Mothers, Alberto Iglesias BEST ORIGINAL SONG 'No Time to Die', No Time to Die (Billie Eilish and Finneas O'Connell) 'Dos Oruguitas', Encanto (Lin-Manuel Miranda) 'Be Alive', King Richard (Beyoncé Knowles-Carter and Dixson) 'Down to Joy' Belfast (Van Morrison) 'Somehow You Do', Four Good Days (Diane Warren) BEST CINEMATOGRAPHY Dune, Greig Fraser The Power of the Dog, Ari Wegner The Tragedy of Macbeth, Bruno Delbonnel Nightmare Alley, Dan Laustsen West Side Story, Janusz Kaminski BEST FILM EDITING Dune, Joe Walker The Power of the Dog, Peter Sciberras Don't Look Up, Hank Corwin King Richard, Pamela Martin Tick, Tick... Boom!, Myron Kerstein and Andrew Weisblum BEST PRODUCTION DESIGN Dune, Patrice Vermette and Zsuzsanna Sipos Nightmare Alley, Tamara Deverell and Shane Vieau West Side Story, Adam Stockhausen and Rena DeAngelo The Tragedy of Macbeth, Stefan Dechant and Nancy Haigh The Power of the Dog, Grant Major and Amber Richards BEST VISUAL EFFECTS Dune, Paul Lambert, Tristan Myles, Brian Connor, Gerd Nefzer Free Guy, Swen Gillberg, Bryan Grill, Nikos Kalaitzidis, Dan Sudick Spider-Man: No Way Home, Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick Shang-Chi and the Legend of the Ten Rings, Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver No Time to Die, Charlie Noble, Joel Green, Jonathan Fawkner, Chris Corbould BEST COSTUME DESIGN Cruella, Jenny Beavan Dune, Jacqueline West and Bob Morgan West Side Story, Paul Tazewell Nightmare Alley, Luis Sequeira Cyrano, Massimo Cantini Parrini and Jacqueline Durran BEST MAKEUP AND HAIRSTYLING The Eyes of Tammy Faye, Linda Dowds, Stephanie Ingram and Justin Raleigh Dune, Donald Mowat, Love Larson and Eva von Bahr Cruella, Nadia Stacey, Naomi Donne and Julia Vernon Coming 2 America, Mike Marino, Stacey Morris and Carla Farmer House of Gucci, Goran Lundstrom, Anna Carin Lock and Frederic Aspiras BEST SOUND Dune, Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett West Side Story, Tod A Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy No Time to Die, Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor Belfast, Denise Yarde, Simon Chase, James Mather and Niv Adiri The Power of the Dog, Richard Flynn, Robert Mackenzie and Tara Webb BEST DOCUMENTARY SHORT SUBJECT Audible Lead Me Home The Queen of Basketball Three Songs for Benazir When We Were Bullies BEST ANIMATED SHORT FILM Affairs of the Art Bestia Boxballet Robin Robin The Windshield Wiper BEST LIVE ACTION SHORT FILM Ala Kachuu — Take and Run The Dress The Long Goodbye On My Mind Please Hold Top image: Netflix.
Charles Entertainment Cheese is heading Down Under, ready to delight kids, families and Australian adults who've always wanted the Chuck E Cheese experience. Adding to the growing list of US food chains that have already brought or are set to bring their wares to our shores — such as Taco Bell, Wahlburgers, Five Guys and Wendy's — the American restaurant-slash-entertainment centre brand has announced plans for Aussie eateries. Where and when is yet to be revealed, but the children's birthday-party go-to is indeed coming. Royale Hospitality Group has signed a master franchise partnership for Australia's Chuck E Cheese venture, adding to a stable that also includes Outback Jack's and Milky Lane. It'll help extend the brand as it closes in on five decades of existence — launching in 1977 — and as Asia and Europe also become a global focus. On offer: the place to eat slices, play games and watch animatronics that's been parodied in the likes of Five Nights at Freddy's and Willy's Wonderland, but obviously without the horror. And yes, that spans the company's characters. Yes, Charles Entertainment Cheese is Chuck E Cheese's mouse mascot's full name. "We are thrilled to bring the magic of Chuck E Cheese to Australia and to collaborate with the Royale Hospitality Group, a partner that shares our commitment to delivering exceptional family experiences," said Chuck E Cheese International Chief Operating Officer Mario Centola, announcing the Aussie expansion. "We look forward to crafting the Chuck E Cheese brand for the Australian market. This is a momentous step towards establishing Chuck E Cheese as the premier destination for families seeking an unparalleled kid-centric entertainment and dining experience," added Royale Hospitality Managing Director Ray Strauss. "I am thrilled, along with my dedicated team, to embark on this exciting journey, taking Chuck E Cheese to the next level throughout all of Australia." Your nieces and nephews, who we're betting you'll want to take to Chuck E Cheese when it opens locally, will also be thrilled. Chuck E Cheese is set to open in Australia, but exactly when and where hasn't yet been revealed — keep an eye on the chain's website, and we'll update you with more details when they're announced.
With 322 kilometres of harbour shoreline, more than 100 beaches and over 2,500,000 acres of parkland, Sydney is a wonderland for outdoorsy adventures. Over the past few months, the city's hospitality legends have been hard at work opening up new spaces which capitalise on Sydney's stunning surrounds — venues where you can linger over cocktails while staring at the sea, basking in the sunset or soaking up the greenery. And now that the long, balmy evenings are well and truly here, it's time to explore their efforts. To help you plan the perfect al fresco outing, we've put together a list of five of Sydney's latest and greatest outdoor spaces. From a book-stacked nook in the CBD to a fern-filled expanse overlooking the beach, these new hangouts have your summer sessions sorted. Don't let the season pass by without sipping a drink, or two, beneath the sprawling Sydney sky.
