We've found your next weekend getaway. Experience the magic of the Murray River region at Wildergreen, Moama. The new hospitality and lifestyle precinct focuses on food, drinks and gathering, and is unlike anything else in the region. The garden-filled, nature-led precinct has been designed to invite exploration, celebrate life's simple pleasures, encourage playfulness and fun, and draw stronger connections to the natural world. Wander the garden paths, sip spritzes in the sun, and enjoy the out-of-town, fresh-breeze feeling. At the heart of Wildergreen is Embr, a fire-led Italian restaurant where Neapolitan-style pizzas and handmade pastas take centre stage. The menu is built on the experiences of Sardinian-born chef Daniel Girau in Michelin-starred kitchens across Europe and Australia, and features native Australian ingredients such as Davidson plum, wattleseed, pepperberry and lemon myrtle. Girau says, "At Embr, fire is at the heart of everything we do. It shapes the flavour, pace, and personality of the dishes, bringing simplicity, honesty, and a sense of theatre to the table." Head out of town for a long leisurely lunch, or linger over a romantic dinner, and enjoy dishes shaped by local ingredients and seasonal produce. Menu highlights include the likes of burrata with chargrilled nectarines, Amatriciane supplì and fish crudo with finger lime. The wood-fired pizzas are crunchy and charry, with bold toppings including fennel sausage, truffle cream and bush honey. If you're here to celebrate, try the luxe fire-roasted, one-kilogram Fiorentina steak for two and finish with a limoncello tiramisu or lemon myrtle panna cotta. Paul Barnes, CEO of Moama Bowling Club, says, "With Embr leading the way, Wildergreen becomes more than a precinct; it's a destination for dining, connection, and everyday good times." Images: Supplied.
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Presenting Wilhelmina's Liquid + Larder: Starring the food talents of recent MasterChef finalist Jamie Fleming, it’s the third instalment from James Bradey and Warren Burns, the producers who brought you cosmopolitan kitsch at Grandma's Bar and Irish folk fun at The Wild Rover. At Wilhelmina's, there’s no theme or gimmick to get you in the door; it’s just local, fresh, seasonal and sensational. Located on Balmain’s Darling Street, Wilhelmina’s celebrates the local community through food, drink and design. Recycled materials from the timber yard make up the back bar and walls, local pottery hangs from the ceiling, and then there’s the vibrant mural by local artist Anya Brock. While bar menus are typically crowd-pleasing and cholesterol-inducing, Wilhelmina’s opts for fresh and thoughtful selections that change with the daily market offerings. Today, there’s a plate of kingfish ceviche ($14), where twirls of raw kingfish sit with piles of crumbed pistachio and pickled cucumber, garnished with translucent slivers of radish. There’s little resemblance to the traditional Peruvian version — will these fusion flavours spell disaster for Jamie? The music is tense and we cut to an ad break where George Calombaris spruiks Swisse Vitamins. Fortunately, the flavours are inventive, intelligent and it “packs a punch”. Jamie is safe for this round. Cue uplifting music. So there's that. But for a more substantial evening meal, the Newcastle pippies ($23) are a mariner’s paradise. These butterflied beauties swim in a buttery white wine broth, served with a great hunk of sourdough sourced from Sydney's Bread and Butter project. If it's a beer-friendly bar snack you need, don't go past the Berkshire pork cheek croquettes ($8) or a cup of Wilhelmina’s spiced nuts ($5). If you’re sceptical about beetroot’s place on a dessert menu, you’ll be left red-faced after trying the delicious lemon posset ($9.50). It balances with precision a tangy lemon curd with a sweet beetroot gel and it’s finished off with an almond crumb topping for textual crunch. Wilhelmina’s doesn't drop the ball in the drinks department either. There’s an extensive list of local boutique wines, craft beers and inventive cocktails to ponder over. The Thyme Me Up cocktail ($16) mixes rum, banana, apple and thyme into a marvellously herbaceous creation. As this episode draws to a close, it’s time to hold up our scorecards. Wilhelmina's is a winner, and what's more, Balmain’s masterful new bar is sure to score high ratings with the locals.
High Street Music has been in business for a decade. Not only does the store stock some impressive musical gear, including Gibson Guitars, but the shop also hosts music lessons to help you express your inner rockstar. Looking for a unique gift? How about one of its colourful and compact ukuleles — perfect for that mate who seems to have everything, even if it ends up being largely decorative. Drop in and see the ultra friendly team, as the service is some of the best we have ever received. It's a mainstay local business that we hope sticks around for many more years to come. Image: Katrina James.
Two entries into their feature filmmaking career, there's no such thing as a bad horror movie from Danny and Michael Philippou. Talk to Me was a smash in every way possible: at festivals, with audiences, at the box office, with awards bodies and at introducing not just Australia but the world to a pair of potent new voices in the genre. With absolutely sign of second-film syndrome creeping in, the Adelaide-born twins' sophomore flick Bring Her Back is also an instant unease-dripping cinema great. While a Talk to Me sequel is also in the works, Danny and Michael have detoured into a different reckoning with loss and death first. And, where their debut movie featured Miranda Otto (The Lord of the Rings: The War of the Rohirrim) as its big name, their second enlists two-time Oscar-nominee (for Blue Jasmine and The Shape of Water) Sally Hawkins. There's also no such thing as a dull conversation with the Philippou brothers, either. When Concrete Playground had a date to discuss Talk to Me with them back in 2023, Danny was apologetic that Michael was unexpectedly AWOL — and he was also bubbling with joking ribbing. This time, both siblings are present and keen to natter, but Danny has lost his voice. "Too much excitement. Too much screaming," he advises. It doesn't stop him from engaging enthusiastically and energetically, although that's always this duo's vibe. The brotherly teasing remains as well. They've been dubbed "horror twins" more than once since they've made the leap from RackaRacka's viral YouTube videos to worldwide movie stardom — and while that's a term that normally brings on-screen characters like the Grady girls from The Shining to mind, rather than filmmakers, Danny and Michael can get onboard with it. "I'll embrace the term," says Michael, after first pondering whether it means that he and his brother are horrific. "Horror twins, we're all for it," adds Danny. If the label "horror siblings" was being used instead, it could also apply to key figures in both of their features so far, however. Bring Her Back's version: 17-year-old Andy (Billy Barratt, Invasion) and his younger sister Piper (first-timer Sora Wong), who has a visual impairment. Grief haunts this film from the outset, as Andy and Piper find themselves grappling with a tragedy and in need of a foster home, albeit ideally just for the three months until the former turns 18 and can obtain guardianship for the latter. Enter Hawkins as Laura, who has lost a daughter, and now welcomes orphaned children into her suburban house with an empty pool and an ominous circle surrounding the property. Enter Oliver (Jonah Wren Phillips, How to Make Gravy), the withdrawn, non-verbal boy already in her care, too. For Andy, Piper and viewers alike, Bring Her Back then plunges into an atmosphere of festering stress — and an environment within the storyline where anxiety and unshakeable mourning radiates from Laura, Oliver unsettles with just a stare and his presence, both siblings mightn't be equally wanted and not all motives are altruistic. Talk to Me confronted the end that awaits us all via personal loss as well — and embraced the yearning to hold onto loved ones now gone through a severed embalmed hand that, when grasped by the living, acted as a conduit to those who've shuffled off this mortal coil. There's no lopped-off appendage acting as a beyond-the-void communication device in Bring Her Back; however, the Philippous are proving themselves experts in dealing with familiar and frequently explored horror-movie themes firmly in their own ways, and also in new fashions each time. Beating, needling and piercing at the heart of both of their films to date is a truth that everyone knows in their gut but rarely vocalises: that losing someone means never being okay, or at least the same, ever again. Bring Her Back is another stellar feature from the co-director pair, with Danny penning their screenplays with co-scribe Bill Hinzman, that boasts a strong emotional core, then — and with thoughtfully written, resonant and relatable characters, even when they're making dread-inducing and disquieting choices. The Philippous' second film is also blessed with a phenomenal turn from a giving-her-all Hawkins, who certainly didn't navigate the same terrain when she was portraying Mrs Brown and taking in Paddington in that franchise's first two movies. One more Bring Her Back feat: it'll ensure that no one ever looks at kitchen knives and perhaps their own limbs in the same way again, while lingering in everyone's mind whenever diving into coping with grief and complicated families fuels any other future movie. When it gets gory — and it does — this is a film that audiences react to audibly. "We don't want them to faint," says Danny. "If you're prone to fainting, bring a pillow. Gasps are good, but please don't faint," adds Michael. "We apologise to the fainters," Danny pipes back in. As they both explain, they also found Bring Her Back affecting to direct, something that they mostly agree didn't really happen in their RackaRacka days. Cue the brotherly riffing again: "actually, Michael, we once set off a bomb and a stick got lodged into Michael's cheek. I thought I saw some tears from his loser," says Danny; "they were tears of joy," is Michael's reply. After Talk to Me exploded with such success, they were still committed to making Bring Her Back at home in Adelaide — and to original horror. Why? That was also part of our discussion. Plus, among other topics, Danny and Michael chatted with us about how the feature's origin story also involves being inspired by a friend's little sister, plus classic films like What Ever Happened to Baby Jane?; getting Hawkins onboard and then not wanting to let her down; and the pride that comes with being a prime example of how online videos are sparking a new generation of filmmakers, just as video stores in the 80s and 90s did. On How Talk to Me's Massive Success Helped Lead to Bring Her Back Danny: "It was like we had to sign on for the next project straight away, because I could feel the anxiety overtaking my body — and if we didn't sign up for something, I felt like I would have never made another movie again. Because you overthink it, and you're overshadowed by things. And if you're just making something, you can't think about it, you just have to do it. So yeah, that was part of the thing with Bring Her Back — like, let's just sign on. Let's start the process." [caption id="attachment_986977" align="alignnone" width="1920"] Jono Searle/Getty Images for AFI[/caption] Michael: "It was being developed at the same time as Talk to Me. So it was a script that was already kind of almost ready to go." Danny: "It was bubbling away." Michael: "It was bubbling away in background." Danny: "It was bubbling away." On Drawing Upon Real-Life People, Classic Films and Personal Experiences to Build Bring Her Back — and Realising When These Pieces Were All Fitting Together Danny: "I think it's once we found some of those ending beats. And once you really solidify those things, building up to that is so much easier when you know where you're going — because a big part of the writing process is just putting together scenes and ideas and moments. And there's no real road map. But once you have a final destination, that's where you're like 'oh gosh, this is really powerful. This sort of speaks to everything that we've been writing'. And the build up to that just felt like, yeah, it was solid." On Finding New Ways Into Interrogating Grief and Death, Two Frequently Explored Horror Themes Danny: "It's still something that we haven't fully expressed yet. And naturally when you're writing, you're writing about things that have happened to you or are happening to you in that moment, and it didn't feel like we fully explored that subject yet. And we couldn't go into it thinking 'there's been all these films about grief already, we can't make another one'. We just had to make sure it was personal to us, and it was drawing from our own experiences, so that way it could feel more unique. We can't go into it overthinking what people are going to think or how it's going to be received. You just have to make something that's true to you." On Tapping Into the Truth That Losing Someone Never Means Being Okay — or At Least Never Being the Same Again Danny: "It was weird because we had a loss at the start of pre-production, and the film became our way of dealing with it and figuring that stuff out. And the script changed because of it. And there was a scene in the pool shed towards the end of the movie where it felt like we were saying goodbye to somebody, and it was directed through tears. So it was never a strategised thing. It was just something we were dealing with and expressing." Michael: "Yeah, some of the scenes are supposed to be horror. And then they turned out sad. I've never cried before directing, but I did in that scene." Danny: "Yeah, yeah. And my co-writer, when he saw the film, he's like 'what? What movie is this? What? What is this? We didn't write this'. And I was like 'we were just responding to what was happening, so it changed'." On Never Being Afraid of Horror Tropes, But Always Grounding Them in Character Danny: "There's something exciting about existing within the horror tropes. And some people deny that they're making a horror film. We do try to work it at a drama level and have it work as a horror film, too, but we're not afraid of those tropes — and embracing those tropes. And then doing your own spin on those tropes is always a fun thing. It's always about grounding it with our characters and in this place. And there's something about having the Australianisms of some of those moments and those beats, I think, that automatically puts it in a different lens from other films, if that makes sense." On the Key Aim When It Comes to Putting a Strong Emotional Core and Thoughtfully Written Characters at the Heart of the Philippous' Films Michael: "For them to work as real human beings. And even, say Laura, she's not outrightly evil — she's driven to madness from grief. It's swallowed her. So it's the world that has made it this way, and she was unable to let go, and what does that look like? It's the spiral. It's a lot about what the circle represents as well. So it's those things that, hopefully, you can empathise with certain characters — even if you don't agree with what they're doing, you understand why they're doing it." On Making Another Firmly Australian Horror Movie, and Doing So at Home, After All of the Offers That Came Following Talk to Me Danny: "There's something that just felt right about it. And we had so many offers, like dozens and dozens. And the budgets were mind-blowing. And the idea of doing it was so, it felt — yeah, that just seems so impossible to even to be offered that. But it didn't feel right. It didn't feel natural. And it didn't feel real. This feels real. This feels personal. And this is a proper expression — and we have full control over these characters and this narrative. [caption id="attachment_1007259" align="alignnone" width="1920"] Scott Ehler[/caption] And A24 is a studio that allows us to go wherever we want with the script and with the edit. And they're not sitting there — it's not filmmaking by committee. It's filmmaker-driven. So it just feels like — it just felt right." On the Pitch to Get Two-Time Oscar Nominee Sally Hawkins Onboard Michael: "She was the first person on our list, and we were thinking 'there's no fucking way Sally Hawkins is going to say yes to working with us'. But we sent them the script, we sent her people the script. And she read it, and we heard back and she said that she loved it, and wanted to jump on a zoom. And we had one meeting with her. And I was kind of afraid with the big Hollywood name, of an ego or something. I don't know, I don't know what I was picturing. But when we spoke to her, she's so down to earth. So amazing. She understood all the nuances in the script that no one else had, and she connected with it not because it was a horror film, but from a character point of view. She really understood Laura. And she was a bit intimidated by playing her as well. I don't know if she was wondering whether she could pull it off. But so, that was the first person that we reached out to, and it was who we got, which was incredible. And she blew everyone away. She's amazing." On What a Performance Like Hawkins', Including in Such a Complicated Part, Gives You as a Director Danny: "It was like the biggest fear of this movie was letting Sally Hawkins down. We didn't want to, us, put together this piece of crap when she's given a part of her soul for this performance. So that was always a thing in the back of your mind. You're like 'oh, please, we can't let Sally down. Please'." Michael: "And the film was structured to be in chronological order as much as possible. So you know these big scenes are coming, and you're so excited because you know Sally's going to go there. So there's those scenes, and you're watching it on the monitor, and there's this magic in front of your face. It's the most-unbelievable experience. And then you can just say little things to Sally, just one or two words, and she just understands. And she will just do another take with these subtle changes, but still in that character. It's unbelievable. It's so, so amazing to watch." On What Inspired the Scenes in Bring Her Back That'll Ensure That Audiences Never Look at Kitchen Knives or Their Limbs in the Same Way Again Danny: "It's just about tapping into stuff that makes you uncomfortable, especially when you're writing horror and stuff. Like metal on teeth, that is so upsetting to me, and so it's about tapping into that and writing about it, and finding a visual that surrounds that. And then when you go back through it, it's about finding a way to tie that back into character, back into theme." Michael: "And grief is all-consuming." Danny: "But also, all of it represents more than just that." Michael: "I know, I know, but I'm saying that's one part of it. And then when you have things like that that go into those ideas, what is the physical representation of the themes and what we're talking about from a character point of view? And those scenes, just they come — and it's one of those things. We didn't want to shy away from it, when that stuff does happen. And I don't think we did." Danny: "I don't think we did." On How It Feels to Be an Example of How YouTube Can Be a Launchpad for Filmmakers to Hone Their Skills, Find Their Voice, Then Make the Leap Into Features Danny: "Just so proud, because filmmakers or storytellers can exist in all platforms and can come from anywhere. They could be — like the future Steven Spielberg, he could be there, or she could be there, right now, just only having access to their phone, and that doesn't make them any less of a storyteller. So I like that. Even when we're in meetings now, we're really pushing creators and different people, and letting them know that this is the next gen. [caption id="attachment_1007252" align="alignnone" width="1920"] Scott Ehler[/caption] These people want to be able to express themselves, and they've got different mediums to use it. That doesn't make them any less of an artist. Yeah, I feel very proud of that." Bring Her Back released in cinemas Down Under on Thursday, May 29, 2025. Read our review of Talk to Me, and our interview with Danny Philippou about Talk to Me.
Margarita fans, Tio's Cerveceria has great news for you: its brand-new menu is dedicated to the refreshing cocktail, starring classic renditions alongside some enticing newcomers. From huge fishbowl-style 'ritas to spicy margs spanning five levels of heat, this menu is well-worth checking out. The newest item kicking things off at the Foster Street bar is a massive $69 margarita housed in an oversized glass to share between four. Whether you're getting the party started or are simply in the mood for a drink that is affordable and shareable — at only $17.25 per serve — this mega marg will tick all of those boxes. For the spice fiends, swing by to try Tio's revamped take on a spicy marg, which is available in five levels of spice — if you dare to test your limits. Take your pick from levels one through five, with the first level hailing closer to the classic and the fifth being specially curated for only the biggest daredevils. Be warned — the final boss level of spice is not for the faint of heart, so you may want to pair it with a glass of milk or some of the joint's famed hot popcorn. Speaking of its popular free bags of popcorn, the new drinks list also stars a sip — aptly called 'Popcorn' — with popcorn-washed tequila, paprika and the outpost's in-house popcorn seasoning, as well as a vibrant newbie called 'Bluest', which takes inspiration from nostalgic blue Pop Tops and Zombie Chews. You'll also still be able to order familiar Tommy's and mezcal margaritas from the menu, alongside the weekly frozen and fruity 'rita specials. You'll find Tio's Cerveceria at 4/14 Foster Street in Surry Hills. Swing by from 5pm–12am Tuesday–Thursday, 4pm–12am Friday and 5pm–12am Saturday to try its exciting new menu. Image credit: Dexter Kim
When you consider the conventional response to the Deepwater Horizon disaster, one of impassioned environmental outrage, you almost feel like director Peter Berg accepted his latest film as a dare. "Hey Pete, here's one for ya. You know that Deepwater thing that happened back in 2010? Worst oil disaster in US history? 4.9 million barrels of oil spilled into the Gulf of Mexico? 11 workers missing and never found. Millions upon millions of marine animals wiped out and a $100 billion company doing everything it could to avoid liability? Yeah, well…make that an uplifting story". Impressively – and to Berg's definite credit – he's done a more than solid job of it. Deepwater Horizon does indeed find its heart by telling the story of the 'roughnecks' who kept the rig running right until it didn't: the engineers, the riggers, the crane operators and the cleaners. BP executives feature too, but you'd better believe they're the bad guys, especially in the eyes of the Deepwater team. Penny-pinching and regulation-bending, the BP/Transocean head honchos (led by John Malkovich) come across like comic book villains, delivering silver-tongued insults and making unyielding demands of their subordinates through toothy, moustachioed grins and deep-south Louisiana drawls. If Deepwater Horizon were a cartoon, Foghorn Leghorn would be the first one cast ("I say, I say, I say, I do protest sir that this here rig be nigh on 43 days past delivery date, yiiiih-ha!!") Squaring up against the suits is a solid ensemble cast of hard-arses and hillbillies from the Transocean team responsible for keeping the Deepwater rig afloat. At the helm, Mark Wahlberg plays Mike Williams, a straight-talking electronics technician, husband (to Kate Hudson) and father who tells his buddies how to fix their cars and his superiors how to fix their floating oil station. Alongside his boss Mr Jimmy (Kurt Russell), Williams has no difficulty in seeing that BP's determination to complete the drilling project and advance to the next site as quickly as possible puts at risk not just the oil reserve but all the crew members responsible for drilling it. Greed and gross negligence, in the film's frustratingly simplistic estimation, explain what happened next. We say frustrating, because in Deepwater Horizon there existed an opportunity to delve deep into the specifics of what precipitated the massive blow-out and subsequent explosion on that fateful evening. Sadly the script, based on the New York Times article "Deepwater Horizon's Final Hours", rarely advances beyond repeated mentions of a 'cement bond log test' not being performed. Berg's focus is clear from the beginning: this is a human story centred on a very specific couple of hours from within a much larger tale. But whatever the movie lacks in narrative depth, it does its best to make up for in action. As with any real-world disaster movie, the inevitable cataclysmic conclusion endows it with an inherent suspense. Berg's job is to simply build the pressure until its explosive release can be held no longer – and he's happy to take his time. As in Clint Eastwood's recently released Sully, the film's patience in delivering the heart-thumping disaster moment means its eventual arrival is almost overwhelming, aptly showcasing the horrors endured by those on board, and the heroism of the few whose actions saw so many others survive. An intense and gripping piece of cinema, Deepwater Horizon ultimately resonates more than one might have expected for a film of this type and subject matter, offering at once an earnest tribute to the men who lost their lives and a solid rebuke to those who were responsible. https://www.youtube.com/watch?v=S-UPJyEHmM0
If you've brunched at Paddington Markets during the past few months, chances are, you've sampled banh xeo: the mighty Vietnamese pancake. From now on, you don't have to wait until Saturday morning to get your fix. Stall owners Ben Sinfield and Tania Ho have set up their own restaurant in Rosebery and it's called, well, Banh Xeo. While the pancake is the eatery's centrepiece, it's far from all that head chef Sinfield (ex-Fred's, Ester, St John) is whipping up. He's also bringing his fine-dining training to a bunch of regional dishes rarely served in Australia, including bún bò huế (spicy beef and lemongrass noodle soup) and bún riȇu (blue swimmer crab and tomato soup). Plus, you can look forward to meeting 'Britnamese': the restaurant's signature blend of British and Vietnamese cuisines. They're not the most obvious of pairs, but Sinfield has come up with some interesting creations, such as bone marrow and toast, a London classic, spiced up with chilli-lemongrass paste. There's also crispy pig's head nuggets: pig's head meat, deboned, crumbed and fried, and served with shiso leaves and dipping sauce. And, come dessert time, Archie Rose gin, found just next door, is mixed with tonic in a granita, which is dashed with Vietnamese mint and lime zest. "This goes back to the fact that I love the food of Vietnam, but also want to bring in some of my own background," says Sinfield. "We laughingly call it 'Britnamese'. I have a lot of classical training, but I also want to bring in the flavours and the freshness of Vietnamese food, so it will be good to do a bit of both." Meanwhile, Ho will be taking care of front of house. "We absolutely love it that people can come to our stall, and now our restaurant, and try something they have never seen or tasted before," she says. "We find they really love it and that's very exciting for us." Banh Xeo will pop up for six months to start and, if all goes well, look into settling in for good. You'll find it at Shop 11, The Cannery, 61 Mentmore Avenue, Rosebery. Opening hours are Tuesday-Sunday for lunch from 10:30am and Thursday-Saturday for dinner from 5pm. For further details, head to their Facebook page.
Whatever happens to Wednesday Addams (Jenna Ortega, Death of a Unicorn) at Nevermore Academy in the second season of the Netflix series that bears her name, she'll be back at school afterwards. Before the sophomore run of the streaming hit begins dropping episodes from August 2025 — splitting season two into two parts, with the first arriving on Wednesday, August 6, then the second batch on Wednesday, September 3 —Wednesday has already been renewed for season three. Of course, all things Addams Family have been delighting audiences for almost 90 years, with the first-ever cartoon panel featuring the creepy, kooky, mysterious and spooky brood published in 1938. Following a lineup of other TV shows between the 60s and the 90s, as well as a range of films — live-action and animated alike in both cases — the first season of Netflix's take on the clan became and remains the most-viewed English-language series of all time on the streamer. As for when season three will hit and what's in store, details are unsurprisingly scarce given that season two hasn't yet premiered. "Our goal for season three is the same as it is for every season: to make it the best season of Wednesday we possibly can," Alfred Gough, one of the series' co-creators and showrunner alongside Miles Millar, told Netflix's Tudum. "We want to continue digging deeper into our characters while expanding the world of Nevermore and Wednesday, added Millar. "We will be seeing more Addams family members and learning more family secrets in season three." The pair, who also penned Tim Burton's Beetlejuice Beetlejuice — and are clearly fond of working with the filmmaker, since he's also behind Wednesday, including as both a director and an executive producer — are already promising to expand the Addams crew in season two. Enter Joanna Lumley (Amandaland) as Hester Frump, Wednesday's grandmother, for instance. In the show's second season, its black-clad protagonist is back at Nevermore Academy and being heralded as a hero thanks to her efforts in season one. Wednesday is characteristically unimpressed by the attention, the trailers so far illustrate. Soon, her focus is elsewhere, however, thanks to a premonition of her roommate Enid (Emma Myers, A Minecraft Movie) coming to a grave end, with Wednesday determined to do whatever she can to stop that from happening. Steve Buscemi (The Studio), Billie Piper (Kaos) and Thandiwe Newton (Mufasa: The Lion King) are also among the series' new cast additions in season two, while Catherine Zeta-Jones (National Treasure: Edge of History), Luis Guzmán (Justified: City Primeval) and Isaac Ordonez (Color Box) are back as Morticia, Gomez and Pugsley — plus Luyanda Unati Lewis-Nyawo (Dreamers) as Deputy Ritchie Santiago. Among its fresh faces, Evie Templeton (Criminal Record), Owen Painter (Tiny Beautiful Things), Noah B Taylor (Law & Order: Organised Crime), Frances O'Connor (The Twelve), Haley Joel Osment (Blink Twice), Heather Matarazzo (Paint) and Joonas Suotamo (The Acolyte) are also onboard — plus Christopher Lloyd (Hacks), following Christina Ricci (Yellowjackets) among the stars of the 90s Addams Family films popping up in Wednesday. Fred Armisen (Fallout) remains Wednesday's take on Uncle Fester, though — one that Netflix is so keen on that there's been talk of a spinoff about the character. Check out the full trailer for Wednesday season two below: Wednesday season two arrives in two parts, with part one dropping on Wednesday, August 6, 2025 and part two on Wednesday, September 3, 2025, both via Netflix. We'll update you with more details about season three when they're announced. Read our full review of Wednesday season one. Images: Helen Sloan and Jonathan Hession/Netflix © 2025.
Summer Hill fine diner One Penny Red is also home to an upstairs gin, wine and cocktail bar. Vernon's Bar, located on the second level of an old Post Office building, boasts an enviable semi-circle balcony that overlooks the street. Drop by to order a glass — or bottle — off the extensive wine list, featuring both local and international drops, or one of the interesting cocktails ($16–22). The latter includes the Ironbarque (Talisker whisky with pisco, almond, ginger and lime) and the Pina Caliente (tequila and mezcal with burnt pineapple and habanero), along with a barrel-aged negroni and a sazerac served with an absinthe sphere of ice. There's also a six strong list of G&Ts and Aussie craft brews from the likes of Akasha, Batch and Grifter on offer. Vernon's dedicated menu features elevated bar snacks like duck liver pâté with sweet and sour onions ($18), smoked plum beef short ribs with kale and kohlrabi ($35), pepper berry-cured kingfish with kanzi apple and shiso ($20) and salt cod fritters with smoked chilli mayo ($18). For dessert, you'll find the banana and salted caramel beignets, a regular dish on the otherwise regularly changing menu. And if you're a fan of molluscs, head in on Wednesdays, when the bar is offering up pots of Spring Bay mussels for just a tenner.
There's nothing little, only big, about Liane Moriarty's success as both an author and the source of twisty TV shows. There's nothing minor, only major, about Danielle Macdonald's success as an actor over the past 15 years, too. The Last Anniversary brings both Australian talents together — adapting Moriarty's sophomore novel of the same name two decades after it initially hit the page, and starring Macdonald alongside Teresa Palmer (Mixtape) and Miranda Richardson (Good Omens) as it tells of a multi-generational family's dramas and secrets on the fictional Scribbly Gum Island on New South Wales' very real Hawkesbury River. From Moriarty's bibliography, Big Little Lies, Nine Perfect Strangers and Apples Never Fall all reached readers after The Last Anniversary, but made their way to screens first. Macdonald is part of a new achievement among the genre that is Moriarty adaptations, however: this is the only one of the scribe's novels to retain its Australian setting on-screen so far. The debut season of Nine Perfect Strangers was made here, as was Apples Never Fall, but both changed the locales in their plots to the US — as Big Little Lies, the American-filmed series that got viewers hooked on Moriarty's tales, also did. The idea that something homegrown needs an overseas stamp of approval before Australia embraces it isn't new in the film and TV industry — and it isn't quite the situation with The Last Anniversary. But that concept also floats over Macdonald's career, after she made the move Stateside when she was 18, featured in a 2011 episode of Glee and in 2013 movie The East, then popped up in Pretty Little Liars, 2 Broke Girls, The Middle and American Horror Story before her breakout lead role in 2017 Sundance sensation Patti Cake$. Fellow films Lady Bird, Skin, Bird Box, Dumplin' and French Exit all followed, as did streaming series Easy, Unbelievable and Poker Face. As Macdonald tells Concrete Playground, yes, that makes coming home to feature in gripping shows like this, and also The Tourist before it, all the more special. "Absolutely. It's funny that l went overseas and found some success there, and then got to come back for jobs at home, and that feels special to me. Because a lot of people, they start out in Australia and then they try to branch out overseas — and I'm like 'I had to do the opposite just to be able to work in Australia'," she advises. "And it is funny and ironic, but at the at the end of the day, I love coming home. It's my favourite thing in the world. And you're never going to have to try too hard to convince me to work here, because it's where I love being. I feel completely at home here. I love Aussie crews. I love Aussie casts. It feels always like coming home and getting to do my job at the same time. It's this beautiful thing. It's always going to be special. It never won't be special. And it's not really for any reason than it just feels like coming home, at the end of the day. And getting to do what I love to do at home is something I never really thought I'd be able to do, so that will always be special to me. It just will." One of 2025's standout local series since it debuted earlier in the year, The Last Anniversary has Palmer's Sophie Honeywell, an unlucky-in-love 39-year-old journalist, at its centre — as well as the waves that she makes when she inherits a house on Scribbly Gum Island from Connie (Angela Punch McGregor, Troppo), the grandmother of her ex-boyfriend Thomas (Charlie Garber, Barons). Macdonald plays the latter's twin sister Veronika, who is angry and antagonistic about Sophie being bequeathed one of her family's homes, still harbours resentment over their friendship fading, and is struggling with her own recently divorce and move back in with her parents (Aftertaste's Susan Prior and Audrey's Jeremy Lindsay Taylor). She's also attempting to kick her life back into gear with a project: a podcast about the baby Munro mystery that the small island is known for. As a teenager, Connie (Elizabeth Cullen, Last King of the Cross) and her sister Rose (Josephine Blazier, also an Audrey alum) found and brought up an infant girl after young couple Alice and Jack Munro suddenly disappeared. Cue The Last Anniversary's jumps back and forth between decades. In its modern-day timing, that baby is now Enigma (Helen Thomson, Spit), and has a daughter, Grace (Claude Scott-Mitchell, Hotel Portofino), of her own that's just given birth herself — and the pair, plus Grace's partner Callum (Uli Latukefu, Countdown), are as much a part of the family, and the island, as Veronika, her mum and dad, and Rose (Richardson). As both Veronika and Sophie dig into everything they can about baby Munro, then, cue also long-kept-clandestine truths being spilled. The Last Anniversary follows not only the Jamie Dornan (A Haunting in Venice)-co-starring The Tourist among the recent titles to Macdonald's name with local ties, but rom-com film Falling for Figaro, an Australian–UK co-production also featuring Joanna Lumley (Amandaland), as well. If I Had Legs I'd Kick You isn't Australian, but it did earn fellow Aussie talent Rose Byrne (Physical) the Silver Bear at the Berlin International Film Festival for Best Leading Performance — and it's opening 2025's Melbourne International Film Festival. Firmly homegrown is the upcoming Saccharine, though, with Australian Relic and Apartment 7A director Natalie Erika James behind the lens, and with Macdonald leaping into a genre that she doesn't watch herself: horror. That journey from Glee and Patty Cake$ to The Last Anniversary, what appeals to Macdonald in a new project — Australian or not — and the mystery angles that have been appearing among her recent work: these also fuelled our discussion. We explored what excited her about stepping into Veronika's shoes, too, as well as playing a character that's almost reverting back to her teenage self, joining the growing lineup of Moriarty adaptations, working with her The Last Anniversary co-stars and more. On Macdonald's Journey Over the Past 15 Years From an Episode of Glee to Patty Cake$, French Exit, The Tourist, The Last Anniversary and More "Honestly, I think it's weird — because some people, you start out as an actor and you're like 'I want to be the lead of this and this', and I think I never actually really expected that, in a weird way. I think I was like 'I really want to be a working actor'. Like, 'I'll go from guest star to guest star, and I'll hopefully do recurrings on a show here or there, or maybe get a series regular, as a supporting character'. I never actually expected what has happened, in a strange way. That wasn't actually part of my plan. I just really wanted to be a working actor — and I am a working actor, which is amazing. But I've had more roles than I could have imagined that are just really, really cool, integral lead female characters That is really incredible and I didn't quite expect that, I'm not going to lie." On What Excited Macdonald About The Last Anniversary and Specifically Stepping Into Veronika's Shoes "She was fun. She's gone through something — but for me, it was really fun to explore. I knew that I got to deal with someone that's regressing in life. She's someone that had moved out of home, had a job, was married. And now she's divorced, she's moved back home, she doesn't have a job and is just trying to figure out who she is. That's fun to explore because it's that part of you that has to revert to being a teenager, in a weird way. Like when you move back in with your parents, or you go home just for the holidays, and your mum starts doing your laundry and cooking for you and everything. It's that kind of vibe. And that was actually really, really fun for me to just get to play with, especially filming in Australia, because I moved away from Australia when I was 18. And so when I'm in Australia, that is weirdly where I revert a little bit more into being a teenager. So it was fun to get to come back here and play a character that is reverting a little bit more into being a teenager again. So that was that was interesting to me. But I just love the story. I love the story. The story was amazing. And I knew I get to have a lot of fun with Veronica, and I just wanted to be a part of this world." On What Macdonald Looks for in an Australian Project "I think I look for the same thing no matter where in the world it is, to be honest. If I love a script, I love a script. And sometimes it's a first-time filmmaker that's directing it. Sometimes it's a first-time scriptwriter. That doesn't really sway me. It's always stories first. That is the number one thing. So if I read a script and I love a script and I relate to a script, I want to be a part of that. So that's always number one. And I think it's a feeling that you get. That's the best way to put it. It's not anything specific in a script — it's the feeling you get when you read it. And I felt that for many, many different ones. For The Tourist, I could not put it down. I read four episodes in one sitting, could not put it down. I loved it. So I really wanted to be a part of it. Same with this script. I read three episodes in one go. I think Saccharine was actually interesting. It was a little different, because I don't read horror movies. I don't watch horror movies, so I'm not great at reading horror scripts. And my managers loved it, and so I read it, and I was like 'here's the thing — as someone that doesn't understand horror movies, I refuse to watch it because it terrifies me'. But I can tell that it's a really well-written script, and this is a really interesting concept, that it was so funny — because that was actually a different experience going into it. Because I was like 'horror is the one genre that I don't understand and don't watch'. So that was actually more like I really loved the director, and I loved her vision, and that was really what drew me in. And talking to her about it, I was like 'oh, this is bringing the script to life now in a way that I don't understand from initially reading, because I don't understand this genre — and when you explain it to me, I can visually see it'. And then it became really real. So it really depends on the piece. And it always depends on the creatives. When you talk to people, that's when it really comes to life and you can see if their vision aligns with what you've read or not." On Whether It's Exciting, Stressful or a Bit of Both to Step Into a TV Adaptation of a Liane Moriarty Book "Liane's books just adapt really well. They're like these really strong characters. They're really complicated people. There's always a mystery-thriller element to it. And they work really well on-screen. I've always found that with all of her stuff. And it is daunting in the sense that you know that there is all this pressure to follow up and everything. But in a weird way, I just saw it as an individual thing. I was like 'this is just an awesome book that has been adapted into an amazing script that has got this amazing cast and crew around it, and I get to be a part of it'. I try not to really put expectation on any job I do. I think that that helps, because that way you just really stay in the moment and focus on what it is and the creative part of it. So for me, it was more just loving the content that I got to work with. But, yeah, when you think about it, it's like 'wow, it's really cool that I get to be a part of this world that she has created'. And it's like little family in and of itself." On Veronika's Path From Antagonism, Anger and Reverting Back to Her Teenage Self, Through to Perhaps Finally Realising Who She Is for the First Time — and the Juggling That Comes with It "When you start, you know that the character's going to go on a journey — which is amazing because you don't want to ever have something be just two-dimensional. So it's definitely a balancing act of seeing a character grow. And especially because we always shoot out of order, it's definitely trying to figure out 'okay, so this is the headspace that my character is in — and I know that she's growing here, but this hasn't quite happened yet. What impacts her? What is the change?'. It is definitely a lot of figuring out, kind of like a mental timeline, honestly, for someone. And I'm really big on writing notes about where my headspace is at the time of which scene, so that I can shoot out of order and make sure that it tracks the whole way through. But it's definitely a balancing act, because I want to keep the character, like who she is, Veronika, who she is from the beginning to the end — she is the same person. She is brash. She is going to speak her mind. That's not going to change just because she's becoming aware of what she wants to do with her life and who she loves. That's all happening, but she's still herself at the end of the day. You don't want someone to be unrecognisable. It's baby steps. This happens over the course of not a huge amount of time. So it's like someone growing and evolving, but also remaining who they are at their core." On Why Series with Mystery Angles Keep Popping Up on Macdonald's Resume — and Keep Appealing to Audiences "I don't know. I feel like true crime has always been a thing, but it was never really talked about the same way. I think with social media and everything, all these true-crime lovers had all these spaces to talk about it for the first time. Which I think is really cool — because when I think about it, there were all of the crime movies, they were always so popular when we were younger, or well before I was even born, even. If you think about the movies — like The Godfather, that's a crime family. That's one of the greatest movies of ever. So it's always been something that I think people have been fascinated by. There were also all those reenactment crime shows when I was growing up, I remember. And now that we have social media and we have Instagram, TikTok, there's now forums for people to chat about things. And then when you hear about people online figuring out mysteries themselves, they're like Internet sleuths — you're like 'that is so cool'. Like, 'wow, everyone can become a detective'. I used to watch Veronica Mars and it was about a teen PI, and I was like 'that's so cool'. I feel like it's always been around, and now there's just a forum for people to talk about it and share their passion and love for mystery and thrillers and stuff. So I feel like this generation has evolved with technology into making it more of a thing that people talk about, maybe, but I feel like it's always been like bubbling there around, and it's just now kind of come into light." On How Being Surrounded by Such a Stacked Cast Helps Your Own Performance "It was so fun. It just really was. We all got along really well. We became this big, dysfunctional family. Our favourite scene that we filmed in the entire series was just a big dinner scene together. It was so much fun. We had a great time. We had to really keep straight faces a lot of the time, because we were dying laughing — we were just having a good time. And that's a lot. When you're doing a 12-hour day and you're doing the same thing over and over again, it can get monotonous. And it wasn't. We were enjoying each other's company. And then there was another day, later on in the series, there's a big anniversary — the last anniversary party — and we're all filming different little segments, and then we all get brought back to the same area. We got in trouble for being too loud because we were playing cards, and we were playing games together and having too much fun. They're like 'we're sending you guys back to base so you don't interrupt filming' because we just had so much fun. It was just such a great time. We did genuinely love each other. And it happens on some sets. Some sets you just all click, you all find your way together and it's beautiful. And then other times, it doesn't quite happen that way — but this was one of those jobs that just was magical. And I'm so, so glad we had such a great group of people that just really, really embraced each other. I think that's the big thing. It's being open to each other — and that was really beautiful about this job. I honestly loved it." The Last Anniversary streams via Binge. The Last Anniversary stills: Mark Rogers.
In a city where personal style reigns supreme, one creative is standing out from the crowd. New Zealand-born stylist and content creator, Paris Wycherley, mixes vintage finds, elevated streetwear and tomboy silhouettes to create a uniquely self-expressive Melbourne-inspired look. "Melbourne fashion differs from other places because it's less about labels and brands and more about showing your individuality, thrift shopping and mixing and matching lots of different pieces," says Paris. "It's kind of anything goes, which I love." As a personal stylist, Paris often sources fashion across the city. With her keen eye for standout pieces and love of all things secondhand, she can often be found scouting Melbourne's vintage circuit. From Fitzroy's Brunswick Street to Smith Street, Goodbyes to Lost and Found Market, the stylist has a sixth sense for finding vintage deals among the bargain bins. So, what are her top tips for secondhand shopping? [caption id="attachment_1027350" align="alignleft" width="1920"] Image by Declan May[/caption] "Hunting for items across Melbourne's vintage stores is honestly like a sport to me," says Paris. Her ultimate vintage finds have included a leather vest from Comme des Garçons in Berlin and some Prada kitten heels. "They ended up getting worn to death on holiday because they were the only heels I could have a boogie in without getting blisters." But when it comes to secondhand shopping success, Paris credits persistence and time. "You have to go in with an open mind, head down, [and] get to work. Sometimes I can be in the vintage stores for hours, but once you find that special piece, the juice is definitely worth the squeeze." The stylist says she's found a winner when, if she left the piece behind, she knows it'd get snapped up by another fashion fan. "[I look for] unique pieces that I know if I leave it behind in the store, I probably won't see it again. Also, classic timeless pieces. A good vintage blazer is always needed and I collect slogan vintage tees, so I cannot pass up a good slogan." Alongside her persistence, Paris also uses the Samsung Galaxy Z Flip7 to snap inspiration and log her favourite stores. The phone is supercharged by Google Gemini, making it easier to discover, capture and share your style. Think of it as a style companion, or having someone like Paris in your pocket. You can see how Paris herself uses the tool for secondhand shopping in the video below. As a personal stylist and working for her partner's label, Monphell, Paris knows what makes good taste, and it's not keeping up with the never-ending (supercharged) trend cycle. "A sign that someone has good fashion taste isn't always about what they're wearing, but how they carry themselves and the confidence with what they're wearing," she affirms. "You don't have to keep up with the latest trends or spend your entire paycheck just to look good." [caption id="attachment_1027351" align="alignleft" width="1920"] Image by Declan May[/caption] Through her styling work, Paris aims to curate fashion pieces that feel authentic to the client and, most importantly, make them feel good. "I cannot stress enough that clothes should make you feel good." With her oversized fashion looks and seemingly effortless stream of content, Paris Wycherley is a fashion creative to watch. Whether she's shooting a lookbook with Monphell or sourcing for her clients, Paris proves that finding your style and taking the time to curate your wardrobe trump quick-and-easy trends every time. Explore more at Samsung. Flex Mode supported at angles between 75°and 115°. Some apps may not be supported in Flex Mode. Gemini is a trademark of Google LLC. Gemini Live feature requires internet connection and Google Account login. Available on select devices and select countries, languages, and to users 18+. Fees may apply to certain AI features at the end of 2025. Circle to Search not available on the FlexWindow. Results may vary per video depending on how sounds present in the video. Accuracy is not guaranteed. Lead image: Samsung
When it comes to beautiful vistas, heart-pumping stair climbs and aquamarine beaches, this ten-kilometre walk gets top marks. If you haven't tackled the Manly to Spit (or Spit to Manly) walking trail before, prepare for winding stretches of bush, rocky headlands and unbeatable beaches, all along an easy-to-follow path. If you have, you'll know it's well worth spending half a day exploring the area. To help you make a day of it, we've partnered with Adidas to bring you seven prime pit stops along the way, starting from Manly walking towards Spit Bridge. Take a look, then plan your own adventure using the map below. [caption id="attachment_717602" align="alignnone" width="1920"] Kitt Gould[/caption] ROLLERS BAKEHOUSE Before you get started, you'll want to make sure you've had a decent cup of coffee and a feed. This modern bakehouse, located just back from Manly Corso, is the ideal spot to fuel up. Wander down Rialto Lane to find buttery, house-baked croissants like the Croque, with layers of creamy bechamel, manchego, swiss cheese, wholegrain mustard and ham. Or, try the Reuben, with pastrami, swiss cheese, sauerkraut, russian dressing and cornichons. For the sweet of tooth, there's a decadent Sticky Oat Chai, filled with chai-spiked frangipane, vanilla mascarpone and rich caramel. Order a filter coffee or cappuccino made with Okay Coffee beans, so you're caffeinated and ready to head off on your walk. [caption id="attachment_801551" align="alignnone" width="1920"] Kevin McGrath/DPIE[/caption] REEF BEACH Four kilometres, or an hour or so later, you may want to stop for a water break. Make Reef Beach your first pit stop for emerald waters and shade. It's worth packing your swimmers so you can take a quick dip and enjoy the stretching views back to Manly. On your way back to the track, keep your eyes peeled for wildflowers, like bright yellow and red parrot peas, fuchsia heath and sweet-smelling fluffy wattle. [caption id="attachment_801468" align="alignnone" width="1920"] Tourism Australia[/caption] ARABANOO LOOKOUT This lookout point at Dobroyd Head will easily catch your eye thanks to its panoramic views, where you can see both North and South Heads, and where Sydney Harbour turns into the Pacific Ocean. Stretch your limbs as you impress your friends with some prior knowledge, like the fact that Sydney Harbour is considered the world's deepest natural harbour, or that this lookout point is named after Arabanoo, an Aboriginal man who was captured at Manly by Governor Arthur Phillip in 1788. [caption id="attachment_801227" align="alignnone" width="1920"] Destination NSW[/caption] GROTTO POINT ABORIGINAL ROCK ENGRAVINGS Less than a kilometre from Arabanoo Lookout, you'll be working up a sweat on the highest point of the climb. Take a break and seek out these rock engravings, one of Sydney Harbour National Park's most well-known historical sites. You can see a giant kangaroo, boomerangs, a whale and several small fish etched into the sandstone, each a snapshot of how the traditional owners' of the land, the Gayemagal/Cammeraygal peoples, communicated and lived in the area. You'll see signs for Grotto Point on the pathway. [caption id="attachment_801469" align="alignnone" width="1920"] Tourism Australia[/caption] CASTLE ROCK BEACH Fifteen minutes away, this beach will not only catch your eye, but also tempt you back into your swimmers. Castle Rock Beach is only accessible by foot or boat, and more often than not you'll have this sandy pocket to yourself. You're past the halfway point here, so this is a nice spot to relax before finishing your journey. Take the opportunity to get your feet wet or, if you haven't finished your croissant, reward yourself with a private picnic. [caption id="attachment_802870" align="alignnone" width="1920"] Emily Schacher[/caption] THE SANDY BEAR Stepping onto Clontarf Beach is a reward in itself, but rather than stopping off here, make tracks around to Clontarf Marina to seek out this waterfront cafe. The Sandy Bear is perched on the marina, overlooking the sparkling waters of Sandy Bay. Watch boats and yachts breeze in and out and dogs frolic in the shallow bay, all while enjoying a smoothie (choose from banana, mango or mixed berry) or an icy pole as a cooling reward for your walking efforts. CHIOSCO BY ORMEGGIO You made it! Pat yourself on the back and head over Spit Bridge to find the ideal finishing location. Alessandro Pavoni's classic Seaforth restaurant got a makeover in 2020, and its casual, seafood-focused vibe makes this waterfront trattoria a fitting reward. Opt for a takeaway serve of calamari fritti with lemony mayonnaise and Sydney rock oysters with a zesty mignonette dressing. Or, dine in and explore the full menu by young head chef Gianmarco Pardini. Dishes like tagliolino polpo e cozze (egg pasta with a red wine octopus ragout and local mussels) and risotto alla marinara e scampi (with seafood ragout, scampi and parsley) will replenish you with carbs, locally sourced seafood and, of course, plenty of flavour. In need of a new pair of runners? Take a look at the new Adidas Ultraboost 21 runners here. Launch the map below to start plotting your own running adventure in and around Sydney. Top image: Destination NSW
There’s really no better summer social than a well-done barbecue. Much of the challenge is finding the perfect spot and knowing what to serve — and as usual, we've got you covered. Sydney's home to a bountiful array of balmy barbecue spots, from beaches to coves, national parks to foreshores. Check out these fabulous Sydney BYO barbecue locations and perfect summer meal ideas to get you on track for the best day you'll ever have with your hat on. Brekkie Barbecue at North Bondi You haven't had a B&E roll until you’ve had one on the barbie. Head to North Bondi, claim a coin-operated BBQ, take a whole load of fresh eggs and bacon you’re prepared to tizzy up with some killer grill marks. Choose brioche if you’re feeling fancy and give it a light grill before applying lashings of your choice of sauce and the bacon and eggs. French toast done on the grill is also pretty great — just don’t forget the real deal maple syrup. After a feed, relax on the grassy knoll to watch the surf and let the feast digest before getting amongst it yourself. Facilities are excellent here, with running water and toilet and change rooms next to North Bondi SLSC. Getting here is easy by bus from Bondi Junction, or there’s some decent parking around Ramsgate Avenue and Curlewis Street if you’re there early enough. Barbecued Banana Puddings at The Basin Nestled on the eastern shores of West Head in Ku-ring-gai Chase National Park, the grassy area of the Basin offers the perfect bush-meets-bay scenario where walking, paddling, swimming and hiking are all up for grabs. Beautiful national park surrounds and well-maintained barbecues establish The Basin as the perfect location to truly come to terms with just how underrated barbecue desserts are. We can't recommend highly enough the pleasures of grilled pineapple sprinkled with cinnamon sugar (done so it crystallises), but for something really special try splitting a banana down the middle, filling it with high-quality white, dark and milk chocolate bits, wrapping it in foil and leaving it to cook for a few minutes on high heat. Some roughly chopped nuts don't go astray either. Such a perfect dessert, and (strangely) it's most spectacular on scorchers. With amazing water views, the Basin gives you the sense that you've come to a secret island. It's just the right vibe for a day (or couple of days) of barbecue festivities, and staying overnight isn’t a bad option — there's a camping area that accommodates 400 people. Get here by walking from West Head along the walking track, or take a ferry across Pittwater. You can also come by water taxi or ferry from Palm Beach. Mango and Coconut Chicken Skewers on Collaroy Beach On Pittwater Road in Collaroy find this idyllic barbecue spot with brand spanking new sheltered barbecues and picnic tables. The beach and the rockpools at Collaroy are hard to beat and getting tropical is easy by the sea, especially with the help of a simple and easy recipe with a bit of preparation pre-barbecue. Trim some chicken thighs, whack them on skewers, marinate in your best mango sauce — a combination of mango chutney, peanut butter, and soy sauce is perfect — and pop in a container for the trip to Collaroy. A bit of coconut cream and chutney cooked over low heat and popped in a container to take along is an amazing dipping sauce. Combine with your favourite Asian green salad, and don’t forget the radishes because they really make it. There are great swimming conditions here and excellent surf conditions for beginners. The facilities include sheltered barbecues, enclosed playground, picnic area, toilet and shower facilities, rockpool, paid car park or street parking, and sheltered tables. There's also a barbecue inside the enclosed playground, so with little tots running around it's a bit of a standout. Deluxe Snag Sandwiches and Pedal Boats at Lane Cove National Park There aren't many places in Sydney where you can really and truly have it all — think both hands wrapped around a fresh baguette piled with fried onions, stuffed with a snag and smothered in tomato sauce and a generous hand of grated cheese, with both feet lazily working the pedals of a pedal boat, the gorgeous Lane Cove bushland passing you by at just the right pace. It's the ultimate in hands-free and it's yours for the taking at Lane Cove National Park. With over 40 designated picnic areas, you won't be spoiled for choice. Many of these areas are large cleared areas beside the river but a few have more bushland settings. Fireplaces and barbecues are provided or you can can use portable barbecues in open areas if you bring your own wood. As well as the pedal boats rowboats, kayaks, and canoes are also for hire, but there are plenty of other options to keep you busy if watersports(ish) aren't your thing. There's plenty of shade for when the day heats up, and facilities include bike and walking tracks and campsites with cabins if you're just having too good a time to head home. Entry tree is $7 per vehicle. Chilli Snapper at Como Pleasure Grounds With panoramic views of the Georges River, Como Pleasure Grounds lives up to its name. Established in 1895, this site is the ideal location for a totally laidback day. Just 40 minutes from the city centre, it's worth checking out for the great walking paths and bike track alone. It's also got some great history – the site of the Grounds was the place where the Aboriginal clans of the Sweetwater, or Freshwater, people of the nearby Woronora River met the Bitterwater, or Saltwater, people of the Georges River. Como Pleasure Grounds is a great spot to let your inner chef shine — if you're feeling brave take a whole snapper, wrap it with lemon, chilli and butter, and prepare to wait. It takes a bit of time and patience — but if you can manage this the rewards are plentiful. There’s plenty of off-street parking and the nearby Como Swimming Complex includes a 20m pool with free entry. Beer Burgers at Blackwattle Bay Park Get the bikes together or take a bus to Blackwattle Bay Park — it’s got to be one of the most chilled out options in Sydney’s inner west with some of the best-maintained and newest barbies around. With stellar views of the Anzac Bridge and Rozelle Bay, this is a great place to settle in for a long, lazy day of food, friends, and good times. There’s plenty of room in the BBQ area so we’re thinking the whole shebang for this one: some good light summer beer, high-quality beef burgers (make your own with chilli flakes — amazing), fresh cut salads (think home-roasted beetroot, goats cheese, crispy pumpkin and pine nuts on a bed of rocket) and kumera potato fries (cheat by boiling until soft before you go). Don't forget to use beer to clean the grill. Oh, and dogs are permitted off leash. Winning, much? Cranking Barbecue Ribs at Cockatoo Island For when you have all the time in the world (and a full coin purse to boot), head to Cockatoo island by ferry or kayak, and set up for a long and lavish day in the sun. You're going to want a meal to match the beatific view of Sydney Harbour so think about marinating a batch of ribs in a mixture of wild meat and hickory sauce from an American supplier — Yanks do ribs best — and barbecuing using smoking chips. If you’re really organised braise these babies a day before and grill again on the big day. A simple salad of BBQ broccolini with strips of best-quality haloumi, drizzled with lemon juice and olive oil and sprinkled with pine nuts is a fabulous accompaniment. There are plenty of umbrellas for shade on Cockatoo Island and the sunset taken in with a full belly and a full glass of cool Pinot Grigio or bubbly is pretty close to perfection. Barbecuer beware, it’s not BYO — but there’s a fully stocked licensed bar on site. Other facilities include a cafe, the ever-popular Island Bar, live music, tennis court, historical audio tour, boat hire, kayaking, swimming, kids activities and a drinks machine. Barbecued Tapas at Tamarama Deserving of its nickname 'The Grown-Ups Beach' for all the right reasons — killer views, great facilities, and plenty of room to spread out with a group of friends to make the most of that sunshiny weather. It's also the ideal location to try your hand at barbecued tapas. Think seared asparagus wrapped in prosciutto, corn fritters with avocado salsa, chunks of haloumi and chorizo, barbecued king prawns with garlic mayonnaise, lamb chops by the dozen, and a share-sized fruit salad alongside a platter of strawberry and marshmallow sticks cooked over a low heat. Use multi-coloured marshmallows for a bit of extra tizz. Divided by Tamarama Marine Drive, the West section of Tamarama is a large open area with a shady gully and the smaller Eastern section contains barbecues with decent hotplates and a kiosk for if you forget something critical — like ice cream. Best of all, the glimmering Pacific is just a hop, skip and a jump away. Cajun Chicken at Clifton Gardens Beaches, bushland and a whole lot of grass makes Clifton Gardens a top spot to unpack the cooler, set up the chairs, and prepare to leave the big city worries behind. Located at Morella Road, Mosman, next to the Sydney Harbour National Park, there are plenty of facilities, toilets, loads of trees for shade, enclosed baths and a berthing jetty. Lots of great barbecue places in Sydney start with the letter 'C', but we don’t mind because it means we get to eat more chicken. Sometimes simple is best, so thoroughly marinate your chicken strips in olive oil, cajun spice, chilli and lemon, bring along best quality avocados as well as truckloads of greens and fresh beans and tuck in. After lunch take the walking trail to Bradleys Head with stunning views of Sydney Harbour along the way. It should take anywhere between one to two hours — depending on how much chook you've eaten or fizzy drinks you've had. Also worth checking out is Chowder Bay, named after whalers who used to make 'chowder' from the bay's abundant seafood. The bay was formerly a naval base and the area features historic buildings and facilities originally used as a submarine miners depot. Today, you'll find some lovely cafes here and if you're around on a weekday you can also catch the craftsmen from Sydney Harbour Wooden Boats practice the age-old trade of restoring and constructing wooden boats. Pretty great. Just saying. Grilled Marscapone Peaches with Bourbon Caramel Sauce at Davidson Park There’s something pretty damn special about kicking back after a feed in the shade of a tribe of Eucalyptus trees and just a short drive north of Sydney. This beautiful waterside location is the perfect place for groups large or small, especially for those who love exploring by boat. There are some great waterways to check out by canoe or kayak and the south-eastern end of the park is ideal for launching your motor boat or sail boat for access to Middle Harbour and Sydney Harbour. Large open grassy areas and free barbecues mean Davidson Park has all the potential of the perfect barbecue setting – which renders critical the inclusion of perfect grub to match. Fresh grilled peaches with mascarpone sauce are just the ticket after your favourite barbecue feed – even if it does mean we have to ditch our penchant for alliteration. All with good reason: see below. Get a caramel sauce cranking on low heat in a saucepan – the usual jazz of butter, castor sugar, double cream, a pinch of salt and a drizzle of bourbon whisky for good times. Lightly brush the peaches in oil or butter and grill them on low as well until they look like little parcels of sunshine, and fill with vanilla and sugar infused mascarpone. Thank us laters, alligators. Image credits: star5112 via photopin cc; Blackwattle Bay, JohnsonL623; North Bondi, J Bar; The Basin, Ku-ring-gai Chase National Park; Collaroy Beach, Warringah Council; Lane Cove National Park, LCNP; Como Pleasure Grounds, Sutherland Shire Council; Cockatoo Island, CI; Chowder Bay, Adam.J.W.C.; Davidson Park, Shaun Sursok.
The Sydney Opera House is arguably best known for its stunning concert hall, which hosts some of the world's biggest artists and performances. But beyond the main stage, a multitude of rooms host smaller, curated programs and performances — including the Playhouse. This stage is far more intimate, perfect for the return of the Sydney Opera House Cinema, screening a tidy five-day program of films and theatre screenings to end April. Highlights on the program include the 2008 surfing documentary classic Bustin' Down the Door with star and champion surfer Wayne "Rabbit" Bartholomew in attendance for a Q&A — followed by a screening of the beloved Catherine O'Hara and Eugene Levy-starring mockumentary Best in Show on Wednesday, April 29. [embed]https://youtu.be/sur_pxcpuoE?si=ExyukE9yoTltrLZZ[/embed] On Thursday, April 30 comes Shortwave x Awesome Black, an hour-long showcase of independent and First Nations short films curated by creative studio Awesome Black — followed by a 4k restoration of Tampopo (1985), a "ramen western" that follows a band of ramen ronin aiding a widowed ramen shop owner on a quest to find the perfect recipe. Otherwise, on Friday, May 1, the 1990 classic from director Wong Kar Wai, Days of Being Wild, charts a tense relationship between a young playboy, the woman enamoured with him, and the policeman caught in the middle in 1960s Hong Kong. [embed]https://youtu.be/dQIdBfrF0Ik?si=gMB18eu5OpHEnGkN[/embed] David Lynch lovers can't miss the Nic Cage and Laura Dern starring classic, Wild at Heart (1990) on Saturday, May 2, nor should Studio Ghibli lovers pass on a chance to see a self-affirming animated classic, and the origin of one of cinema's best lines: "I'd rather be a pig than a fascist" — Porco Rosso (1992), come Sunday, May 3. Later that day, there are two more classics: Wes Anderson's deeply dysfunctional tragic comedy, The Royal Tenenbaums (2001), and one of the most acclaimed international films in history — City of God (2002), which charts the diverging life paths of two friends in the favelas of 1970s Rio de Janeiro. [embed]https://youtu.be/dcUOO4Itgmw?si=xW5kCzSaTc0DL0AG[/embed] It's not all film on the program. Theatre lovers can settle in for recorded screenings of two stage shows. On Friday, May 1, is the Tudor-set retelling of the lives of Henry VIII's wives in SIX The Musical — followed by a recording of All My Sons fresh from London's National Theatre, starring Bryan Cranston in a story of fatherhood and consequences in wartime.
Do you like seeing out each and every year with a view of Sydney's fireworks? If so, then you're probably familiar with Embarkation Park. It's a prime vantage point for NYE celebrations — and, year-round, for looking over Garden Island and Sydney Harbour as well. (Also, when the sky isn't lighting up, it's an off-leash area for dogs from sunrise to sunset.) The Potts Point spot was actually home to wooden warehouses from the late 19th century through until the 1970s. Then, it became a park on the rooftop of the navy car park in the mid-1980s. Image: David Edwards via Wikimedia Commons.
It is hard to know what to expect from stores with acronym monikers. In the case of The DEA store, the title represents both a yardstick by which items are chosen for sale and what a customer should expect to find: products that will please the 'delicate eye area'. The store takes a minimalist approach — a wash of white, grey and timber — placing the focus on the pieces on display. The range features carefully curated homewares and jewellery from global and local artisans. There's favouritism towards Japanese designs in the ceramics, tableware and glassware. Local artists such as It's A Public Holiday and Sharon Muir are also stocked plus a range of ceramics designed by Australian ceramicist Peter Anderson exclusively for the store. The DEA store achieves the ideal balance between whimsical, stylish and functional that will please your eyes and your home. Images: Trent van der Jagt.
Diaries out: if you want to see out 2025 and ring in 2026 at Lost Paradise, the annual end-of-year music festival in Glenworth Valley on the New South Wales Central Coast, you now have dates for your calendar. From Sunday, December 28, 2025–Thursday, January 1, 2026, the fest will return. Lost Paradise has confirmed its 2025 fest — and that's all that's been announced for now. It's worth noting, however, that the roster of acts taking to the stage in both 2023 and 2024 was revealed in August each year. Some people love last-minute New Year's Eve plans, going wherever the mood takes them. Others can't start planning early enough. If you fall into the latter category, this end-of-year staple is for you. For Lost Paradise newcomers, the multi-day event turns a slice of its setting — which is located an hour out of Sydney — into one helluva shindig, complete with live music and DJ sets spanning both international and Australian talents. This year, organisers are promising newly reimagined versions of the festival's Arcadia, Lost Disco and Paradise Club stages. Tunes are just one part of the Lost Paradise experience, though. Here, art, culture, wellness, and food and drink also get a look in — although how that'll be the case in 2025 also hasn't yet been unveiled. Lineups from recent years will give you an idea of the usual mix of musicians, with 2024's fest featuring Fisher, Tinashe, Royel Otis and Flight Facilities, as well as Marlon Hoffstadt, Sammy Virji, SG Lewis, Confidence Man, DJ Boring, Kita Alexander and more. 2023 ended with help from headliners Flume, Dom Dolla and Foals, alongside Basement Jaxx, Bicep and Carl Cox on the decks, among other acts. Since first unleashing its specific flavour of festival fun back in 2014, Lost Paradise has become a go-to way to wrap up one year and welcome in the next — including if you're keen to camp for its duration. [caption id="attachment_965687" align="alignnone" width="1917"] Byravyna[/caption] [caption id="attachment_965686" align="alignnone" width="1917"] Amar Gera[/caption] [caption id="attachment_965688" align="alignnone" width="1917"] Byravyna[/caption] [caption id="attachment_965685" align="alignnone" width="1917"] Jordan K Munns[/caption] Lost Paradise returns to Glenworth Valley, New South Wales from Sunday, December 28, 2025–Thursday, January 1, 2026. To sign up for presale tickets, head to the festival's website. We'll update you when the lineup is announced. Images: Jess Bowen, Jordan K Munns, Byravyna and Amar Gera.
Beer isn't just a beverage; it's an experience. And that's what Suntory The Premium Malt's House is all about. It offers beer lovers a rare opportunity to enjoy exclusive Japanese beers alongside fun, interactive beer-related activities, mega giveaways and delicious Japanese snacks. The destination? Leading Japanese brewing group Suntory is bringing the one–off beer experience, celebrating the fusion of Japan's finest brews and Sydney's vibrant dining scene, to Darling Quarter's ICHOUME from Friday, July 25, to Sunday, August 17. The Japanese eatery will serve six exclusive tap-only draft styles, all freshly brewed in Kyoto and flown directly from Kyoto Brewery, straight to your lips. One of the six beers is Kaoru ale, available on tap for the very first time in the southern hemisphere. Topped with extra creamy foam, the Japanese ale-style beer is the definition of easy drinking. Now, we Aussies can indulge in its fruity flavours and bask in its honey and malty notes, without leaving the country. And the good times don't stop there. Visitors can also enjoy Sunset style, Black, Half&half, and Mliko. Sunset style is the Premium Malt's pilsner with the black creamy foam. Its name was inspired by the way it's poured—beautiful like a setting sun, while The Black is brewed with roasted malt. Half&Half is a mix of the Premium Malt's and the Black, and Mliko is made entirely of creamy 'Kamiawa' foam. With so many options and unique flavours, you're bound to find your new favourite brew. The pop-up offers yet another rare opportunity for beer lovers to savour the fruits of Japan's unique 'Kamiawa' — a creamy, ultra-fine foam technology that locks in aromatic complexity, prevents oxidation and maintains freshness while enhancing mouthfeel and smoothness. Imagine experiencing this heavenly, foamy, creamy goodness, paired with an intense flavour and unparalleled freshness. We're already salivating at the mere thought. In addition to sipping on rare beers from Japan, guests can enjoy food pairings and seasonal Japanese dishes for a truly immersive experience. Think ramen, gyoza, tempura, and plenty more. There will also be a beer foam art machine, where guests can print selfies on beer foam with a printer using malt extract. Yes, that's right; the foam is so delicate and creamy that you can print an image of it. Or, if selfies aren't your thing, the team will also be serving beer straight from a backpack keg—when else would you get the chance to enjoy beer from a backpack? If you can't make it to ICHOUME, don't worry, the campaign expands across 11 satellite venues across Sydney. How many venues can you conquer? This year's locations include: Rei Izakaya, Taruhachi Bento, Gold Class Daruma, Daruma Japanese in Haymarket, Yakitori Chaco Bar, and various YAYOI venues including Galeries, Chatswood, World Square, Westfield, Market City and Hurstville. While Kaoru ale is only available at ICHOUME, plus — don't miss your chance to score limited-edition original merchandise giveaways, available while supplies last. The other venues will offer exclusive Premium Malt's sets, special winter offers and discounts, and their own signature food — perfect for making your night truly memorable. To top it all off, there will be happy hour deals that are almost too good to be true. While offerings will differ based on which venue you attend, standouts include $10 for Kaoru ale/ The Premium Malt's at ICHOUME and 'The Premium Malt's' Special for just $6 at YAYOI Chatswood. The Suntory Premium Malt's is taking over ICHOUME from Friday, July 25, to Sunday, August 17. For more information, visit The Premium Malt's website or Instagram. Images: Supplied.
The all-new Sydney Boat Show is cruising into Sydney Olympic Park — and it's a boat lover's dream. From Thursday, August 14 to Sunday, August 17, the massive marine expo will transform Sydney Showground into a playground of boats, marine innovation, fishing gear, food, live demos and family-friendly fun. Across the four-day event, you can watch seafood get grilled by celeb chefs, catch casting tips from fishing expert Michael 'Cookie' Cook at the Berkley Supertank and get stuck into paddleboarding sessions and safety workshops. Charismatic Aussie chef Miguel Maestre will light up the main stage with his signature flair during a live cooking demo of his legendary fish and chips, made with a splash of his very own craft beer, Rubia. Afterwards, you can head to the relaxed Riverina Ave & Garden Bar to try the dish for yourself. Throughout the show, Miguel will also be roaming the exhibition floor, meeting fans and hosting lively Q&A sessions. It's a rare opportunity to learn top cooking tips from one of Australia's most loved culinary stars. Outside, you'll also find an openair showcase of live music, a kids' fun zone and a huge range of marine and lifestyle brands. General admission is $19 plus booking fee, and kids under 16 get in free when accompanied by a paying adult. As a bonus, all tickets include free travel on trains, metro and light rail. Plus, if you buy your tickets before July 31, you'll get a shot at winning $5,000 in 'Boat Show Dollars' to spend with any exhibitor on site. Whether you're in it for the thrill of the latest boating tech, the fishing hacks, the seafood or just a laidback day out, it's shaping up to be a boatload of fun. See the full program details and grab your tickets at the Sydney Boatshow website. By Jacque Kennedy
Word on the street is that Thursday nights are the new Friday nights. Don't believe us? Just ask Little Cooler, the rock-and-rap-inspired dive bar from the Maybe Group, now host to CTRL ROOM — a free-entry series of DJs spinning tunes from 8pm to 1am, every Thursday. Curated by E1 Collective, the weekly series promotes the diverse and upcoming talents in the DJ world, mixing everything from R&B, hip hop, funk and afrobeat to Latin rhythms and house on the decks. The rotating roster will feature a mix of resident and guest artists — keep an eye on the bar's socials to check out each week's lineup. In addition to pregaming for your weekend, pregame for the night itself with happy hour specials from 6–7pm on Wednesdays and Thursdays. Weekend happy hours run from 7–8pm, and 'Hospo Hour' is daily from 12–1am for those just knocking off (or kicking on). Little Cooler's red neon-lit bar and newly extended opening hours (1am during the week; 3am on weekends) make it the perfect place for music heads and hospo crews alike. Expect good tunes, strong drinks, and the kind of energy that keeps you dancing 'til close. CTRL Room will take place at Little Cooler every Thursday night from 8pm to 1am, entry is free. Visit the Instagram page for more details and weekly lineups.
Relish a stellar garden party this month, as beloved Australian cook and author Julia Busuttil Nishimura hosts a one-night-only dinner in the lush surrounds of Chiswick Woollahra on Wednesday, July 23. Bringing her trademark warmth and generosity to the table, Julia will showcase the best of her slow-food philosophy under the stars. Drawing from recipes captured in her cookbook, Good Cooking Every Day, expect a seasonal, Italian-inspired set menu influenced by Julia's Maltese heritage, Tuscan adventures and admiration for fresh produce. Joined by Chiswick's recently appointed Head Chef, Samuel Rozsnyoi, the evening will also feature a selection of in-house favourites, where produce-driven cooking and refined but approachable dishes are the main event. For an extra cost, you can even indulge in a wine pairing designed specially to elevate the experience. Ready to book? This event is open exclusively to Mastercard cardholders, with up to six guests permitted per booking. If that's all squared away, secure your place in Chiswick's verdant garden, brimming with fresh ingredients and Julia Busuttil Nishimura's refreshing perspective on the simple pleasures of cooking and life.
As it turns out, not even an electrical fire can keep Nomad down. Al and Rebecca Yazbek's acclaimed Surry Hills Mediterranean diner suffered extensive damage after a fire broke out in the restaurant's ceiling in early September, but the show's far from over. While the Foster Street restaurant site undergoes a hefty rebuild and some much-needed repair work, Nomad will keep chugging along, albeit in a slightly different format, when it pops up around the corner at 85 Commonwealth Street for a three-month residency. This new space was previously home to modern Thai institution Longrain and most recently the much-hyped Orana in Residence pop-up, so it's safe to say Nomad is joining some pretty good company. [caption id="attachment_738741" align="alignnone" width="1920"] Orana in Residence by Nikki To[/caption] Nomad Up The Road — as the pop-up is called — will take the form of a sophisticated 140 seater, decked out with much of the original restaurant's artwork and furniture. It'll have front-row seating along the open kitchen, as well as roomy, group-friendly tables, and a private dining area for 24. Chef Jacqui Challinor will continue to head things up in the kitchen, but without Nomad's famed woodfired oven you can expect a few changes to the food. On the menu, long-standing favourites like the kingfish ceviche, duck mortadella and that creamy cannellini bean hummus will join a slew of new inventions. And, who knows, maybe some of the new Commonwealth Street hits will win permanent menu residency once the original restaurant's back up and running again. Set to open its doors on Friday, November 1, Nomad Up The Road will be dishing up lunch and dinner from Monday to Saturday, as well as a new weekly edition of Saturday's ever-popular bottomless rosé sessions. Nomad's Foster Street space will open with a suite of upgrades early in 2020. Find Nomad Up The Road at 85 Commonwealth Street, Surry Hills, from November 1. The OG Foster Street restaurant is slated to reopen in early 2020.
One of the reasons that it's so easy to lose yourself at teamLab Borderless, the acclaimed and hugely popular Tokyo digital art gallery that should be at the top of every visitor to Japan's must-visit list, is the way that its stunning sights keep moving around you. No one just looks at art here — they're truly immersed in it. At RISING 2025, expect that same sensation. When Melbourne's annual winter arts festival returns, expect to step into a field of red beams, too. Whether you're a local or hitting up the Victorian capital just for the fest, expect to never see The Capitol the same way again as well. After first announcing that it'd be getting swinging in 2025 — at mini golf, that is, courtesy of an art exhibition that's also a nine-hole mini-golf course that's taking over Flinders Street Station Ballroom — RISING has unveiled its full program. Hailing from teamLab alum Shohei Fujimoto, intangible #form is a massive highlight. The Japanese artist's free installation will take over The Capitol each evening complete with all of that crimson lighting, which'll respond to your movement. Sparking the feeling losing yourself in its beams and hues is 100-percent the piece's aim. With 65 events featuring 327 artists on RISING's 2025 lineup between Wednesday, June 4–Sunday, June 15, intangible #form is just one of the fest's standouts this year. Another comes courtesy of Suki Waterhouse playing her first-ever Aussie shows, which you can only see in Melbourne at the fest. After proving a drawcard in 2024, Yasiin Bey is returning to RISING in 2025, this time joined by Talib Kweli. Still on tunes, Portishead's Beth Gibbons, Aotearoa favourite Marlon Williams, septuagenarian grime stars Peter Bowditch and Basil Bellgrave, Black Star, RONA, Soccer Mommy and Japanese Breakfast are also on the bill — as is the return of eight-hour music fest-meets-block party Day Tripper, with DIIV, Mount Kimbie, Annie and the Caldwells, Bktherula, Paul St Hilaire and Bad Vacation taking to the stage. If you haven't seen Hedwig and the Angry Inch before, this is your chance to redress that gap in your theatregoing, with this new Australian production of the rock musical starring Filipino Australian singer Seann Miley Moore. And if you've ever wondered if you could manage to sit still — completely — for 90 minutes, Woopsyang's "do nothing" challenge is part of RISING, and asking festival attendees to participate. Or, catch the Australian premiere of Olivier-winning hip-hop dance work BLKDOG by Botis Seva — and then grab a seat for The Wrong Gods, a new piece by S Shakthidharan, the playwright behind RISING 2024's Counting and Cracking. Celebrating Divinyls legend Chrissy Amphlett via cabaret, hearing sound artist Sara Retallick dive deep into The City Baths as a composition space, dancing again at the return of SHOUSE's Communitas, spotting Melbourne Art Trams' latest iteration rolling around town, embracing a playful stage musing on heartbreak with the appropriate soundtrack: that's all on offer, too. Also on the agenda: peering at large-scale projections that champion Yorta Yorta ancestral connections as they flicker across Hamer Hall, all thanks to Moorina Bonini; discovering what happens when time and sound bend in the void beneath Federation Square; watching six performers work through 36 Shakespeare plays using household objects; and another date with the Bard, with Hamlet staged by a neurodiverse cast. BLOCKBUSTER, also at Fed Square, looks set to live up to its name, giving RISING a free ode to South Asian culture. Think: street food, Pakistani R&B, Punjabi rap, art trucks, workshops and more. To similarly feel spoiled for choice while hitting up just one part of the festival's program, head to Night Trade, which is again part of the program, bringing street, karaoke and microbars to a late-night art market between Capitol Arcade and Howey Place. The list goes on — including Soda Jerk switching from bringing TERROR NULLIUS and Hello Dankness to the big screen to designing a mini-golf hole for the aforementioned Swingers: The Art of Mini Golf. [caption id="attachment_994700" align="alignnone" width="1920"] Woopsyang[/caption] Top images: Mandy Wu, Mathieu Bitton, Eugene Hyland, Katsuyuki Seki, Steven Marr, Ryan Cara, Netti Habel and Remi Chauvin.
It's safe to say, restaurants like Meu Jardim don't come around every day. After all, this dramatic new Skittle Lane venture from restaurateur Ussi Moniz Da Silva not only boasts a heady $4.1 million dollar fit-out, but also a huge firepit and a three-metre-high indoor waterfall. A futuristic nod to the natural elements of fire and water, the two-level, 330-seat space delivers a striking vision of glossy white angles and turquoise neon finishes. White pearl walls supposedly pull inspiration from the Dordogne Valley in France, while an impressive curved block staircase connects the two floors. Upstairs is dedicated to a high-end contemporary French restaurant, its entrance marked by that flowing sheet of water and an oyster shucking station, and its open kitchen set artfully behind glass. Here, Executive Chef Jason McCauley (Banc Restaurant, Carpaccio Leichhardt, Eatalia) is plating up modern reworkings of classic fine French flavours. It's a lineup that's both considered and totally decadent, kicking off with bites like escargot in garlic, butter and champagne, Western Australian lobster tail and a wagyu tartare starring quail yolk and Tasmanian summer truffle. Mains might include a duck a l'orange featuring turnip, green olive and an orange gelee, or the blue eye trevalla and mussels done with plenty of white wine and cream. There's even a 1.2-kilogram grass-fed tomahawk steak, which you can pimp out even further with the addition of some gold leaf for an extra $60. [caption id="attachment_764757" align="alignnone" width="1920"] Kitti Gould[/caption] If decisions aren't your strong point, a five-course degustation is also on offer for $100 a head, which will take you from scallops with caviar through to fillet and an apple tarte tartin served with smoked honey yoghurt ice cream. A more casual (and affordable) affair awaits you downstairs, where snacks, shared plates and bistro fare take centre stage. Expect to tuck into creations like the chicken liver parfait served with a port gel and sesame lavash, salt cod beignets and the restaurant's signature 'crodogs' — a croissant-hot dog hybrid — filled with the likes of pulled pork, lamb and mint or strawberries and cream. You can also pull up a seat by that 40-person firepit to settle in with a cosy tipple. There's a wine selection heroing drops from across Australia and France — go for a glass of the 2018 Domaine Paul Blanck pinot blanc from Alsace, perhaps — and a cocktail lineup starring forgotten classics alongside signature creations. Stay on theme with something lush, like the Vuju De — a fusion of Monkey 47, sherry, Dom Benedictine, Lillet Blanc, creme de violet and orange bitters. Images: Kitti Gould
Situated on the banks of the Murray River, Tocumwal is the ideal destination for an outdoorsy getaway. With virtually endless opportunities for fishing, camping and hiking in the surrounding areas, you can spend your days bouncing between the riverside beaches or seeing the fascinating landscape from high above. With the help of Wild Turkey, we've selected a series of activities that'll take your visit to this lush Riverina district to the next level, whether you're seeking relaxation, adventure or a bit of both. [caption id="attachment_843939" align="alignnone" width="1920"] Elliot Kramer[/caption] GO BEACH HOPPING The Murray River flows right through the heart of Tocumwal, and 24 riverside beaches within close proximity to town ensure you can make the most of every sunny day. With this stretch of Australia's longest river lined with shady red gums and native bushland, there's a quiet patch of shoreline with your name on it. For instance, Tocumwal Beach, Apex Beach and Finley Beach are all within a quick drive of one another. If you don't mind a quick drive, Bouchiers Beach and Smithers Beach are also top-notch options. No matter which beach you like the look of, the water is perfect for swimming and kayaking. [caption id="attachment_843057" align="alignnone" width="1920"] Rob Blackburn - Visit Victoria[/caption] SEE THE SIGHTS FROM ABOVE Take flight above the countryside with Sport Aviation, one of the top attractions in Tocumwal. Courageous passengers can experience heart-pumping flights in both gliders and light sports aircraft, whether you're just looking for a thrill or keen to learn the basics of piloting. Leaving from the runway located just outside town, you'll soar high above the rolling hills and sprawling river system with an expert guide. Traversing across the landscape, these nimble aircraft provide a striking bird's-eye view, ensuring you have the best possible vantage point to soak up the scenery. [caption id="attachment_843062" align="alignnone" width="1920"] Flicker (bkstreets49)[/caption] EXPLORE LOCAL TRANSPORTATION HISTORY It doesn't take long to wander from one end of Tocumwal to the other, but this historic part of the world is overflowing with fascinating history everywhere you look. Once you've touched down after your glider flight, you can head next door to the Tocumwal Historic Aerodrome Museum — once home to Australia's largest RAAF base — to learn about the town's wartime legacy. If you prefer trains to planes, the Tocumwal Railway Heritage Museum presents fascinating photos and railway memorabilia dating back to 1908. Meanwhile, Chrysties Classics and Collectibles Museum (pictured above) offers an eclectic mix of classic cars, tractors and vintage machinery that showcases the region's extensive farming legacy. [caption id="attachment_843066" align="alignnone" width="1920"] Visit Victoria[/caption] HIT THE GREENS Handy with a set of clubs? Tocumwal Golf and Bowls Club is the ideal place to practise your swing, with not one but two 18-hole courses — and regular tournaments — revealing how you measure up. With the club also boasting a driving range, a chipping green and two putting greens, budding Shooter McGavins will find themselves in heaven. If you're new to golf, head to Finley Golf Club, around 20 kilometres outside of Tocumwal. With no bunkers or hills to worry about on this course, beginners can let loose on the fairways as much as they like. And with daily tee times available for non-members, getting involved couldn't be easier. Nearby Cobram, meanwhile, is home to one of the Murray's premier golf destinations. The Cobram Barooga Golf Club (pictured above) boasts 36 championship-level holes on which to test your skills, as well as lush lawn bowls greens, a full-service clubhouse and even a mini-golf course (that recently hosted the Australian Mini Golf Open) on its expansive grounds dotted with beautiful native flora and fauna. [caption id="attachment_843056" align="alignnone" width="1920"] Emily Godfrey - Visit Victoria[/caption] GET OUTDOORS Tocumwal is the perfect place from which to set off on an outdoor adventure, with Barmah National Park recognised as particularly special for bushwalking and horse riding. Home to the world's largest river red gum forest, the expansive park also boasts stunning wetlands that provide critical habitat for over 200 bird species. Closer to town, you're welcome to admire the alluring Murray River from the shoreline, but it's even better when you hire a boat and drift along the waterway instead. With the area renowned among anglers in search of cod, perch and trout, it's the ideal way to find a quiet place to drop a line and spend a lazy day enjoying the calm waters of the mighty Murray. Find out more about Wild Turkey's Discovery Series at the website. Top image: Emily Godfrey, Visit Victoria
When Kate Mercer (Charlotte Rampling) starts to interrogate the lifetime she has spent with her husband Geoff (Tom Courtenay), she's not just dissecting her own relationship. She's also pondering one of humanity's great concerns. The pair argue about times gone by as they plan the party for their 45th wedding anniversary, and while the details prove specific to their situation, the broader questions they raise are universal. 45 Years echoes the thought everyone has had at least once: how well can we ever really know those closest to us? The Mercers' predicament arises, as these worries often do, after a blast from the past interrupts their present. When Geoff receives word that the body of his former girlfriend has been found, frozen in ice for half a century, his devastated reaction causes Kate to re-assess their romance. The duo should be commemorating their lengthy union, but instead they're drifting apart. In their countryside home, he's sorting through old photos and wallowing in memories, and she's looking at everything they've ever shared with fresh eyes. 45 Years tells of roads not taken, of buried doubts unearthed, and of the consequences of choices. But more than that, it tells of two people trying to understand their connection with each other. It might seem like a simple topic, as well as an oft-seen one; however Andrew Haigh's effort, adapted from the short story In Another Country by David Constantine, never comes across as just another relationship drama. Indeed, while bickering wives and husbands are hardly uncommon in film, marital issues take on a different tone and texture when they stem from such an extensive bond. With that in mind, 45 Years understands the closeness and complexity that can only come with time, as well as the heightened devastation unexpected revelations can cause. It's another insightful, empathetic offering from writer/director Haigh — and given that he previously delved into the first flourishes of love in Weekend, the poise and perceptiveness he demonstrates at the opposite end of the temporal scale can't be underestimated. Ever the intimate filmmaker, he once again strands his protagonists largely in a single setting, often letting scenes play out with minimal edits. He knows that his audience can see what will happen next; his films find their power and poignancy not in surprises, but in waiting for the expected emotions to unfurl. As a performers' showcase, 45 Years excels, with its central portrayals perfecting the requisite balance of affection and uncertainty. While Rampling proves the more animated of the pair, both convey the film's underlying contemplation of the true nature of personal connections. Together, they're the image of the couple everyone does and doesn't want to be. A long-term on-screen duo has rarely felt as real as this. https://www.youtube.com/watch?v=qXAnjA9tAnQ
The launch of Sydney's light rail might be delayed, but despair not: you can climb aboard the Chandon S Tram instead. The pop-up bar will be rolling into North Sydney, ready to help you celebrate spring and the arrival of blooming flowers, baby lambs and balmy evenings. Your ticket to the beautifully restored vintage carriage comes in the form of a glass of Chandon S, purchased from The Greens bar for $15. Made with local grapes in the Yarra Valley, this warm weather-friendly aperitif is a rather delightful concoction of sparkling wine and handcrafted orange bitters. At The Greens, it'll be served in ideal form: on ice, with a twist of orange. Claim a window seat and you'll be instantly transported to some Parisian past life — but with views over Sydney Harbour. Once you've lingered over your Chandon S, the tram-dedicated wine list and food menu will be ready for your perusal. The pop-up bar plans on hanging around until mid-November, giving you ample time to enjoy both sundowners (Thursdays–Sundays from 4pm) and a weekend morning session (Saturdays and Sundays between 9–11.30am) — complete with a brekkie board for two with Chandon S mimosas for $55. You can also grab a bunch of mates and undertake a hijack. The Chandon S Tram Takeover package includes Chandon cocktails, share platters, lawn bowls and your very own private bar (price available upon request). It takes two years to make a single bottle of Chandon — thank goodness we don't need to wait that long between drinks (or for spring). For more information on the Chandon S pop-up visit The Greens website.
Marrickville's Bucket Boys bottle-o doesn't just serve all your takeaway craft beer needs, it also houses its own upstairs bar slinging craft brews, wines and spirits — and one tasty toastie. Across ten rotating taps, you'll find plenty of Australian brews to choose from — including Wayward, Capital Brewing and Wildflower — as well as international drops from the likes of Barcelona's Garage Beer Co and Portland's Cascade Brewing Barrel House. The bar is also pouring an impressive range of independently owned Australian wines (with weekly wine flights available), spirits and craft tinnies — the latter are only five bucks at happy hour, which is Wednesday–Friday from 4–6pm, Saturday from noon–2pm and all day on Sunday. If (somehow) none of this strikes your fancy, punters are also welcomed to peruse the enormous selection in the downstairs bottle shop and take it upstairs — we recommend saving this occasion for Wednesdays, when the bar offers free corkage all night. For nibbles, the bar's signature cuban sandwich is hard to beat. It's filled with marinated pork shoulder, spicy salami, double-smoked ham, pickles and cheese — and toasted to melty perfection — all for $12. A selection of cheese and charcuterie is also on offer. The venue regularly holds beer launch parties, meet-the-makers events, trivia and games nights, too, so keep on eye on Facebook for what's coming up.
Sydney's cultural scene hits full stride in summer, when theatres, galleries, parks and inner-city streets light up with blockbuster musicals, bold new exhibitions and major festivals. Whether you're in the mood for a time-travelling stage spectacular, a boundary-pushing gallery show or a night out at one of the city's biggest cultural celebrations, there's something happening in nearly every corner of Sydney. To help you plan your season, we've pulled together six standout events and paired each one with nearby places to help you make a day — or night — of it. Consider this your roadmap to experiencing Sydney at its most creative and colourful. [caption id="attachment_1048999" align="alignnone" width="1920"] Daniel Boud[/caption] Back to the Future: The Musical Why it's unmissable Great Scott! The DeLorean has arrived in Australia, bringing high-voltage sets and nostalgia-driven humour to the Sydney Lyric. Featuring music and lyrics by OG Back to the Future composer Alan Silvestri and acclaimed songwriter Glen Ballard (Jagged Little Pill the Musical), plus a book by Gale — who co-penned all three Back to the Future film scripts with filmmaker Robert Zemeckis — the Olivier Award-winning Back to the Future: The Musical is summer's blockbuster musical moment. Find out more here. Make a night of it Start your evening with pasta and a spritz on the breezy waterfront terrace — the largest in Barangaroo — at Gina. The sun-washed venue takes its cues from the classic coastal trattorias of the Amalfi Coast, serving daily handmade pasta, cold cuts sliced to order and crowd-pleasing Italian classics. Its position on the ferry pier also means a swift (and scenic) trip across the harbour will set you down in Pyrmont just steps from the theatre. Extend your stay Extend your night out with a stay at Sofitel Darling Harbour, where floor-to-ceiling windows frame the skyline and the rooftop infinity pool delivers some of the best sunrise views in the city. It's an elegant, easy base just a short stroll from the theatre — and puts you right in the heart of Pyrmont and Darling Harbour's buzzy dining and lifestyle scenes. RELICS: A New World Rises Why it's unmissable Running at the Australian Museum, RELICS: A New World Rises goes far beyond your average LEGO® exhibit. Created by Alex Towler and Jackson Harvey (2020 winners of Channel 9's LEGO® Masters), it blends the iconic bricks with real-world objects like you've never seen before, transforming pre-loved everyday items into 14 immersive mini civilisations. Find out more here. Make a day of it After the exhibition, take things sky-high at Infinity by Mark Best — a scenic stroll through Hyde Park from the museum — where, from the 81st floor of Sydney Tower, the Harbour City feels like its own miniature civilisation. Its elegant Modern Australian menu showcases local produce in clever, technique-driven dishes — a fitting follow-up to an exhibition that asks you to look closer at the worlds we build. [caption id="attachment_1018817" align="alignnone" width="1920"] Jason Loucas[/caption] Then, ease back down to street level and wander over to Library Bar, the State Library's rooftop hideaway overlooking the treetops of Macquarie Street. It's an easygoing spot for a summer sundowner, with spritzes, snacks and views that pair perfectly with a slow end to the afternoon. Sydney Festival Why it's unmissable Sydney Festival turns 50 in 2026, and it's marking the milestone with a citywide celebration of culture and connection. From January 8–25, the annual summer spectacular will take over stages, parks and galleries — plus unexpected spaces like alleyways, pools and even a working funeral home — for a three-week program spanning theatre, dance, music, cabaret, visual art and immersive experiences. It's one of the most exciting times to be out in the city, with something happening in nearly every corner. Find out more here. Make a day of it Sydney Festival is built for days spent wandering between performances and pop-ups, so start early with brunch or a breezy lunch in whichever pocket of the city your show is in. If you're headed to Walsh Bay, a waterside spot like Barangaroo seafood favourite love.fish sets the tone; for a show in the CBD or around Town Hall, enjoy a pre-show snack and sip at contemporary Greek spot Ela Ela, or slip into elegant fast fine-dining spot Ette for an aperitivo and creative snack before the curtain goes up. Follow the festival trail Post-show, drift along the Festival trail and hop between neighbourhoods as the night builds. That could mean a sunset drink at InterContinental Sydney's rooftop stunner Aster before an event in The Rocks, or a stop at vibey Chippendale fave Bar Freda's for a spicy watermelon marg slushie — and maybe even a cheeky boogie — ahead of a late-night gig at Carriageworks. [caption id="attachment_1046924" align="alignnone" width="1920"] Installation view of the 'Dangerously Modern: Australian Women Artists in Europe 1890–1940' exhibition at the Art Gallery of New South Wales, 11 October 2025 – 15 February 2026, photo © Art Gallery of New South Wales, Anna Kučera[/caption] Dangerously Modern Why it's unmissable The Art Gallery of NSW is spotlighting an often-overlooked chapter of Australian art history with its summer blockbuster Dangerously Modern: Australian Women Artists in Europe 1890–1940. This landmark exhibition showcases more than 200 works by 50 pioneering women who left Australia to embed themselves in the studios, salons and artist colonies of Europe's cultural capitals, where they experimented and exhibited long before modernism took hold back home. The show traces how these experiences shaped their practices, and how they returned with ideas that helped reshape Australia's artistic landscape. Find out more here. Make a night of it With two-for-one tickets on offer for Art After Hours on Wednesdays, the gallery is an ideal spot to kick off a chic midweek date night. Afterwards, channel the spirit of Europe's late-night salons and slip into Letra House, Kent Street's moody underground tapas bar. Head in for a pick from its ever-evolving 50-bottle wine list, and pair it with a selection of ingredient-driven small plates like raw scampi tostada, duck liver parfait with pickled rhubarb and brandy snap, or socarrat with firefly squid, broadbean and garlic. Nightcap? Take a short stroll around the corner to Bar Herbs, which pours classic and flavour-forward martinis in a neon-hued subterranean space that hums until the small hours. Extend your stay Turn your date night into a mini-escape with a stay at W Sydney, where boundary-pushing design and statement-making interiors pick up right where your gallery visit left off. The hotel's striking architecture, curated art moments and rooftop infinity pool overlooking Darling Harbour will keep you perfectly primed to carry that creative spark into the next day. Tropfest Why it's unmissable Following a six-year hiatus, the world's biggest short-film festival returns to Centennial Park this summer. And while the world has changed quite a bit since its last outing in 2019, Tropfest's core mission remains unchanged: to give filmmakers at any stage of their careers a genuinely global platform — and to do it at a free, openair event that welcomes everyone. Find out more here. Make a night of it Centennial Park's position smack-bang in the middle of the eastern suburbs means you're on the doorstep of Double Bay's buzzy dining scene. Stop by Neil Perry's big-swinging Italian restaurant Gran Torino for handmade pasta and a show-stopping tiramisu in a historic setting, or settle in for a perfectly cooked steak at Perry's sleek Mod Oz fine diner Margaret, just up the street. [caption id="attachment_1017635" align="alignnone" width="1920"] Yusuke Oba[/caption] If dinner by the sea is more the mood, head east and grab a table at Rocker, North Bondi's breezy all-day diner featuring coastal Mediterranean-inspired plates, natural wines and a solid cocktail lineup that includes eight types of margarita — plus one of the more impressive Sunday roasts in town. [caption id="attachment_978660" align="alignnone" width="1920"] Joseph Mayers[/caption] Sydney Gay and Lesbian Mardi Gras Parade Why it's unmissable Sydney's most colourful pride parade returns to the streets of Darlinghurst for its 48th edition in February, transforming Oxford Street, Flinders Street and Anzac Parade into a glittering celebration of visibility, power and joy. With thousands of marchers and dozens of flamboyant floats, the night pulses with energy — and it's completely free to watch, making it one of Sydney's most accessible major events. The theme guiding the parade's 48th edition is ECSTATICA, which celebrates joy as power, protest and connection. Find out more here. Before the parade Set the tone early in Darlinghurst, where street-front tables start filling long before the first float hits Oxford Street. Ease into the night at The Waratah, the cosy two-storey bar known for its native ingredient-starring cocktails and fun bar snacks (pictured below). Or, take a seat at L'Avant Cave, Oxford Street Paddington's charming courtyard wine bar pouring standout drops by the glass and nostalgic French-leaning bites. If you're coming in via Surry Hills, The Art Syndicate serves wines, beers and spirits exclusively from NSW in an intimate art gallery just behind Taylor Square. For a more low-key warm-up, 40Res offers a seasonally evolving menu built around local ingredients and a sharp list of Australian and European from boutique producers — all in an understated, dimly lit room that contrasts beautifully with the technicolour chaos of the festivities outside. [caption id="attachment_929493" align="alignnone" width="1920"] Jason Loucas[/caption] After the parade When the glitter settles, head up to Monica, Paddington's 1960s Hollywood-inspired rooftop bar overlooking Oxford Street, for skyline views and a party-ready drinks list. It's perched above the personality-packed 25hours Hotel Sydney The Olympia, a handy spot to crash after one of the city's biggest parties. When you resurface, stroll down to Surry Hills stalwart Bills for a breezy brunch — the signature ricotta hotcakes, corn fritters and velvety scrambled eggs are an ideal way to fuel your debrief from the night before. Ready to feel the Sydney side of summer? Discover the full calendar of what's on across the city at sydney.com. Top image: Anna Kučera.
Tucked between Burwood's bustling streets, Ford Lane has undergone a transformation that's turning heads. Once an overlooked laneway designed around cars, it's now a vibrant place to gather, celebrate, and discover something new. Complete with large-scale murals and impressive lighting installations, it's quickly becoming one of Burwood's must-visit destinations. And now, the story continues. This spring, it'll transform again into Sydney's newest outdoor live music venue with the launch of Fridays at Ford Lane, a free series of live music, food, and cultural events designed to transform Friday evenings into something extraordinary. Each edition will have its own flavour, kicking off with an eclectic showcase of sounds inspired by Asia's thriving pop scene. Local selectors DJ Hideoboo and DOOFus will be on the decks, and they'll be joined by singer Venice Qin and dance crews TODAY&ALWAYS and DanceKool. Expect a night of C-Pop, K-Pop and hip hop fusion, with street eats and a pop-up bar keeping things fuelled. Future instalments are already locked in. Roll up on October 31 for a hip hop block party with DJ Rydeen, MC Mari and beatboxer Voltak. On November 28, gypsy jazz and world beats will take over with performances by turntablist DJD and Scratch Band, plus multi-instrumentalist Marcus Holden + Friends. Each outing is designed to spotlight local talent and celebrate the suburb's cultural diversity, with lineups curated by DanceKool, creative incubator opnsrc.co and Burwood Council. The series is part of Burwood Council's Ford Lane Transformation Project, backed by Transport for NSW's Permit Plug Play Pilot Program. The initiative has activated the laneway as a permanent stage for arts and entertainment, framed by large-scale commissions by artists including Drez, marking the Melbourne creative's first Sydney artwork, Georgia Hill and Okto Studio. Upgrades like a new power supply and removable bollards also mean the laneway is fully equipped for regular events like the new Friday night series. And if you're looking for a unique backdrop of your own, Ford Lane is now a bookable space ideal for everything from private events to video shoots. Just get in touch with Burwood Council if you're keen. Entry to Fridays at Ford Lane is free, but capacity is capped. Walk-ins are limited, so the best way to ensure entry is to register at the event's website.
Despite taking its name from a raucous, rundown pub in the 80s flick Road House, Double Deuce Lounge isn't a dive bar. Instead, the CBD drinking hole from the Ramblin' Rascal team is a refined cocktail lounge with a touch of '70s porn chic'. No, you won't find Ron Jeremy lounging in one of the burgundy leather booths. Instead, you can expect loud geometric 70s wallpaper laid with vintage film posters, the likes of Marvin Gaye, James Brown and Curtis Mayfield on heavy rotation and a cocktail list that arrives in a Deep Throat-esque VHS cover. The bar's owners, Charlie Lehmann, Sebastian Soto and Dardan Shervashidze, will also be suitably on theme, decked out in safari suits and furry vests. Behind the bar, the team is shaking and stirring signature cocktails, as well as seasonal specials, which travel from the tangy and refreshing Sea Breeze and minty Stinger (with lots of Fernet and Cognac) to the cold brew-spiked Discretionary and a super-fancy take on a gin and soda dubbed Trouble Man. While the cocktails are proverbially stuck in the 70s, the wines and beers are very much 2019. Co-owner of Newtown's P&V Wine and Liquor Mike Bennie has pulled together an extended list of fun and funky drops. Ask the crew to see what they're pouring. Not content with a funky drinks menu, Doule Deuce Lounge also offers a short list of 70s-themed bar snacks including bowls of cabanossi, cheese cubes and French onion dip served with Jatz. Take a funky step back in time at Double Deuce Lounge. Images: Kimberley Low. Updated April 28, 2023.
If spirits are your poison of choice, you need to blank out the second weekend of July in your diary. The Sydney Spirits Festival is making an epic return to the Overseas Passenger Terminal at Circular Quay. Launched only last year, the event was a sold-out smash hit. This time, it'll be bringing you even more spirits, more makers, and more masterclasses from Australia and the rest of the world. Highlights include single malt whisky masterclasses with Bill Lark, an oyster shell gin masterclass with Mikey Enright of Hickson House Distillery, and a mixology masterclass with Felix Clark of Ester Spirits, which won gold at the World Rum Awards in 2024. Plus, all weekend long, the Taste Theatre will host drop-in sessions led by the International Spirits Academy on all kinds of matters – from how to get more out of your tastings to how to make better cocktails. You can choose a ticket to suit your tastes – from the $55 early-bird special to the $180 masterclass ticket, which includes festival access. Just be sure to get in early – if last year is anything to go by.
It's 2am, it's Chinatown, you're bleary-eyed and hungry at the weekend ... you have no doubt ended up in front of a glass wall of crabs and prawns at the Golden Century. This stalwart of Chinese dining has been rattling the pots and pans for decades so the Star, in not much of a gamble, invited the owners to become part of the casino's food mafia. It's not a gamble due to a built-in clientele and a reputation of authentic cooking, with some Hong Kong oomph in the interior design, courtesy of young guns Paring Onions. A great wall of 89,000 chopsticks and upended tea cups as lighting are quirky and clever without screaming obviousness, and the bank of fish tanks greets diners on arrival. The owners are sensitive to what to expect from a Chinese restaurant – communal round, white table-clothed seating, private rooms with head-swimming carpets, noisy, chatty ambience – but there's also smaller, private "sun rooms" looking on to Pyrmont that offer more intimacy. The menu, to be honest, has been imported wholesale from the Golden Century, so there's familiarity in unfamiliar surroundings, and there's nothing wrong with that. Starters run the palate amok with san choy bow (two serves for $10) and sauced eggplant cubes ($7), before very traditional serves of Peking duck ($40 for four half serves, $73 for eight), which come as a shock due to the lack of fusion confusion imported by Sydney's newer upstarts. Seafood is the zinger here, especially the pippis, abalone and crab. On this occasion, the recommended dish is the braised mud crab with diced pork and vermicelli hot pot (price varied on weight, average $70) – messy but satisfying. Forget desserts, that's not on The Century's agenda. There's no concessions to tricky modern cuisine, on the menu at least. It's a family affair, and to their credit the prices are incredibly reasonable for the Starry location. Especially at 2am. Images: Trent van der Jagt.
A new annual event is joining Sydney's regular celebrations of flavour and culinary talent, this time shining a well-deserved spotlight on Australian native ingredients and First Nations flavours — thanks to the inaugural First Nations Food Festival in Carriageworks this September. Taking place on the weekend of Saturday, September 27 and Sunday, September 28, the festival is a showcase of Australia's leading indigenous chefs, businesses and creatives. The lineup, curated by organiser Indigiearth, will highlight bushfood and First Nations culture through food, education and performances. Talents from throughout the world of hospitality and beyond are set to take part, too. There'll be cooking demonstrations from Ben Shewry (Attica), Kylie Kwong and native grains expert, Kerrie Saunders and speaking sessions from Raylene Brown (Kungkas Can Cook), Ronni Kahn (OzHarvest), Pat Torres (Mayi Harvests), Jenny Khan (The Unexpected Guest), and Aunty Beryl, founder of Yaama Barrgay. Visitors will be able to enjoy any of the above sessions, or visit the Indigiearth pop-up cafe, browse market stalls from eighteen participating Indigenous-owned and operated native ingredient producers, and take part in bushfood masterclasses. Speaking ahead of the festival, Indigiearth CEO, Founder and Executive Chef Sharon Winsor said "This festival is more than a showcase, it's a celebration of Country, culture and connection through food…We're sharing the stories of the people who grow, harvest, cook and protect these ancient ingredients with the broader community. It's about honouring our past while creating a stronger future for native foods and First Nations voices." The inaugural Australian Native Food Festival will take place on September 27–28, general admission is free, registration required. To register or for more information, visit the website. Images: supplied
We all know summer can't actually last forever, but at the Great Ocean Road's newest retreat, it sure feels like it could. Occupying a prominent spot in Aireys Inlet towards the start of the famed Victorian coastal strip, Sunnymead Hotel is about as cheery as they come. Sibling to Anglesea Riverside Motel, it's the work of Damien Cerantonio (also behind Great Ocean Road Resort) and Graeme Harris, who've managed to transform a tired old-school motor inn into a beaming ray of sunshine. Heavy on upbeat charm, the 20-room boutique hotel also boasts an onsite spa and bathhouse, a modern Indian-fusion restaurant and an openair pool bar dubbed Sunnies. A retro-inspired aesthetic features throughout, anchored by a signature palette of warm yellows and oranges. Open now for bookings, Sunnymead has two different styles of rooms, all abundant in those cheerful hues, and kitted out with king-size beds, bath products by Surf Coast brand The Herbalist and mini bars stocked with local delights. You'll find locally-made ceramics by artists Angela Nicholson and Melinda Solly, and fluffy bathrobes in a playful yellow and white check that mirrors that of the eye-catching verandahs. Named in a nod to the Hindi word for orange, intimate onsite restaurant Santara is set to embrace a mix of modern Asian flavours when it opens the doors on Friday, March 17. Here, you'll be able to tuck into bites like chicken momos, beef shin tacos and soft-shell crab pakora, along with larger plates like Kashmiri chilli lamb ribs, ginger coconut mussels served with black garlic naan, and a chicken makhani curry with pomegranate. Meanwhile, Thursday, March 2 will mark the launch of Indie Spa, with its trio of private treatment rooms, DIY vichy shower, group-friendly rasul, bathhouse and lounge. This will be your go-to for a range of classic therapies designed to rejuvenate and relax, from facials and remedial massages to body scrubs and detoxifying steam sessions. While the solar-heated magnesium mineral outdoor pool is already open for business, it'll soon be joined by bar offering Sunnies, serving cocktails, poolside snacks and tunes. There'll even be a fire pit for cosying up beside during the cooler months. Keep an eye out, too, for Sunnymead's bright yellow VW kombi Daisy, which'll be used for group tours and transfers. Find Sunnymead Hotel at 64 Great Ocean Road, Aireys Inlet. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
It's always summer at Chippendale's Old Clare Hotel — well, on the rooftop, anyway. Located on the fourth floor of the boutique hotel, visitors can enjoy killer views of the city while lounging around on deckchairs in the sun, sipping refreshing cocktails and eating snacks prepared by Barzaari downstairs. Expect summer cocktails a plenty with the Pain-Killer ($21) — tequila, pineapple and maraschino, served in either a glass or an actual coconut — watermelon spritz ($19) and an extra-boozy rosé cocktail dubbed Rosey All Day ($18). All the classics will be available, too, as well as beers, spirits and G&Ts. Eastern Mediterranean-inspired snacks start with Sydney Rock oysters covered in colourful roe and harissa-spiked chicken wings served with pickled chilli, then move on to prawns with falafel and two pizza-style pita breads topped with the likes of chermoula, toum (a garlicky yoghurt), pickles and lountza (smoked pork). If you're famished, order the next-level bagel — filled with smoked brisket, pickles, iceberg and labneh — and a slice of sticky baklava served with a scoop of salted caramel ice cream. The luxury inner-city lodgings opened for business back in 2015. It already has a lineup of food offerings so good they border on offensive, with A1 Canteen, Automata and Barzaari already in the building. The bad news for those wanting to take a sky-high dip is that you can only swim in the pool if you're a hotel guest. But maybe that means it's time to plan a staycation. Images: Nikki To.
Canterbury-Bankstown can feel a bit lacking in all things luxe — and if you live in this pocket of southwest Sydney and have found yourself wondering why lavish dining has felt a bit out of reach, your queries have been heard and answered. Bringing this dose of luxury to Sydney's west is Bartega, an artisanal cocktail bar hidden inside the Canterbury Leagues Club. Venture to the western burbs and you'll find an injection of dining destinations in Belmore's local hospitality precinct — with one of Sydney's top yum cha joints, The Dynasty, residing alongside this sleek bar and restaurant. The crown jewel of the leagues club's multimillion-dollar revamp is located high above Bridge Road, seating up to 60 guests comfortably on its cosy lounges. Its elegant fitout, designed by the renowned studio Atlis Architecture, boasts an al fresco dining area on the adjoining balcony and a stunning marble bar inside, which acts as an eye-catching centrepiece for the space. Bartega offers a variety of elevated snacks on its canapé-style menu — from the Mediterranean-style cauliflower popcorn with sumac seasoning and garlic tahini to the sticky pork belly bao buns, you'll discover a range of flavours celebrating the diversity of the area. Elsewhere on the menu, the oven-baked brie will warm you through the colder months, while the torched yellowfin tuna with wasabi mayo is an ideal summer snack. Pair your tuna and bao with the standout offering — aka the drinks menu. Led by Bennelong alum Tony Rudolph, you can expect a playful and inventive selection of cocktails. Crowd favourites include the Jin Cha — Roku gin combined with matcha, Chartreuse Green, yuzu and honey — and the signature lime and jalapeno Margarita Bartega. Plus, there's a wide-spanning range of wine, beer and spirits to choose from, including drops from local distillery Kalki Moon. If you really want to get into the Belmore spirit (no pun intended), then opt for Kalki Moon's Bulldogs Gin which can be ordered on its own or in the Brutus Blue cocktail.
Frozen has done it. Beauty and the Beast and Shrek, too. The Lion King is set to again in 2026. We're talking about animated movies making the leap from the screen to the stage Down Under, as another childhood favourite will before 2025 is out. With Anastasia, Russian history first inspired a 90s hit, which then became a Broadway stage production since 2017. When the musical treads the boards in Melbourne from December, it'll mark the show's Australian debut. The Victorian capital's Regent Theatre will host Anastasia's Aussie premiere, but it isn't the only venue — or city — that'll welcome the production. So far, John Frost for Crossroads Live and Opera Australia have also locked in seasons in Perth and Sydney, the former from March 2026 at Crown Theatre and the latter from April 2026 at the Lyric Theatre. At each stop, the Tony-nominated musical will unveil an all-ages-friendly tale inspired by Grand Duchess Anastasia Romanov during the Russian Revolution, as the 1997 movie also charted. Accordingly, accompanied by songs such as 'Journey to the Past' and 'Once Upon a December' — both from the big-screen release — theatregoers can get ready to spend time with a young woman named Anya on her journey to discover her past, and to unearth a story that some in the narrative don't want revealed. Audiences have writer Terrence McNally and songwriting team Stephen Flaherty and Lynn Ahrens to thank for Anastasia's existence as a stage musical — and between its Broadway run and its Aussie stint, Anastasia has also toured North America, and hit the stage in Germany, Spain, The Netherlands, Brazil, Mexico and Japan. "The legend of Anastasia has intrigued the world for many years and I've been wanting to bring this musical to Australia since it premiered on Broadway in 2017. It's a story full of mystery and romance with a magnificent score that I know Australia is going to fall in love with," said producer John Frost AM. "Opera Australia is thrilled to be once again partnering with John Frost to bring another world-class musical to Australian theatres. We expect the glorious music, spectacle and intrigue of Anastasia will captivate audiences around the country," added Opera Australia's Acting CEO Simon Militano. Anastasia Australian Dates From December 2025 — Regent Theatre, Melbourne From March 2026 — Crown Theatre, Perth From April 2026 — Lyric Theatre, Sydney Anastasia will premiere in Australia in Melbourne from December 2025, then head to Perth from March 2026, then Sydney from April 2026. Head to the musical's website for more details, and to join the waitlist for tickets. Images: Roy Beusker.
If someone was to ask you to imagine a dinosaur, and to picture one type only, it's likely that the Tyrannosaurus rex would come to mind. The towering ancient creature is just that fascinating to kids and adults alike, and not solely because it's rarely far from screens. Head to any museum with a T. rex fossil on display and you'll be surrounded by crowds, whether or not they've seen King Kong, a Jurassic Park movie or Night at the Museum. Head to Melbourne Museum from Friday, June 28–Sunday, October 20, 2024 in particular and expect to have plenty of company, then. Thanks to the Victoria the T. rex exhibition, that's when the fossil of Tyrannosaurus rex Victoria will make its Australian debut in the state with the absolute best name for the occasion. The specimen dates back 66 million years, and is one of the world's largest and most complete T. rex skeletons. Showing exclusively at Melbourne Museum, it's also marks the first time that a real T. rex has ever been on display in Victoria. How big is big? Found in South Dakota in 2013, Victoria is comprised of 199 bones, including a skull that weighs 139 kilograms. The fossil reaches 12 metres in length and 3.6 metres in height. And, because the skull is so heavy, it has to be displayed separately as it can't be mounted upon Victoria's body. Victoria the T. rex will also feature interactive elements, such as multi-sensory installations that'll let you experience how the Tyrannosaurus rex saw and smelled, plus dioramas and a section where you can make your own customised 3D T. rex. Welcome to... the cretaceous period, then. The informative side of the showcase will step through recent palaeontological findings, so that you'll get an idea of what Victoria's life was like all that time ago — and also find out what brought about her end. If that's not enough dino action to make you feel like David Attenborough — or his brother Richard in Jurassic Park and The Lost World — Victoria the T. rex will display alongside Triceratops: Fate of the Dinosaurs, which has been open at Melbourne Museum since 2022. The latter permanently features Horridus, the world's most complete Triceratops fossil, and entry to both exhibitions is included in one ticket. At IMAX Melbourne, 45-minute documentary T.REX 3D will also be showing — complete with footage of Horridus — from Friday, June 21. "Victoria the T. rex will see visitors from near and far enthralled by this real-life wonder alongside another marvel from the cretaceous: the world's most complete Triceratops fossil Horridus, whose permanent home is right here at Melbourne Museum," said CEO and Director of Museums Victoria Lynley Crosswell. "'Melbourne Museum will be the only place on Earth where, for a limited time, visitors can come face-to-face with two of the biggest and best real dinosaurs who once walked the planet." Victoria the T. rex will be on display from Friday, June 28–Sunday, October 20, 2024 at Melbourne Museum, 11 Nicholson Street, Carlton. Head to the museum's website for tickets from Wednesday, April 10, as well as further information. Images: Neon Global.
Most film festivals try to cater for everybody. Take a hefty smattering of weighty dramas, throw in a heartwarming comedy here, an arty action flick there, and add a few left-of-centre picks to cap it all off. That's not the Sydney Underground Film Festival's style, if their name hadn't already given that away. And sure, some folks aren't up for eye-popping gore, surreal animations, and movies literally titled Assholes. But if that sounds like it'd be right up your alley, then you're in the exact right place. Returning to the darkened walls of Marrickville's Factory Theatre from September 14 to 17, SUFF delights in showing the sort of movies that challenge, provoke, disturb and delight, often all in one session. They also revel in breaking from the norm – hell, they're even opening up this year's festival with a one-of-a-kind live event that brings VHS to the big screen. From hipsters with fake babies, to docos about finding a fake rock, to fictional advertising for fake energy drinks, if it isn't coming to a multiplex near you, then it's likely on the bill. Below, we've picked six of the best. https://www.youtube.com/watch?v=PXB0DK3upGY THE ENDLESS On paper, The Endless might sound like the sum of its intriguing but far from unusual parts, with creepy cults, temporal trickery and sibling struggles all fairly common film fodder. On the screen, however, the latest film from director-actor duo Justin Benson and Aaron Moorhead proves anything but standard. In fact, it's the type of sci-fi/horror flick that will floor you with its ingenuity, make you want to watch it again immediately afterwards, and inspire you to check out the duo's first effort, Resolution (which we cannot recommend enough). Imaginative, enthralling, astute with its aesthetics and atmosphere, and insightful in contemplating both human and supernatural drama, this account of two brothers returning to the close-knit camp they used to call home is the whole weird and wonderful package. https://www.youtube.com/watch?v=UjL_KKxX_yE PREVENGE Darren Aronofsky's rightfully buzz-inducing mother! isn't the only unhinged mix of maternity and mayhem headed to Sydney's screens this week, thanks to the first feature directed by Alice Lowe. After proving her acting talents in Garth Marenghi's Darkplace, and her writing skills with Sightseers, she's not only helming Prevenge, but starring alongside her then-unborn daughter. Seven months' pregnant at the time of filming, Lowe plays a woman compelled to commit murder by the child growing inside her, giving the devilish kid and scary motherhood sub-genres a ghoulish new spin. A smart, subversive and funny horror-comedy about what to expect when you're expecting. https://www.youtube.com/watch?v=9RhLMCrH2ZI LIBERAMI Forget The Exorcist. If you want to see what happens when folks think they're possessed by demonic forces, then you need to see the real thing. There's no shortage of them, particularly in Sicily, where the experienced Father Cataldo endeavours to save souls. Heads don't spin, projectile vomit doesn't splash all over the priest, and bumps and jumps aren't on the agenda. Instead, we find troubled people begging for a solution. An insightful and fascinating documentary results — as well as one that puts a song by Ryan Gosling's band, Dead Man's Bones, to good use during its credits. https://www.youtube.com/watch?v=TPRFsEbEKNs DAWSON CITY: FROZEN TIME Some of the best things happen by accident. Excavating in the Canadian town of Dawson City in 1978, a construction worker didn't expect to find 533 lost nitrate films, but he did. Dating back to the silent era, they contained newsreels, old flicks by influential directors and footage of the town — and, nearly four decades later, they comprise Bill Morrison's experimental effort. To watch Dawson City: Frozen Time is to step back into time, explore the early days of cinema, wander through a remote locale and watch the beginnings of modern life as we know it. Stars from the past, presidents from the present, and everything in between: they're all linked in this moving and mesmerising montage. https://www.youtube.com/watch?v=IETTDnTrxoA MEATBALL MACHINE KODOKU For those that aren't quite so keen on blood, violence and viscera, some SUFF flicks require a warning. Meatball Machine Kodoku is most definitely one of them. Named after a type of toxic Japanese magic, it's a comedy — but of the red-splattered, limb-flying kind (and then some). And, to be honest, that's what you'd expect when a cancer-ridden debt collector is not only forced to face invading robotic aliens, but is given super powers by them as well. With new abilities comes new chances for gory revenge, in a sequel of sorts to 2005's Meatball Machine, as directed by Tokyo Gore Police's Yoshihiro Nishimura. Apparently they used four tonnes of fake blood in the shoot, in case you were wondering. https://vimeo.com/143938734 WATCH THE SUNSET Australia's latest crime thriller is also an ambitious feat of style and structure, unspooling its action in a single take. If Birdman can pretend to do it and win a heap of awards, then Aussie writer-director Tristan Barr can offer up the real thing — and, because he clearly wasn't busy enough, also star in this account of an ex-bikie trying to get his family in order. With the story taking place over one afternoon, the camerawork ensures that audiences feel the requisite tension and urgency. And yes, exploring the wrong side of the law and order divide is something the local industry is rather fond of. But at least Watch the Sunset makes a concerted effort to stand out from the crowd. The 2017 Sydney Underground Film Festival runs from September 14 to 17 at The Factory Theatre, Marrickville. For more information or to buy tickets, visit the festival website.
When you've just made the best new TV show of 2022 so far, how do you respond? If you're Apple TV+ and you've had the streaming world obsessing over Severance for the past two months, you double down, thankfully. In waffle party-worthy news, the instantly addictive Adam Scott-starring thriller has just been renewed for a second season. No one needs to be listening to defiant jazz today, clearly. If you've missed the series so far, there's no better time to catch up — it drops its ninth and final season one episode this week, on Friday, April 8, and it's as phenomenal as everything in the show so far. The setup: a hellish office that'll feel familiar to anyone whose spent the nine-to-five grind sat at a desk, and yet is even more unnerving than your worst nightmare. And if you're wondering why the latter is the case, that's because Lumon Industries, the company as the series' centre, uses the futuristic technology that gives the program its title. #Severance has been renewed for Season 2. https://t.co/SbEtvE1yj1 — Apple TV (@AppleTV) April 6, 2022 What is severance? It's a drastic work-life balance solution — the kind that Black Mirror might've dreamed up, or could've been used if Eternal Sunshine of the Spotless Mind was about punching the clock instead of romance. To be specific, it's a brain implant that separates parts of your mind, leaving one section to solely focus on work and the other to live the rest of your life free from knowing what you get up to in business hours. That's the situation that Macrodata Refinement division employee Mark S (Scott, Big Little Lies) has willingly signed up for, all to help process his grief over the death of his wife. And he's happy with the scenario until his work BFF Petey (Yul Vazquez, The Outsider) leaves suddenly without saying goodbye, and new staff member Helly (Britt Lower, Future Man) comes in to replace him — and instantly starts questioning the insidious setup, the rules and restrictions needed to keep it in place, and why on earth her "outie" (as the outside versions of Lumon employees are known) agreed to this in the first place. Taking cues from the likes of Devs, The Truman Show, The Matrix, The Office and Office Space — and serving up a surreal workplace that often feels like the green-hued employment-focused version of Twin Peaks' red room — Severance has constantly delivered both intrigue and surprises throughout its first season so far. That remains the case in its final season episode as well. And, while this largely Ben Stiller-directed show has been diving deep into a mind-warping mystery that sounds like heaven but quickly proves anything but, it has also been smartly and savagely probing what it means to be a slave to the wage in 2022 — and what employers expect in return for a paycheque. Exactly when Severance will return for season two hasn't yet been revealed, but the fact that it is coming back is worth celebrating with a music/dance experience. Apple TV+ usually brings its hits back quickly, though — Ted Lasso backed up its first season the following year, for instance — so fingers crossed that Severance will be the best show of 2023 as well. Check out the trailer for Severance below: The first eight episodes of Severance's first season are available to stream via Apple TV+, with the ninth dropping on Friday, April 8. Season two doesn't yet have a release date, but we'll update you when it does. While you're waiting, you can also read our full review of Severance season one.
Everyone has one main motivating factor in the career path they choose, and if you're passionate about helping humanity and the state of the world, you've got a bunch of options available. Doctors, lawyers and politicians may take a lot of the credit for shaping our futures but they're not the only options. In fact, there are plenty of other avenues to explore. Whether you're at the beginning of your education, looking for a career change or wanting to gain some additional professional experience, knowing where to start can be hard. That's why we've tracked down a selection of degrees from leading Australian universities to study online via Open Universities Australia(OUA) if you're desperate to make a difference in the world. With the threat of climate change and limited natural resources becoming a reality in the not-too-distant future, the time for a focus on the environment, sustainability and education has never been greater. Here's our list of which degrees to study if you want to inspire or create change. BACHELOR OF EDUCATION Imparting wisdom to our younger generations is a hugely important undertaking — after all, these are the people that'll one day inherit the earth. Curtin University offers one of the best teaching degrees for primary education (years one to six). After studying the Bachelor of Education or the Master of Teaching degree via OUA, you will leave the course with advanced training for leadership roles in a teaching career. Although you'll be studying primarily online, the degree also includes hands-on experience in a range of schools and across year levels, and it culminates in a five-week professional placement. Your studies will also include lesson planning, classroom management, special education and digital literacy. BACHELOR OF ARTS: COMMUNITY DEVELOPMENT Change starts from the ground — so getting involved in community-based projects, be it services, welfare or not-for-profit organisations, is a great way to see your effort being put into action before your very eyes. A Bachelor of Arts in Community Development will hone your communication, critical thinking, ethics and social justice knowledge — and that's just the start. The program from Murdoch University (available online through OUA) focuses on a wide variety of perspectives and solutions that can benefit different communities — from Indigenous and First Nation peoples to overseas aid development. You will graduate with the ability for persuasive oral communication and a broad knowledge of research methods. DIPLOMA IN COMMUNITY WELFARE AND WELLBEING Outside of teaching, another obvious do-gooder career path is within the welfare and health sectors. Whether you're interested in nursing, community service or social work, gaining a Diploma in Community Welfare and Wellbeing from the University of New England allows you to earn credits toward many community-minded degrees — and to develop the foundational skills for employment or toward further study. The course provides students with the theoretical and academic groundwork for a career in overall social care. Within the elective subjects offered, you can opt to specialise in working with members of the community dealing with disability or ageing, or working with Aboriginal people. BACHELOR OF ARTS: SUSTAINABLE DEVELOPMENT Marching for climate action is a great start, but if you're passionate about finding more sustainable ways for you and your neighbours to live and preserve the environment, this Murdoch University program is worth exploring through OUA. Sustainable Development is a newer profession but is growing in popularity. The more prominent career paths you could take from this degree include joining the public sector, a local council or an NGO, or working within research institutes or national and international aid organisations. But the skills gained here are much more far-reaching and can also lead to careers in sustainable tourism, media, education and resource management. MASTER OF ENVIRONMENT Already got a degree in environmental science under your belt? First of all, good for you. Now, keep channelling that passion and experience into a masters degree from Griffith University. After all, it's arguably one of the most important fields of study you could enter into at the moment. Within this degree, you can choose to specialise in several different areas of expertise, including climate change adaptation, sustainable business, economics and policy, environmental planning and environmental protection. Career options hit a huge range, too, and include the likes of environmental assessment officer, consultant for government agencies and environmental and biosecurity management. Explore these degrees and hundreds more from leading Australian universities, available online through Open Universities Australia. You'll be making a world of difference before you know it.
In disappointing news for Sydneysiders, Luke Nguyen's Red Lantern will close its doors for a final time this November. After a remarkable 23 years influencing Vietnamese dining not only in Sydney but around the world, owners Luke Nguyen, Pauline Nguyen, and Mark Jensen have made the tough decision not to renew the lease. Red Lantern, one of the most awarded Vietnamese restaurants in the world, will continue service until November 22. Over the coming months, there will be special events and chef collaborations to celebrate the legacy of the beloved venue. The crew behind Red Lantern pioneered a new appreciation for Vietnamese cuisine in Sydney as something much more than cheap takeout. With premium produce, impeccable service and a refined menu, Red Lantern helped shape the way Australians think about Southeast Asian cuisine. Menu favourites include turmeric corn cakes with tea-smoked salmon, crispy pork belly with oyster and coriander seed marinade, and crab fried rice. Regulars returned often for Red Lantern's famous chilli salted squid with lemon and pepper dipping sauce, the roast duck salad with banana blossom and pickled vegetables and the chargrilled chicken with curry paste and green chilli chutney. The closure of such a prominent restaurant is indicative of the challenges facing the hospitality industry across the country. As reported by the Sydney Morning Herald, the owners cited a number of reasons behind the decision not to renew the lease, including declining diner numbers, persistent rain during a harsh winter, the current state of the economy and the cost of living crisis, and a trend of diners being preoccupied with trying new restaurants. Pauline Nguyen says, "If there's one thing I'm really proud of, between the three of us we've built a real ecosystem that will continue", as reported by the Sydney Morning Herald. Red Lantern will continue service until November, so you still have a few months to go and support the team and enjoy your favourite dishes one last time. Images: Leigh Griffiths. Red Lantern will close its doors on November 22, 2025. Over its final two months of service, the restaurant will run special events with chef collaborations, so follow @redlanterngroup on Instagram to find out whats on.
Regardless of your thoughts on the Biennale boycott (and if you care about both art and asylum seekers, you probably had a few), the festival's eventual split with long-term sponsor Transfield has come as at least a temporary relief. Now, there is no reason for people to avoid attending the 19th Biennale of Sydney, and to miss out on a wondrous, inspiringly thought-out and immaculately implemented iteration of the event. Artistic director Juliana Engberg, usually of Melbourne's Australian Centre for Contemporary Art, has a great gift for curation (and communication; you must listen to her speak about the art at some point if you can), and she'll be a tough act to follow. First off, this is a Biennale that really gets Sydney's obsession with Cockatoo Island. As Juliana would have it, the island is "a fantasy location". It's where we go to play, to be floored by works of scale and to feel far away from the mundane. Perhaps no artwork exemplifies this idea so much as Callum Morton's The Other Side, a ghost train running through the Dog Leg Tunnel. I repeat, a ghost train (!) running through the Dog Leg Tunnel (!!). Entered with great ceremony via a massive Google search window (because Google is the scariest thing now? Not sure), it is oddly understated in execution, but it gets all the points for the temerity of the idea and perfectly dramatic use of the island. Similarly monumental installations include Danish artists Randi and Katrine's walk-through, pastel-fronted The Village (2014), a place where the idyllic and the parochial are in uncomfortable tension; Eva Koch's Turbine Hall-height I AM THE RIVER (2012), a video waterfall that takes on uncanny realness as you approach; Gerda Steiner and Jorg Lenzlinger's Bush Power (2014), a sprawling, chaotic gymnasium/generator of absurdist interaction; and Tori Wranes dark fairytale of a performance work, Stone and Singer (2014). In the island's Industrial Precinct, the few more contemplative works tend to get lost, but there is room to appreciate them if you venture further to the Docks Precinct. Mikala Dwyer's ethereal-looking 'air sculptures' The Hollows (2014) create a magical, suspended moment, while Ignas Krunglevicius's Interrogation (2009) is a hypnotic deconstruction of language and the legal system that is worth losing some time in. The whole-day-consuming Cockatoo Island is actually just one of five major venues for the festival. It is an impressive feature of the 19th Biennale of Sydney that the different venues are so clearly distinguished, each exploring different themes and mediums, evoking distinct moods and applying their own display techniques. Carriageworks, a new venue this year, references its recent history as a film studio for George Miller's Dr D. The exhibition there is focused on video works and cinematic imagery and, with that in mind, staged in near darkness. Discovering works within this shadowy realm is a unique and memorable experience, particularly coming upon the spooky centerpiece Where Spirits Dwell (2014), Gabriel Lester's life-size shack with curtains mid-bluster. The Art Gallery of NSW and Museum of Contemporary Art Australia play opposites for the Biennale period. Inspired by the open, waterside location, the MCA is the home of "liminal, libidinous, liquious" works (Juliana's words), while the earthy, central AGNSW is an "earth/fire space". The art at the MCA invites emotional, intuitive responses, while the AGNSW is more rational and outward-looking, housing most of the works that speak to the political issues circulating in the lead-up to the Biennale. A highlight in the MCA space is Douglas Gordon's Phantom (2011), a seductive yet mournful video and installation work that calls on the talents — and beautiful eye — of singer-songwriter Rufus Wainwright. Another is Roni Horn's hefty Ten Liquid Incidents, whose solid cast glass is a trompe l'oeil, looking like a series of light, mysterious, very much fluid pools. There are so many great works to appreciate here, and playful, informative presentation to accompany them. In the Art Gallery of NSW, concrete statements mix with more oblique ones. The act of seeking refuge, high-density housing, religious belief, the wheel of fortune and the National Apology are just some of the subjects zeroed in on. Michael Cook's photographic series Majority Rule is a powerful one, using a sole repeated figure to call plaintive attention to the marginalisation of Australia's original peoples from its current social spaces. Yhonnie Scarce's Weak in Colour But Strong in Blood (2013/14) is even more disturbing on its subject of eugenics, achieving a deep symbolism through its ambitious glasswork. Serious art connoisseurs (and bird lovers) should head to the fifth venue, Woolloomoolloo's Artspace, where five works are showcased in an overlapping fashion. You'll have to pick your way through Ugo Rondinone's little bronze bird sculptures, each one idiosyncratic and identified by name (the sun, the horizon, the universe), to take in the ambiguous, less obviously connected works. There is a sixth venue, of course: all around you. Just hang around inner-Sydney's public spaces and wait for something inexplicable to happen. See some of the fantastic images from the Biennale in our gallery.
Bell Shakespeare is rounding out the year with a play about the varied benefits of displaying personal responsibility, i.e. one which will undoubtedly cause both boomers and millennials to assure the other group that it was written with them in mind (before they both Google it and discover it predates them by 400 odd years). Bassanio is desperate to have a crack at wooing Portia, but to do so he needs 3000 ducats. He's broke, but his friend Antonio, a merchant, has always come up with the goods before. He does so again, but this time the money comes from Shylock, a moneylender happy to take anatomical reparations. Somehow we end up in a courtroom arguing semantics with Portia who is dressed up as a man. With Mitch Butel as Shylock and Jess Tovey as Portia, The Merchant of Venice is the rollicking birth of the courtroom drama and definitely worth a squiz.
From architecture to interiors to objects and craft, do you love all things design? Well, we've secured two tickets to the fourth annual DESIGN Canberra so you can indulge your aesthetic desires. Oh, and you'll get use of a BMW for the weekend, so you'll be able to drive out there and around the city in style. Plus, you'll be put up for two nights at Canberra's VIBE hotel, and have a full weekend itinerary scheduled. We'll have you meeting artists, discovering local craft and experiencing some of the best spots in Canberra, including dinner on us. Interested? We thought so. Running November 6–26, DESIGN Canberra is a celebration of our capital as a global city of design. Inspired by the spirit of modernism, the festival brings together Walter Burley and Marion Griffin's visionary design from a century ago, the iconic experimental modernist architecture of the 1950s and '60s and the contemporary and sustainable design developments of today — all coming together in a demonstration of Canberra as a living, breathing design hub. With over 100 (mostly free) events, exhibitions, talks, tours, activations, markets, collaborations, artist studios and open homes in the calendar — phew — DESIGN Canberra is sure to satiate your aesthetic desires this November. The festival offers exciting insight into the talent pool of makers who are working, living and creating in the nation's capital. One of the most intriguing events is Living Rooms, which allows visitors to explore the living rooms of acclaimed Canberra houses. Pop-up design exhibitions with works on sale will be incorporated into the living rooms, so even if you can't buy the house, you can buy the furniture (homewares and jewellery too). Other events include architecture bus tours, design talks, open studios and that's just the tip of this design iceberg. Not only will you win a full VIP itinerary for the weekend, have a Rolfe Classic BMW to drive and two nights accommodation at VIBE Hotel with breakfast included, but you'll also score dinner and wine for two at Canberra's stylish, ethical and eco-friendly Mocan & Green Grout. Mark your calendars and enter your details below for a chance to win. [competition]635856[/competition]
If you watched Jemaine Clement and Taika Waititi's vampire sharehouse mockumentary What We Do in the Shadows back in 2014, then instantly found yourself yearning for more, that's understandable. Smart, silly and hilarious, the undead flick is one of the past decade's best comedies. Thanks to two TV spinoffs, that dream has come true, letting viewers keep spending time in the movie's supernatural world — and that's not going to end any time soon. In 2018, the New Zealand-made Wellington Paranormal made it to screens, following the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural. It proved a hit, unsurprisingly, with the first half of the show's second season airing in 2019 — and set to continue in 2020. In 2019, an American television version of What We Do in the Shadows also made its debut, focusing on a group of vampire flatmates living in Staten Island. Featuring Toast of London's Matt Berry, Four Lions' Kayvan Novak, British stand-up comedian Natasia Demetriou, The Magicians' Harvey Guillen, The Office's Mark Proksch and Booksmart's Beanie Feldstein, it sticks to the same basic concept as the original movie, just with memorable new characters. And yes, it too was renewed for a second season — which is due to air this year, and has just released its first puppet-filled teasers. Created and co-written by Clement, and executive produced by the Flight of the Conchords star with Jojo Rabbit Oscar-winner Waititi, the US take on What We Do in the Shadows was first hinted at back in 2017, and then confirmed in May 2018. While the duo don't star in the new-look series, Berry, Novak and company have been doing them proud as the next batch of ravenous — and comic — vamps. Novak plays the gang's self-appointed leader, 'Nandor The Relentless', who dates back to the Ottoman Empire days and is somewhat stuck in his ways. As for Berry's mischievous British dandy Laszlo and Demetriou's seductive Nadja, they're like a blood-sucking Bonnie and Clyde (but much funnier). Guillén plays Nandor's familiar, who'd do anything to join the undead, while Proksch's Colin is an 'energy vampire'. And Feldstein's Jenna is a college student with a new craving. Can't wait to sink your fangs into more? The new batch of episodes will continue the story — charting Nandor, Laszlo, Nadja and the group's undead antics in the New York borough. It wasn't easy being a centuries-old bloodsucker in Wellington in the movie, and it's just as tough (and amusing) on the other side of the world. Check out the first two season two teasers below: https://www.youtube.com/watch?v=il1t77obp-8 https://www.youtube.com/watch?v=m9rX8BT97qI What We Do in the Shadows' second season starts airing on April 15 in the US — expect it to hit Foxtel in Australia sometime this year, with exact local airdates yet to be revealed.
There are few words as adored in Australian children's literature as seven penned by Alison Lester: "at our beach, at our magic beach". On the page, in one of the Aussie author and illustrator's best-known books, that phrase starts different descriptions of how a day by the waves can pan out. Here, swimming in the sparkling sea means seeing wild horses among the waves, however, just as digging in the sand conjures up dragons attacking castles. Gorgeous and transportive drawings both set the scene and take each on its fantastical journey — where rock pools are the entry to the kingdom of fish, stormy days bring treasure, fishing sparks quite a catch and more. Whether discovering it as a kid for the first time, or revisiting it as an adult sharing it with your own children or nieces and nephews, Magic Beach has always felt special, and also rung true in this nation girt by sea. It understands the joys of simply spending a day by the ocean, and the possibilities that doing just that can bring to young hearts and minds. Now, 35 years after initially hitting bookshelves, Magic Beach is also a movie. Making his third family-friendly film after Paper Planes and Blueback — and worlds away from the likes of Balibo, The Dry and Force of Nature: The Dry 2 — director Robert Connolly brings Magic Beach to a new medium as a creative mix of animation and live-action, and as a ten-segment anthology where kids, plus a dog, envision their own beach adventures after reading Lester's tome. Yes, Magic Beach as a movie is fittingly and wonderfully imaginative as ten animators take their cues from the book, then spin inventive stories. And yes, Magic Beach as a movie shot its live-action scenes at Lester's own magic beach. For Australia's first-ever Children's Laureate, that coastal spot is Walkerville South. Lester's own beach house was the base during the production, where the kids would arrive each day. Unsurprisingly, seeing her favourite patch of sand in the film is a source of joy for the author. "It's just a very warm, fuzzy feeling that a place that I've loved for so long, and then written this book about, that it's been turned into a beautiful movie," Lester tells Concrete Playground. What makes this location about two and a half hours out of Melbourne a magic beach? "I think my parents used to go to that beach before I was born, and then I was taken there as a baby. We used to stay at a friend's house for a long time, and then an old house came up for sale and mum bought it, when I think I was eight. And so since then we've always had this place that we go to," Lester continues. "I hardly ever go to other beaches because I always go there. It's just like that's where we're going for summer. I think the whole family has that feeling, that the minute you walk into the house all of worries and tensions drop away — and you're like 'aaah, here we are, we're at this beautiful place'." Even if you haven't ever specifically thought about it, we all have a magic beach or equivalent. "It's interesting, isn't it, your own childhood. I grew up in the Blue Mountains outside Sydney, so I was inland, and so for me there were little rivers that I would swim in. I was not coastal," advises Connelly. "Then we as a family, like a lot of Australian families, would go to the beach and stay in a caravan park. There was Terrigal, north of Sydney. But if I think more significantly in my life, when I was in my late teen years, the more-complicated teenage years when I was finishing school, I used to always get the train down to the Royal National Park south of Sydney, and I'd walk on my own into a little beach called Burning Palms. I'd camp on my own for a couple of days just to decompress, and swim in the ocean down there on my own. So that's probably the closest, if I think of the most-significant one in my life, because was very formative. But not when I was a little kid, because when I was a little kid, I was in the bush." "There's something about water, isn't there? And the threshold of diving into the water when you're little," Connolly also notes. His latest film, which he came to after fellow filmmaker Sarah Watt (My Year Without Sex) was initially set to direct before her death in 2011, deeply understands that feeling. It's committed to heroing what youthful minds dream up, too, and the sensation of being by the shore. We also chatted with Lester and Connolly about how the film came about, and its animated segments; ensuring that the book wasn't just a source of inspiration; their collaboration; giving the picture a wave-like rhythm; why Magic Beach has endured with generations of readers; and much more. On Magic Beach's Journey to Finally Becoming a Film Robert: "Sarah Watt, the amazing filmmaker behind Look Both Ways and My Year Without Sex, was developing it with Alison. And I worked with Sarah, who sadly is not with us anymore, but she introduced me to Alison — and we were collaborating together on it. It's so crazy, isn't it? The gestation period for projects, you can't pick it. Some films happen quickly and some take a long time. But I think my first involvement was over ten years ago. So that's quite a journey." Alison: "Well, it's been a very long journey and a very meandering journey, because when Sarah and I got together, we really loved working together and hanging out together. So a lot of times when we're supposed to be working, we'd just be hanging out and having a nice time. And then when Robert took the project over — and Sarah was in the same boat, they're both so in-demand and so successful that they always had other projects going on so. Robert and I laugh, at every Christmas he used to give me a phone call and say 'oh, hi Alison, can we have it for another year?'. And I go 'yeah, yeah, sure, it'll happen eventually'. I think we all had other things to go on, and Magic Beach was just simmering away in the background. And in a way, probably having that time was a good thing for it to finally turn out the way it did, where it wasn't rushed." Robert: "Yeah, that's true. It took a while to work out the way to tell the story of the film, to find a really unique way to tell that beautiful book as a film. So it didn't come quickly as an approach." On Whether Lester Ever Thought That a Magic Beach Movie Would Happen Back When the Book Was First Published 35 Years Ago Alison: "No, I never imagined it. It didn't cross my radar at all. I would have been happy if it had had a couple of print runs — and that's the other thing, it's still going as a book after all this time, which is really lovely." On Connolly's First Introduction to the Book — and Adding It to His Lineup of Family-Friendly Movies Robert: "I read it to my children. My daughters are 22 and 20 now, but I read Magic Beach and a whole bunch of other books of Alison's to my children when they were really little. And it was interesting, once I had kids, I started broadening my career. I did the film Paper Planes, and that was my first family film and I just fell in love with the idea of making films for younger people. And it was just a really attractive part of my career. The audience for Paper Planes was more primary school, and the audience for Blueback was more high school, but I have this fascination with that early-childhood phase, when I feel like children are the smartest they ever are. It's the most creative, imaginative stage, where they haven't learned any rules yet. And I love that audience, and so it just felt like an inevitable journey, really, for me to go on. Then it took me a while, actually. After we lost Sarah, I found it really hard to come back to the project for a while. I think we were all very sad. But the joyful spirit of Sarah's work and her own creativity is in this film. Her mischievous, cheeky, deeply humanist sensibilities are something that I think Alison and I see in the film that we've made." On Whether Lester Had Any Set Ideas About What the Film Should Be — and How Its Anthology Structure Came About Alison: "No, no, not really. I definitely didn't want it to be a kind of forced narrative where there was an evil developer who was going to build a hotel on the beach and that kind of forced thing. Other than that, I really trusted Sarah and Robert to do what they're so good at." Robert: "It was interesting initially. The animations came first, and so we invited — my producing partner Liz Kearney, who did Memoir of a Snail recently, and Chloe Brugale, who were working with me at the time — we just set on this journey to find ten animators, and invite them to respond to a different one of the kids and the dog, as it turned out in the film, and create their own work. So that was the step, and that's where the film began. So the live-action came second, which is really interesting — because once we have these beautiful animations, you can imagine what it was like when we were getting these beautiful, extraordinary, exquisite creative works delivered to us, it was like 'well, how do we stitch it together? How do we now create an overarching narrative for it? What's that going to look like?'. And that took a while, but we wanted to keep the spirit of what was so special and incredible about the book, and how the book allows young people to fill the blanks — like it really allows it, it doesn't fill everything in. So we needed it to keep that imaginative spirit of the book, which is where that idea of having this documentary footage of children, that then opens up into the magical world of the beach and then into the animation. It's these three layers of the film. So it was a real journey, but I'd love you know I loved? We had no rules — we kept trying new things, even in the edit we had no rules." Alison: "It's like that Spike Milligan thing: 'there's no plan, so nothing can go wrong'." Robert: "That's right. That's exactly right. I love that it's a film for little kids, and it's probably the most rule-breaking film that I've ever done, which is something young kids would really appreciate." On How the Narratives for Each Animated Segment Came About Robert: "I didn't want to restrict them. I wanted them to feel that freedom of childhood and their response to the book, so I gave them almost no rules, except that they had to choose a child and a section of the book, and then create their own work in their own style, which is something that Sarah had been really keen about, and Alison and I discussed. So in some ways it becomes a response — a love letter to the book and to the beach for each of those ten animators in their own style." Alison: "And they all rose to the occasion incredibly, didn't they?" Robert: "Yeah, yeah. You think of the different styles — and they're all very personal to each of the animators. Each of the animators can talk very much about their own response to the beach." On the Importance of the Book Not Just Inspiring the Film, But Being Part of the Film — Including Kids Reading and Responding to It Robert: "That was a real choice that came quite late — and I don't even know if we'd made that decision till after the animations. I think because I didn't quite know how the live-action was going to work. It could have been a story, it could have had more of a narrative structure. And then it was the idea of looking at the animations: 'well, what if we actually take real kids and let the book trigger them to imagine being at the beach as a character in the book, and then the beach itself triggers the imagination of the animation?'. I think actually that idea of them all reading or being exposed to the book in some form came after the animations, actually." Alison: "Quite late, yes. And as the author of the book, for me that is such a buzz just to see the movie built around the book and to have the illustrations up there on the big screen. It's really, really beautiful." On How Lester and Connolly Collaborated on the Movie Robert: "It was fun. We actually made the film on the magic beach. We had a small crew and this beautiful group of kids, and every day we the kids would all turn up at Alison's house, which is in the book as well and looks out over the magic beach — and Alison was staying there at the time, and the kids would turn up and say 'hi, Alison!'. And Bigsy the dog would be walking around. And they'd get in their costumes have breakfast, and then we'd all walk down to the beach and film. And then Alison would come down. I loved the collaboration of that. One of my favourite bits of that is that in one of the beautiful pictures in the book, there's a mobile hanging on the wall, when the kids are in bed, and it's got all different shells and things from the beach — and I just asked Alison if she could make one, and she made one and brought it down, and it wasn't even scripted where we'd use it. And that's the beautiful sequence when Riley, the young deaf girl, wakes up on the beach and touches it. So they're not scripted, but something that between Alison and I and the crew, and all being there on the beach, we improvised into life." On Whether Shooting on Lester's Actual Magic Beach Was Always a Given Robert: "No, actually. We weren't sure. At one point, I wondered if all of the kids' stories should be on a different beach." Alison: "Yeah, I remember that." Robert: "Or I thought maybe 'what if each of the nine kids had their own imagination on a different beach?'. But it felt that way you'd lose the spirit of collaboration. I like that one kid wakes up and they're on the beach and they're like 'where am I?', and then the second kid. And then there's two kids, and then they play together, and then the next kid turns up. So there's this idea that the children build a community. So that at the end, when they're all running down to the water and running across the water, that all of the kids are united together. Also it's so beautiful, it felt like going to the real magic beach would be a real treat for audiences as well, with love of the book, that they can see the film and go 'this is the real magic beach'." Alison: "And it all comes together, I think, too, doesn't it — when there's so many different things going, to have that constant of the beach where you can see quite clearly that it is the same place, even though they're different locations within the beach." Robert: "Yeah." On Giving the Film a Rhythm That Resembles the Waves, Washing in and Out of Each Segment Robert: "I'm so glad you picked that up." Alison: "Yeah, me too." Robert: "Because I remember talking to Maria Papoutsis, who edited it for me, and we talked a lot about that — that idea that you don't necessarily want things to be angular in how they're edited. You want it to feel like you're moving from scene to scene and moment to moment. The thing I love about watching the ocean, it's like watching a fire, a campfire — it's the same but it's infinitely different. I'm glad you picked that up. And also something I talked to Briony Marks about, with the music, she did the overarching composition with percussion. It's all percussion, marimbas and vibraphones. And this idea of not trying to be tight and angular and precise, which is what we get so used to now — highly structured cinema that's highly formed — and wanting it actually to have a rhythm that's a bit surprising. And they're different. The dynamic shape of the film was — actually, a lot of time was spent on trying to work out what order to put the animations. We tested different orders and then played it to kids, and then changed the order a bit, and then played it to kids again." On Why Readers Love Magic Beach So Much, and Have Since the 90s Alison: "I can't remember how I came up with that 'at our beach, at our magic beach', but I think it is a really lovely intro into each. So there's that rhythm of the text, which I think is very gentle and easy to read. And often people are reading those books late at night to their kids or they're tired and it's like 'oh my god, give me something easy to read' — and it does flow really nicely. But I think so many of us love the beach and we understand that experience of just going to beach in a really uncomplicated way, where you just go and see what's there. I think that the thing Robert talked about a little while ago, too, is that there's a lot of room in that book for your own imagination. You see what the kids are doing, but you don't know their names or anything like that, and it's not very specific, so you can easily be part of that book. So I think it's partly that a lot of families would recognise themselves in the book. And just the flukiness of why people like a book. I'm always so chuffed that the creative things I do often resonate with people, and I don't know that you can control that. It's just the luck of the draw really." On What Appeals to Connolly About Jumping Between Family-Friendly Films and the Likes of Balibo and The Dry Movies Robert: "Some filmmakers wonderfully stay in their own lane of genre, and they have become renowned for it — and some of my favourite filmmakers are like that. But there are great inspirations to me, like the Australian filmmaker Peter Weir, who worked in so many different genres across an impressive career. And I feel like, and what I hope, is that each film in some way follows that tradition of cinema almost being a microscope into the human condition. It's like every film looks somewhere into some aspect, like if Magic Beach looks into the deep, profound side of childhood at the beach and the way the natural world inspires creativity, a film like Balibo is very different because it looks into the power of individuals to act ethically and their leadership as a way to lead their country to freedom. So they're very different films, but I hope in some ways that my films always apply that rigour, so if you look at them collectively, I'd like to think that they're a body of humanist cinema about who we are and how we live and how we relate. But it's also fun. It's fun to swing. It was funny, though, when I was trying to finance Paper Planes, it was my first film after Balibo. And one of the investors who turned it down was like 'how in god's name are we going to market the film? Paper Planes, a film for the whole family from the director of Balibo? It's not going to work.' But I did have a kid come up to me with their youngest sibling at one of the screenings we had on the weekend, and the kid was a bit older going 'oh my god, I've seen Paper Planes so many times' — and they were bringing along their three-year old little sibling to see Magic Beach. So I have got a fanbase with young kids as well now, you see." Magic Beach opened in Australian cinemas on Thursday, January 16, 2025.
Set in 1980, Everbody Wants Some!! follows a university baseball team as they prepare to commence the next semester, and feels in a lot of ways like the movie Richard Linklater was destined to make. As the film ambles through the antics of teens and twenty-somethings embarking upon the next chapter of their lives (read: drinking and chasing girls), it shouldn't come as a surprise that it's a spiritual sequel to the writer-director's 1993 effort Dazed and Confused. In painting a portrait of young men becoming adults in the most routine of ways, it also acts as a very apt follow-up to the filmmaker's last effort, Boyhood. Rather than charting the final day of high school, or capturing the process of growing up over the course of 12 years, Linklater's latest chronicles the weekend before the start of college classes. When Jake (Blake Jenner) parks his car outside of the team lodgings he's about to call home, he's clearly excited, and just as obviously trying to make sure he appears cool, calm and collected. That careful attitude colours his interactions with his new housemates, whether they're welcoming him with open arms or pronouncing their strong dislike of pitchers. By day, they mostly sit or drive around. By night, they try their luck with the opposite sex at bars and parties. Cue a film with plenty of talk and testosterone, not as much action as any of the characters would like, but plenty of the kind of carefree moments that everyone has experienced at some point in their lives. As Jake's fellow baseballers flit through the narrative, some make a bigger impression than others – including ladies man McReynolds (Tyler Hoechlin), bearded stoner Willoughby (Wyatt Russell), and confident veteran Finnegan (Glen Powell). However, as they sling insults at each other, trade in exaggerated stories and natter on about whatever comes into their heads, they all play their part in this freewheeling slice of life. Accordingly, Everybody Wants Some!! is the ultimate hangout flick, about a bunch of guys just shooting the shit when they're not expected to do anything else. There's no missing the nostalgia driving Linklater's warmly amusing movie, with his images tinted with the glow of happy memories, his camera placed to make the viewer think they're part of the gang, and his soundtrack overflowing with '80s hits like 'My Sharona' and 'Rapper's Delight'. That said, there's also no mistaking the way that the filmmaker simply presents rather than probes, such as when it comes to Jake's romance with fellow freshman Beverly (Zoey Deutch). He's not making a statement — he's just happy to linger in the group's company. Don't confuse the film's laidback vibe with a lack of smarts or precision though. As Linklater proved with his charming romantic trio Before Sunrise, Before Sunset and Before Midnight, it takes careful planning and pitch-perfect performances to make something look and feel so easy and effortless. Like their director, the ensemble cast rarely hit a bad note, with Jenner and Russell certain stars in the making. The film's title might stem from a Van Halen song, but as this group whiles away several days, Everybody Wants Some!! earns its exclamation marks.
