Get down to the waterfront this Anzac Day, as Felons Manly presents an Aussie-inspired showcase designed to commemorate the day. Sprawling out onto the brewery's jetty, punters can enjoy a rare (legal) game of two-up. Then, the pub will come to life with live music throughout the day and a selection of limited-run beers poured from the tap. Head over to the bar to sip down a Grapefruit Radler, Felon's patented thirst-crusher that bursts bright with grapefruit aromas and tart citrus notes. For something a little different, there's also the Dulce De Leche Porter. This English-style porter hits with cocoa and caramel aromas, blended with a smooth profile rich in creamy milk chocolate, toasted malts and dulce de leche. The relaxed, community-focused event has free entry from 9am until late. Throughout the day, the venue will be fundraising for RSL LifeCare ANZAC Village, which offers retirement living, residential care, home care and support for veterans. Get down for good food and drink with a worthy cause to match.
Thailand's floating cinema blows its drive-in counterparts out of the water. Designed by Beijing-based architect Ole Scheeren, the Archipelago Cinema and Six Senses Resort hosted the final screenings of the Film on the Rocks Yao Noi Festival early last month. Moviegoers were transported by boat to their floating seats, which were situated on a raft-like apparatus in the Nae Pi Lae lagoon of Kudu Island. Opposite the seats, and nestled in between two looming rocks, was the full-sized, floating screen. Scheeren describes the atmosphere of his cinema as "a sense of temporality, randomness, almost like driftwood. Or maybe something more architectural: Modular pieces, loosely assembled, like a group of little islands that congregate to form an auditorium." All components of the floating cinema were composed of recycled materials gathered by local fisherman, who previously used it to build floating lobster farms. The cinema is indeed recyclable itself: after the festival, it is set to be dismantled and donated to the Yao Noi community for use as a playground and a floating stage. [via Architizer]
UPDATE, January 31, 2023: Skinamarink streams via Shudder from Thursday, February 2. Age may instil nocturnal bravery in most of us, stopping the flinching and wincing at things that routinely go bump, thump and jump in the night in our ordinary homes, but the childhood feeling of lying awake in the dark with shadows, shapes and strange sounds haunting an eerie void never seeps from memory. Close your eyes, cast your mind back, and the unsettling and uncertain sensation can easily spring again — that's how engrained it is. Or, with your peepers wide open, you could just watch new micro-budget Canadian horror movie Skinamarink. First-time feature filmmaker Kyle Edward Ball has even made this breakout hit, which cost just $15,000 to produce, in the house he grew up in. His characters: two kids, four-year-old Kevin (debutant Lucas Paul) and six-year-old Kaylee (fellow newcomer Dali Rose Tetreault), who wake up deep into the evening. The emotion he's trading in: pure primal dread, because to view this digitally shot but immensely grainy-looking flick is to be plunged back to a time when nightmares lingered the instant that the light switched off. Skinamarink does indeed jump backwards, meeting Kevin and Kaylee in 1995 when they can't find their dad (Ross Paul, Moby Dick) or mum (Jaime Hill, Give and Take) after waking. But, befitting a movie that's an immersive collage of distressing and disquieting images and noises from the get-go, it also pulsates with an air of being trapped in time. It takes its name from a nonsense nursery-rhyme song from 1910, then includes cartoons from the 1930s on Kevin and Kaylee's television to brighten up the night's relentless darkness. In its exacting, hissing sound design especially, it brings David Lynch's 1977 debut Eraserhead to mind. And the influence of 1999's The Blair Witch Project and the 2007-born Paranormal Activity franchise is just as evident, although Skinamarink is far more ambient, experimental and experiential. Ball has evolved from crafting YouTube shorts inspired by online commenters' worst dreams to this: his own creepypasta. Driven more by mood than story — sleepwalking more than driven, perhaps — Skinamarink sees its two pint-sized protagonists react to their parents' absence by embracing a childhood staple: camping out in front of the TV, where those animated shows play, with cereal, blankets and toys to help comfort them. It isn't Saturday morning, though, and they can hear odd noises echoing from the floor above. Also, those cartoons seem to be looping. Plus, this unnerving spin on Home Alone also involves doors and windows vanishing in glitches, then the toilet disappearing. Household items, such as chairs, dolls and video tapes, suddenly become attached to the ceiling and walls as well. And, amid the ASMR-style whispering that the film's central siblings utter at each other, there's a disconcerting voice attempting to get Kaylee to venture upstairs into her parents' bedroom — and to do the one thing that kids know they shouldn't at night, aka look under the bed. Has something horrific happened, leaving Skinamarink's two tots on their lonesome? Is this a case of parental neglect, abandonment or abuse? Has divorce disrupted the family unit ("I don't want to talk about mom," Kaylee says at one point), and this is the fraught and fractured aftermath? Or, are supernatural forces — demonic even — at work? Is it just panic, but in that innocent-minded way where everything seems scarier and more catastrophic in a young brain and heart that trusts in its guardians as a main source of comfort, safety and protection? And why is there no end to the agitated night, and to the accompanying atmosphere of fright? Writing plus directing, and leaning on first-time cinematographer Jamie McRae heavily, Ball lets all these questions and thoughts flow through his disorientated audience's heads. As Skinamarink sparks queries but gleefully eschews clearcut answers, saying that it sees Kevin and Kaylee isn't quite accurate. The slow-cinema effort does indeed focus on two kids alone at night when weird things occur, but that narrative summary can't cut to the movie's heart without being paired with a description of how the picture tells its tale. An exercise in precise framing and just-as-meticulous editing, it flits between patient glimpses around the potentially haunted house, all at angles as off-kilter as the events being captured. The feature peers ahead from low to the ground, mimicking a preschooler sitting — or stares upwards, spotting what someone with their eyes trained at the ceiling while they can't sleep might. It cycles between shots frequently, with little in the way of logic. And, in these barely lit snippets, faces are non-existent. Rather, legs and backs place people in sight, any glance someone's way feeling stolen, surreptitious and another signal that all isn't right. Even in its most blatant examples, and even exploring existential themes applicable to us all as the whole genre repeatedly does, horror flicks have always been a Rorschach test. What upsets one person when it's splashed across a screen mightn't raise a goosebump in another — but Skinamarink takes that concept a step further, building it into the entire process of watching its artificially grained-up imagery. Plenty that lurks in this always-flickering film is dim, fuzzy and hardly distinguishable. Scattered Lego blocks, a toddler's chatter telephone, corners of walls and ceilings, narrow hallways, fragments on the TV screen: they're among the movie's most distinctive visuals. What else one makes out in the coloured static is often up to them, although Ball does deploy some shots as jump scares. He uses the same approach to audio as well, with parts of the sparse dialogue indecipherable and almost inaudible, and not all of it earning on-screen subtitles. Most viewers of Skinamarink likely won't be watching it in their own childhood homes, but Ball wants to transport his audience there anyway: flailing around in the dark, hazily unsure of what's happening or why, stress stretched far further than one would like, and firmly anxious and alarmed. His film smartly understands how our imaginations can conjure up our biggest fears from nothing but the unknown, and gets ample mileage out of putting that idea into practice. And, when it can be seen in dark houses, it'd make a spectacular double with fellow recent horror flick We're All Going to the World's Fair. Both get creepy in everyday abodes, reflect upon screens, know the inescapable power of perturbing images, couldn't exist without online horror and feel like festering collective nightmares — insidiously and unshakeably so.
A mainstay of the suburb, Rose Bay Drive-In Liquor Store is the place to go if you're looking to grab a bottle of vino or ponder more exotic libations. The store was established in 1950 and has occupied its current digs since 1975. There is plenty to explore at the family-owned bottle shop, which prides itself on a vast hand-selected range of drinks from across the country and the world. With its wine advisory service, the staff helps advise the best unions of food and tipple for a special dinner party. Drop by to snag a bottle of your preferred tipple on your way to an event — and, if it's a rainy day, someone will come and serve you right from your car. It also offers delivery across the eastern suburbs, lower north shore and CBD, including glasses, ice and tubs and your pre-chilled booze.
Have you heard the rumour that we're heading into one of the coldest winters ever? While we're sad to say goodbye to lazy beach days and rooftop bars, we're (very) warmly embracing the news as a good excuse for indoor activities — think intimate dinners, house parties and plenty of gigs. To help with the seasonal transition, we've launched a new gig guide in partnership with JBL Link Speakers. Here, we'll give you the low-down on all of the best performers filling our fair cities with their tunes. And since we love doing the hard work for you, we'll also include a curated Spotify playlist of our recommendations for pre-gig study and post-gig reminiscing. To celebrate this new partnership, we're giving away three sets of JBL Link 10 speakers, valued at $229 each. As well as wireless connection, these mighty music boxes have hands-free voice control so Google Assistant becomes your personal DJ — simply shout "OK, Google" and your tune of choice and music will start streaming directly via Chromecast. With up to five hours of play time and high quality sound, the JBL Link 10 speakers are the perfect home accessory for music mavens. To enter, see details below. [competition]659863[/competition]
When TERROR NULLIUS roared across screens in 2018, it remixed, repurposed and recontextualised Australian cinema and television's familiar sights and sounds with the nation's political reality, all to create a pointed portrait of the country today. The ochre-hued terrain, the famous faces, BMX Bandits-era Nicole Kidman, the Mad Max franchise's road warriors, Skippy the Bush Kangaroo, Olivia Newton-John in her Grease leathers and the Rage intro — that and more was spliced into "a political revenge fable that takes the form of an eco-horror," as artist duo Soda Jerk describes it. Also featured: footage from 1988's bicentennial celebrations, snippets of Tony Abbott's speeches and examples of Mel Gibson at his abhorrent off-screen worst, to name a mere few of the film's melange of clips and sources. The result was not only a stunning piece of political art, but one of Australia's best movies of the past decade. It's also exactly what Soda Jerk do — and spectacularly — in their sample-based brand of filmmaking. Where TERROR NULLIUS traversed home soil, the pair's five-years-later next effort Hello Dankness turns its attention stateside. Co-commissioned by the Adelaide Film Festival and Samstag Museum of Art, it too is an experience that makes its audience see a wealth of recognisable imagery with fresh eyes, surveying glimpses of American suburbia to carve into the carnival that is America's political landscape-slash-hellscape between 2016–21. Ambition clearly isn't a problem for TERROR NULLIUS or Hello Dankness. Using hundreds of sources, with Hello Dankness featuring more than 300 film and TV clips, plus around 250 audio grabs, having an impact isn't a struggle, either. The former was called "unAustralian" by one of its funding bodies, ridiculously so. The latter enjoyed its international premiere at the 2023 Berlinale and just won the Best Narrative Feature Award at this year's Atlanta Film Festival. It "feels like some kind of stoned fever dream," Soda Jerk note of the movie's success so far. Next, Hello Dankness has stops at Dark Mofo and the Sydney Film Festival in June. This time, Soda Jerk have made what they dub "a suburban stoner musical rendered in the form of a cybernetic Greek tragedy". Here, everything from The Burbs and Wayne's World to Barb and Star Go to Vista Del Mar and The Social Network dance together — plus American Beauty, Friday, Napoleon Dynamite, This Is the End, Euphoria and PEN15 as well — alongside reminders of America's fake news-, conspiracy-, meme-, pandemic and culture war-ravaged society. That's where Donald Trump's Access Hollywood tape and Kendall Jenner's Pepsi ad come in, too. The soundtrack: songs from Cats, Les Misérables, Annie and The Phantom of the Opera, as everyone's favourite movies get the second life that no one other than Soda Jerk could've ever dreamed of to unpack a deeply polarised country and period. "There is no right way to inhabit the film," explains Soda Jerk, chatting with Concrete Playground about the movie's inspirations, ideas and process ahead of Hello Dankness' upcoming Aussie screenings. "There are many lulz to be had, but it's also an unsettling and weirdo ride. We've been genuinely floored by the kind of psyched enthusiasms it has received so far. Some of the screenings have been wild, almost grindhouse vibes," the pair continue. "But we're equally fond of one online hater who wrote that there are some things you should never have to see in your lifetime: one is how chicken nuggets are made and the other is Hello Dankness." ON DECIDING TO MAKE HELLO DANKNESS AFTER TERROR NULLIUS "Hello Dankness emerged in 2016 from a feeling of disbelief at the surrealness of US politics that was palpable at that time. There were Democrats eating babies, pedophiles communicating in pizza code and presidential pee-pee tapes. Conspiracies like these have always existed in the skanky corners of the derp web, but now they were circulating on boomer media sites like Facebook, Fox News and CNN. It was as though all the soberness had been sucked from reality and we had emerged into a stoned new world. So Hello Dankness really evolved as an attempt to document this sense of unreality, the raw feeling of it, and also what it might obscure or reveal about the shifting power contours of this moment. So we began Hello Dankness in 2016 and continued to research it concurrently throughout the two years we were making TERROR NULLIUS. When we wrapped TERROR NULLIUS in early 2018, we shifted to developing Hello Dankness as our sole focus. We spent four years working with ridiculous intensity on Hello Dankness from 2018 to late 2022. The adjacency of the two projects no doubt played a role in shaping their confluences and differences. While each is distinct in tone and genre, they're both national fables that offer a rogue account of political history." ON USING SUBURBIA TO PROBE AND SATIRISE AMERICA'S POLITICAL LANDSCAPE "Initially, we didn't know what form Hello Dankness would take — at one time, it was a cypherpunk political thriller based around Total Recall and 90s anime; at another time, it played out in the dystopian parallel universe of Back to the Future. But these kinds of sci-fi frameworks seemed to betray the sense of perverse ordinariness that also characterised the experience of the period 2016–21. For while so much of the pandemic was deeply upending and unprecedented, it's also true that we mostly experienced it from the numbingly familiar vista of our homes. So, accounting for this domesticity felt important, and this is what initially drew us away from sci-fi world-building and towards the imaginary of American suburbia. But we were also interested in placing the trad mythos of the suburbs under pressure, of thinking about the ways that this collective space has been reconfigured by the internet into increasingly privatised worlds and niche belief systems." ON THE PROCESS BEHIND HELLO DANKNESS — AND FINDING ALL THOSE SAMPLES "We don't work in a linear way; throughout our process we're constantly shifting between scripting, editing and sampling, depending on what's needed at any particular moment. It's a difficult process to untangle, and plays out differently for each project. With Hello Dankness, we had the added challenge that we were attempting to capture the contemporary moment as the ground kept shifting beneath us. From the outset, we knew we wanted to cover the period of the Trump presidency — but as history got sucked into a pandemic sinkhole in 2020 we had to scramble to fold in new events as they unfurled around us. We've been torrent freaks since Pirate Bay was a baby, so we've amassed a formidable archive over the past 20 years of our practice. This personal stash is usually the starting point for our research, and then we begin to target specific trajectories that we want to pursue in more depth. We're high-key obsessive about it, so if we're doing a deep dive into netsploitation flicks, we'll attempt to track down absolutely every source that's available. But sometimes the best samples emerge from happy accidents, so we try to leave room for looseness, too. There is definitely something contingent and compulsive about sampling, like there is with gambling. So much wasted time among sudden staggering windfalls. We're always out there in the trenches, digging for infinitively obscure and unlikely things we might not have seen before. Somehow though, the core samples that end up making their way into the project are usually ones we have a history with. We're like some kind of homing pigeon in that sense, always finding our way back to what we're already intimate with. We just can't seem to fight it." ON MAKING A STONER MUSICAL — AND ALSO A GREEK TRAGEDY "Stoner films and musicals made sense because they are genres that traffic in strange contortions of the everyday. Early iterations of the project also leaned heavily into the janky aesthetics of online culture and led us down many k-holes into YouTube Poop, shitcore music and advanced meme magic. Some of that still remains, but as we progressed the post-internet affectations became less literal and more encrypted. We also had an ongoing fixation with Greek tragedy that ended up shaping our conception of the characters as myths and masks." ON THE ESSENTIAL CLIPS THAT HAD TO BE IN HELLO DANKNESS "Often, the things we fall hardest for are the documentary artefacts. They're really at the centre of the way we work, and what we're trying to do, which is a kind of a contorted historiography in a sense. So with Hello Dankness, these artefacts included things like Alex Jones' InfoWars rants, Trump's Access Hollywood tape and Mark Zuckerberg's Harvard commencement speech. The Pepsi commercial was also very pivotal for us as a kind of muse for the whole project. Then there are the sources that are released while we're working on the film, that can be pretty special too. This was the case with Euphoria and PEN15 — they knocked us over in a good way." ON UNPACKING POLITICS THROUGH POP-CULTURE SAMPLES "What interests us is the idea of politics as a form of memetics, the way political messaging has begun to operate through a logic of virality and contagion. As a reality TV star, Trump's intuition for transforming reality into a compelling spectacle is undeniable. But there is also a quality to Trump that exceeds the image logic of TV. Obama's cool demeanour and deft oration connect him to the era of television, whereas Trump's scattershot presence is more suited to the virology of the internet. Trump is both shitposter and shitpost personified. We think of him as the first meme to hold office in the White House." ON TERROR NULIUS BEING CALLED "UNAUSTRALIAN" — AND THE NEED FOR FILMS LIKE IT AND HELLO DANKNESS "We've been thinking a lot about the kind of cultural shifts that have occurred since all that happened with TERROR NULLIUS. It seems pretty clear that both artists and institutions have become even more risk-averse than they were back in 2018. The spectre of social media retribution hangs like a fearsome cloud over cultural production and we feel that this has had a narrowing effect on the kind of work that's being made. It's also been gutting to witness the hideous creep of political art into content production and corporate brand collaboration. More than ever, we feel that artists need to remain committed to making difficult work, work that is pro-complexity. If political art doesn't make people uncomfortable then it's not a protest, it's a parade." Soda Jerk's Hello Dankness screens at Dark Mofo and Sydney Film Festival in June 2023 — we'll update you with future screenings around Australia and New Zealand when they're announced.
MasterCard® Priceless Sydney have partnered with Manly local Taylor Eaton and his surf store, The Shop Next Door, to get you into this summer's perfect pair of thongs. Not just any old bargain-basement flip-flops, but the deluxe version: malc&andi's organic creations. Run by Taylor, The Shop Next Door (46–50 Pittwater Road, Manly) is a surf shop like no other. He stocks over 150 different surfboards, many of them crafted by the world's most creative, forward-thinking board makers. Brands include Christenson, Kookbox, Mandala, McCallum, Ryan Lovelace and La Maitre. Plus, there's an array of music, original artworks, unusual clothing and collectible items. Constantly evolving, The Shop Next Door is more the exploration of a passion than an ordinary retail experience. Half of the shop is dedicated to a pop-up concept known as 'Manly Style'. Every three months, a different clothing label takes over, transforming the space into a unique display. Over the past couple of years, Tyler Warrens Garage Collection, Rhythm, O'Neill, Vans, The Critical Slide Society and RVCA have all had temporary residences. Valued at $24.95, malc&andi thongs come in 11 different colours. Plus, the fact that they're made of 100 percent natural rubber means not only eco-friendliness and biodegradability but also a foot-feel that's soft as the proverbial baby's bottom. Both thin and fat strap versions are available. Already picked out your favourite pair? It's time to catch a ferry to Manly. MasterCard Priceless Sydney is giving away the footwear to shoppers who spend at least $60 at The Shop Next Door, making their purchase by MasterCard. You can use them to walk off your previous Priceless Sydney freebies of signature desserts and choc tops.
Muogamarra Nature Reserve, a hidden oasis of native wildflowers located near Cowan, is closed to the public for most of the year in order to protect its fragile ecosystem and its First Nations cultural heritage. But every now and then, it opens for everyone to enjoy for a limited time. That time is about to arrive for 2024, with the reserve welcoming guests for six weeks from Saturday, August 17–Sunday, September 22. The reserve is a thing of beauty, playing home to more than 900 species of native wildflowers that fill the area with a sea of vibrant colours when they bloom. Waratahs, angophoras, old-man banksias, pink boronias and native orchids — they're all here among the site's expansive bushlands and rainforests. [caption id="attachment_962237" align="alignnone" width="1920"] J Spencer[/caption] You can also catch a glimpse of First Nations rock engravings, and take in expansive views of Hawkesbury River, Berowra Creek, Bar Island, Milson Island and Spectacle Island. If this all sounds right up your alley, you've got a couple of options when planning a trip to Muogamarra Nature Reserve. You can book one of four different guided tours led by experienced NSW National Parks and Wildlife Service (NPWS) volunteers, who will take you through the reserve, teaching you about the floral wonders surrounding you. [caption id="attachment_962239" align="alignnone" width="1920"] Pan Goldie[/caption] The tours each cover different sections of the park, and range from three to ten kilometres of walking. Or, if you want to tackle the reserve by yourself, you can also reserve a time slot for a self-guided tour. Slots for both are limited, so the NPWS is encouraging anyone keen to explore the wildflower haven to get in quick. Each of the four guided tours and the self-guided tours are available to book at different dates and times. Head to the NSW National Parks website to see the selected dates and to make a booking. [caption id="attachment_962236" align="alignnone" width="1920"] J Spencer[/caption] Muogamarra Nature Reserve is located three kilometres north of Cowan Station, on the western side of the Pacific Highway. It will reopen to the public for 2024 across selected dates between Saturday, August 17–Sunday, September 22. Head to the NSW National Parks and Wildlife Service website for more details. Top image: J Spencer.
Bordered by the sunny, sandy beaches of Wollongong and located less than 90km south of Sydney, Shell Cove is our pick of the season for those seeking an easy weekend escape. While it's packed with many of the natural wonders synonymous with the neighbouring NSW South Coast towns, the area's gorgeous, sun-soaked offerings make it a must-visit destination unto itself. If you've never been to Shell Cove, it's time to change that. With the help of Shellharbour City Council, with Frasers Property, we've put together a guide on some of our favourite places to eat, play and stay in this scenic and relaxing spot. [caption id="attachment_869851" align="alignnone" width="1920"] The Waterfront Tavern[/caption] EAT SHELL-EBRATE SEAFOOD Given that Shell Cove enjoys direct access to the Tasman Sea, it should surprise exactly nobody that visitors will be able to enjoy some spectacular seafood at The Waterfront Dining Precinct. Test out the theory for yourself by tucking into fresh takeaway fish and chips at the The Salty Squid, or, if you aren't about the pescatarian life, sample the local beef burgers with milk buns at family-friendly restaurant Georgia Rose. Just be sure to finish things off at The Waterfront Tavern with a Caramilk Espresso Martini. GET THE (DOUBLE) SCOOP Did you even do a road trip if you didn't stop for ice cream? BLISS Ice Cream and Gelato makes it easier to get your warm-weather sugar fix — as well as a nice snap of your cone for Instagram — by offering over 50 delicious flavours of ice cream and gelato, alongside an equally impressive range of milkshakes, thick shakes and caffeine-fixing drinks. A FOODIE FESTIVAL If brunch, booze and all the bits in between aren't enough to entice you, then those looking for a little extra incentive to make the leisurely drive from Sydney to Shell Cove will find it in The Waterfront Food and Wine Festival this October. Headlined by Masterchef's Adam Liaw and renowned Indigenous chef Mark Olive, the weekend-long event will kick off at 4pm on Friday, October 28 (and continue on into the next day before ending on Saturday evening) — bringing together the South Coast's finest food makers and the region's award-winning wine, craft beer and spirit producers. Think chefs, cheesemakers, baristas, bakers, brewers, winemakers and distillers showing off their best wares — and yes, there will be samples. You can also check out workshops and live cooking demonstrations from food experts — with delicious results. LOVE YOU A BRUNCH Sure, Sydney is known for its brilliant brunch spots, but those in Shell Cove serve theirs alongside a beautiful sea breeze — and Leaf Cafe & Co is one of the best. Located in the The Shell Cove Town Centre, Leaf prepares dishes like breakfast gnocchi daily, while roasting and grinding its award-winning coffee beans every single week… Which is probably how it managed to bring home four medals from the largest global roasting competition this year. [caption id="attachment_869850" align="alignnone" width="1920"] The Waterfront Boardwalks[/caption] PLAY ON THE BEATEN TRACK Whether you're a workout warrior, art aficionado or just keen to get your blood and creative juices flowing, be sure to check out The Waterfront's 2.5-kilometre promenade and harbourside boardwalks. As well as public artworks and outdoor exercise equipment dotted the track, there's a lot to love about the striking lookouts over the Tasman sea. Prefer to head off the beaten track (literally)? The marina offers a number of casual berths for hire, that make it popular among boat owners. With sailors coming in from across Australia (including adventurous Adelaideans and others en route to Queensland), you'll be in good company should you opt to pull up ship and spend the day fishing from the boat ramp. A HOLE NEW BALL GAME You don't need to be Greg Norman to book a round at Links Shell Cove. While the picturesque golf course does service aspiring pro-putter with its challenging 18-hole course, it's also home to a brand new, mini-but-mighty golf course for those who are more pussycat than Tiger Woods. A scaled-down version of the original full-size golf course, the "Links" course is best suited for beginners and budding golfers who are, well, a little bit green, on the green. [caption id="attachment_871410" align="alignnone" width="1920"] Shellharbour Wild Tours[/caption] DOLPHIN DREAMING The best way to get up close and personal with those dolphin spotting opportunities we mentioned in our introduction? By booking a tour with Shellharbour Wild. Begin your trip with a cruise from the Shellharbour Marina travelling south and exploring beautiful Bushrangers Bay and its calm turquoise waters, before driving up north to take in the panoramic views of Perkins and Windang Beach. Depending on the season you might cross paths with dolphins, whales or the fur seals sunbathing on the rocks of Five Islands. BEACHY KEEN It seems almost criminal to get halfway through an article on Shell Cove before we mention its beautiful beaches, and yet here we are. To make up for our misdemeanour, allow us to share some of the most scenic seaside spots that border Shell Cove. As well as the unspoilt white sands and surfing swell you'll find at Shellharbour South Beach and Killalea Beach, be sure to check out Bass Point and Bushrangers Bay Aquatic Reserve. Popular with both locals and passing travellers, this sheltered site affords access to iconic snorkelling and diving excursions, only accessible through Shell Cove. [caption id="attachment_869853" align="alignnone" width="1920"] The Kids Beach at The Waterfront[/caption] STAY COMING SOON: THE CROWNE PLAZA HOTEL Looking for iconic, deluxe hotel accommodation, with chic restaurants and bars, delicious food and beverage outlets, contemporary rooms and function facilities, and a resort-style pool? Then watch this space, with the Crowne Plaza Hotel expected to be opening at The Waterfront in 2025 — mark your calendars now. A SPECIAL KIND OF SEBEL Can't wait that long? May we suggest the Sebel Harbourside Kiama, in the meantime? Featuring a range of luxury lodgings, as well as a variety of entertainment and dining options, and views over the beautiful Kiama harbour you would be completely forgiven for spending the entirety of your stay onsite. Insider tip: Don't do that, otherwise you'll miss out on the famous Kiama Blowhole and historic terrace shops, which are both but a short walk away. [caption id="attachment_869696" align="alignnone" width="1920"] Airbnb[/caption] APARTMENT STAYS If you prefer the experience of a self-serviced stay, check out this one by the beach (three minutes away to be precise). With a stylish set-up and take-your-breath-away views of the ocean, this spectacular three-bedder is the ideal space for your Shell Cove stay. Plus it comes with a large alfresco balcony (including an inbuilt BBQ) so you can enjoy sunrises and sunsets all year round. TOWNHOUSE FOR THREE For a townhouse that gives city slick vibes without skimping on Shell Cove's signature South Coast charm, we recommend this stunning three-bedroom townhouse. If you have a long list of luxury accommodation essentials, we can almost guarantee that this place is the one that will mark them off. Think top-tier furnishings, a master bedroom with a king-size bed, and waterfront views courtesy of its world-class marina location. To find out more about Shell Cove and discover this scenic NSW location for yourself, head to The Waterfront Shell Cove.
Brisbanites already know the joys of living in the River City, and now the rest of the world is catching up. In 2023, the Queensland capital keeps being named among the globe's top places, first thanks to TIME magazine, then scoring the only Australian place to stay on the first-ever World's Best's 50 Hotels list and now getting the tick of approval from Frommer's. The travel guide publisher has unveiled its 'Best Places to Go in 2024' rundown, which isn't ranked but does compile Frommer's top spots to put on your itinerary next year. "This year, Frommer's selections for the 'Best Places to Go' combine our growing hunger for fresh discovery, balanced with a rising need for affordability and accessibility. Frommer's authors, researchers and staffers around the globe have selected destinations that shine in our time and are expecting rising fortunes in 2024," the publisher advised. "Whether it's forging new inroads to previously isolated attractions, marking milestones in sustainability or cultural heritage, or basking in a previously denied spotlight, each destination on our Best Places to Go list could play a pivotal role in our shifting travel sensibilities in 2024." Why yes, #Brisbane DID make our list of the top places on the planet to visit in 2024. Here's why: https://t.co/WTtkE3e1I7 pic.twitter.com/ESX5PzzMjP — Frommer's (@Frommers) October 25, 2023 Fifteen places have received the nod, with Brisbane the only Australian location on the list. It's named second in a selection that the publisher notes is "in no particular order". The city earned some love partly for converting "the river into a world-class asset, devising new ways to go over, under and around the waterway — and show it off at new entertainment districts with dazzling views". Also mentioned: everything from the upcoming Queen's Wharf precinct to the existing Howard Smith Wharves, and also K'gari and Minjerribah. And yes, the fact that Brisbane is hosting the 2023 Olympic and Paralympic Games gets a shoutout as well. "Brisbane's reputation as a generic Aussie backwater is over. It belongs to the world now," Frommer's also states. Brisbane Lord Mayor Adrian Schrinner has been quick to celebrate the latest global tick of approval for the River City. "Brisbane residents already know our city is the best place in the world to live and now the world knows it's Australia's best place to visit," said the Mayor. "People are flocking to Brisbane in record numbers to live so it's no surprise our city is being recognised as a world-class destination to visit too." "Brisbane's suburbs are great places to live and our city's incredible climate and world-class destinations like South Bank and Howard Smith Wharves are capturing hearts across the world. Our river city is on an incredible trajectory and this is just further recognition that Brisbane just keeps getting better." Brisbane's company among Frommer's 15 picks for 2024 includes The Cook Islands, Seville in Spain, Dresden and Chemnitz in Germany, Guanajuato in Mexico, Scotland's islands, Nepal, Prince Edward Island in Canada and Panama City, Panama. America is well represented thanks to the state of Kentucky, Santa Fe in New Mexico, the Craters of the Moon National Monument in Idaho, Glendale in Arizona, Utqiagvik in Alaska and Maui in Hawaii. For the full Frommer's Best Places to Go in 2024 list, head to the publication's website.
When it comes to enjoying great views, this Rose Bay diner takes prime position. It's not just located by the water, but in fact located right on it. Situated right on Rose Bay's marina, Empire Lounge is the departure lounge for Sydney Seaplanes. Diners don't have to be flying to enjoy watching seaplanes touch down on the waterfront, while dining in for breakfast, lunch or dinner. Seafood is the star here, with oysters sourced from the NSW coastline, fresh sashimi, kingfish crudo, tiger prawns and barramundi curry. Images 4 & 5: Anna Kucera
If you're a garlic girlie, then you should make your way to the fresh eatery Birdie Bar and Brasserie located in the foyer of the recently opened Novotel City Centre on York Street. The new spot boasts a fusion of British and modern Australian fare on its menu that champions local produce and celebrates Aussie fauna of the feathered variety. The charming space has an avian theme throughout, from its colourful wallpaper and nest lampshades to its cocktail list. British Head Chef John Lyons is at the helm of the kitchen. Lyons cut his teeth working in Michelin-starred and AA Rosettes-earning establishments back in the UK, and now he's here to put his own stamp on Sydney's hospo scene with a menu best described as playful with plenty of British elements, and with local suppliers and producers championed throughout. Some menu items that exemplify this philosophy are the Fremantle octopus with koji sourced from Keiko Ikeda in Bondi and the black sesame dessert, which is a take on a classic British sponge cake and includes the rare citrus fruit poorman's orange. And it wouldn't be a British spot without Sunday roast with all the trimmings, including the mandatory Yorkshire puddings and lashings of gravy. You can tell Lyons and his team are having a lot of fun with this menu, with entrées like The Duck — duck liver parfait shaped into two little duckies — and the cheeky The Bird — bumps of caviar Paris with shots of Grey Goose vodka in wooden shot cups and a polaroid snap of you and your dining guest. Don't leave without trying the garlic bread that does not skimp on the butter, garlic or bread — lots of texture and plenty of garlic flavour. The mains don't skimp on flavour either, with options like the equally garlic-forward allium risotto with comte and chervil, the massive one-kilogram t-bone steak with a side of house-made mustard (of course), and smoked ocean trout with cucumber and horseradish. The fun continues on the dessert menu with the not-so-appetisingly named Dogs Dinner, which literally comes plated in a dog's bowl and features chocolate "kibble", mini biscuits, moose and nuts with an oat biscuit in the shape of a bone. If you can't decide on your mains, there is a chef's choice menu called 'Canary in a Coal Mine' — a minimum of four people required — that features eight plates to share from the mains sides and desserts. The portions are big, so you definitely won't be going hungry for days. You can level up this chef's choice with a pairing for four sips for $30 per person. The drinks menu takes the venue's theme to a new level, each inspired by an Aussie native bird. There's the Sulpher-Crested Cockatoo, with gin lemon, meringue foam, and shortbread crumble; the Satin Bowerbird, with Irish whiskey, lemon, blackberry and hibiscus; and the Galah, with strawberry gin, guava liqueur and sparkling rosé. Each cocktail comes with a cute description of the beverage, with the bird theme extending into these stories. The wine list includes drops from across Australia, Europe and South America, while the beers include Birdie's very own lager and bevs from local breweries Young Henrys, Atomic Brewery and Lord Nelson.
The Marvel Cinematic Universe has taken us from New York skyscrapers to the far reaches of space, but for one weekend this year, it's landing right here in Sydney. Under the direction of Conductor Benjamin Northey, the Sydney Symphony Orchestra is bringing Marvel's Infinity Saga to life at the Sydney Opera House with a brand-new film concert experience featuring the biggest moments from 23 movies, with every heroic (and villainous) note performed live to screen. You will hear a selection of heart-pounding themes live at the Sydney Opera House, including Academy Award-winning scores by Ramin Djawadi, Alan Silvestri, Ludwig Göransson, Danny Elfman and a taste of the Guardians of the Galaxy mixtape. To celebrate hearing the soundtracks of MCU's biggest personalities in our own backyard, we've rounded up the ultimate Marvel-inspired list of places to visit in the city. From rooftop cocktails fit for a billionaire inventor to Viking-worthy feasts, here's where you can hit up to feel like you're the main character of your own movie. Iron Man If Tony Stark is your vibe, you don't just book any old dinner reservation; you expect sky-high views, sleek interiors and a drinks list as inventive as your tech. At O Bar and Dining, you could sip a martini while surveying the city from its revolving perch. For something moodier, Joji offers the kind of minimalist design and premium whisky selection Stark would absolutely approve of. And for sunset cocktails with harbour views? Zephyr ticks all the boxes: luxury rooftop elegance with a modern feel. Thor Sydney may not have Asgard's golden towers, but it can still offer a feast worthy of the God of Thunder. Mjolner is an obvious choice — not only for its Viking-inspired decor and meat-heavy menu, but for its weekly 'ThorsDay' all-you-can-eat night. In between bites, you can burn off some energy at Throw Axe Penrith, showing off your hammer-throwing skills. And since Thor's not one to shy away from mingling with other gods, dinner at Olympus Dining would be a fitting nod to his Greek counterparts. Captain America Steve Rogers is a man out of time, but luckily, Sydney has spots that speak to his 1940s nostalgia and all-American charm. Kittyhawk (named after a US fighter jet) is a perfect choice for its vintage wartime and aviation theme. For something more casual, Surly's American Tavern serves up classic barbecue and cold beer that would feel like home for Captain America. But before a feed, you can make like Rogers by doing sets at One Playground Gym, keeping your superhero conditioning in check. Hulk Bruce Banner might prefer the quiet life, but when the Other Guy takes over, it's all about big energy and bigger portions. At Smash Room City, you can release some Hulk-sized tension — no collateral damage to Sydney's buildings required. Wings and Tins might be next, where the beer-can smashers at each table would make for a very on-brand dinner ritual. And for a calmer Sunday, The Lord Dudley offers a classic roast feast in a cosy pub. Bonus points for the building's green facade that gives a subtle nod to his alter ego. Captain Marvel Carol Danvers may have been born on Earth, but her powers deserve a Sydney itinerary that's a little… otherworldly. Bar Planet is the aptly named Newtown favourite where even a soldier of the Kree might feel at home. The 81st-floor Infinity Bar gives you panoramic views of the city (and perhaps a moment to check in on other galaxies). And for a rush without leaving the atmosphere, Indoor Skydiving Sydney offers the pure adrenaline hit of flight powers. Whether you're team hero or villain, the Marvel's Infinity Saga Concert Experience is your chance to relive the best moments of the MCU in an entirely new way. Relive the most iconic moments from these beloved films in this unforgettable concert experience live at the Sydney Opera House. Book tickets now. Presentation Licensed by Disney Concerts © Disney
Throwing an awesome barbecue doesn't have to involve making your own bunting and painstakingly pouring pomegranate jelly shots into hollowed-out strawberries. God (who looks like Bill Hunter if you're Australian) can see you when you do that, and he doesn't approve. But your mates won't think you're a wanker if you make a little effort. Here's what you need for a barbecue: food, a case or two, music, somewhere to sit, some ice, and good people. We can't help you with meeting good people and making them like you, although inviting them over to eat meat and drink beer probably won't hurt. 1. PLAYLIST & PEOPLE This is up to you, of course, but for a breezy arvo-into-evening sit-around, we suggest a vaguely chronological mix of soul and Motown, RSL bangers (we're talking Crowded House, 'Electric Blue', 'The Horses', 'Bette Davis Eyes', 'Dumb Things') and early-90s hip hop and RnB. Only invite people who enjoy all those things, don't invite anyone who hates 'Electric Blue', and there's your guestlist sorted. 2. DRINKS Beer: buy a case. Buy at least one. Buy two if you can afford it. What, are you worried you'll be stuck with a whole bunch of leftover beer? It's not a Christmas ham. People will (and should) BYO but you should always have communals they can get stuck into. And nobody's going to complain about free beer, but if you want to step it up a notch, use one of these apps to pick yourself a solid local craft beer. Wine: Non-beer-drinkers will usually BYO too, but you can now get an award-winning bottle of wine at ALDI Liquor for a fiver. Get two white, a rose and a red, just to be hospitable, and if you end up taking one to dinner at your in-laws', they won't be able to tell from the label that it cost less than a pub steak. As for ice: schlep to the servo and buy a bag. It's like $4. If you don't have a tub-type thingy and don't want to shell out for one, here is a short list of things into which you can place a sturdy garbage bag to create a reasonably capacious waterproof ice bucket: - A laundry basket - the carton the beer came in (or literally any other large cardboard box) - a milk crate - a small shelf turned on its side If you've got an old solid-metal bottle opener around, tie it to your table or BBQ stand with a piece of string. That way you'll always have one handy, it won't go walkabout in someone's pocket, and your dumbest/drunkest mate won't break a tooth trying to prove how hard he is. 3. MEAT Buy minute steaks, not rump. They're cheaper, thin enough to stuff into a white roll with sauce, and are much more friendly to plastic cutlery, paper plates, eating on laps and all of the above at once. Sausages are mandatory. Buy two kinds. Make one of those kinds the standard straight-sided fundraising democracy Saturday sport sausage-sizzle beef variety (get some from a good butcher if you're not wild about where the beef in the budget ones come from). Make the other a nice spicy Italian, fat pork ones, or vego ones if lots of your mates lean that way. 4. CONDIMENTS The most important sauces, of course, are the holy trinity of red, yellow and brown: tomato, barbecue and American yellow mustard in big squeezy bottles. Those are mandatory. Don't get fancy about it. Heinz and Masterfoods are your friends. Other than that, it's down to taste. A couple of hot sauces (chipotle, habanero or classic pepper), sriracha, a good brown'n'sticky like HP or A1, whole-egg mayo, onions, chutney, that Beaver brand hot dog mustard with the pickle chunks in it — line 'em up. 5.BREAD ROLLS Bags of them. Supermarket. Buy about one and a half per diner. 6. FOOD THAT IS NOT MEAT It exists! Barbecuing plant matter usually yields delicious results. Here's the best way to go about it: - Classic, cheap as heck, everyone loves corn, and all you need to put on it is butter. (Spicy mayo and grated cheese works too, though.) BBQ the cobs whole (you can even do them in the husk, if you rip out most of the silk and give them a soak in salted water beforehand so they steam themselves) and pile them up on a big plate. - Buy as much asparagus as you can afford. Snap off the woody ends, oil 'em up a bit, get some good char marks on there, chuck them in any dish that's longer than it is wide and squeeze a wedge of lemon over the top. Looks fancier than a mink bidet. - Baked potatoes. Wrap them in foil, stick them in the hottest corner of the BBQ (with the hood down, if you have a hood) and forget about them until it's time to do the steaks; they're done if they give when you poke them with the tongs. - The standard vego options at BBQs are portobello mushrooms and haloumi. Those are delicious things, but herbivores are usually pretty used to fending for themselves a little at social events – don't be shy about asking them if they'd like to bring something they're actually enthusiastic about. If you want to make a salad-y thing, here's the easiest one: cook a 500g packet of risoni or orzo, and dump in a whole jar of marinated feta (oil and all — break up the big bits) and a big bag of baby spinach and some chopped fresh parsley while the pasta's still warm. The oil from the feta will become your dressing, and you can add toasted nuts or chilli flakes or roasted veg if you want. For dessert? Fresh watermelon and pineapple, and/or Zooper Doopers. 7. AMBIANCE We've already talked music, and ruled out bunting. Fairy lights are your friend: string heaps of them above head height for a star-canopy effect, drape them randomly on a wall or fence, or twine them around the clothesline for that Strayan charm. (Bonus points if you can find the old-fashioned multicoloured, full-sized light globe style.) For daytime, shade is crucial, whether it's a covered area, an umbrella or a tarp strung up bivouac-style and if you're not blessed with a truck-sized vat of chemically-treated water in your backyard, a blow-up pool is just as much fun. Sturdy citronella candles are more practical than tea lights, smell like summer, and sometimes even keep mozzies away. (Keep a can of Pea Beu handy anyway.) All you need to do, really, is to let the booze flow, watch the evening roll in, and feel the serenity. And if it all devolves into a raucous game of Goon Of Fortune, at least your neighbours will know who the legends on your block really are. Image credits: Christopher Craig via photopin cc, Johan Larsson via photopin cc, Thomas Hawk via photopin cc, "Korb mit Brötchen" by 3268zauber CC, W i l l a r d via photopin cc, Joe Buckingham via photopin cc.
Sometimes, the world handily delivers answers to questions you didn't even know you ever had. You might not have actively wondered to yourself "what'd happen if New Zealand treasures Taika Waititi and Rhys Darby played pirates?", for instance, but we're betting you're now keener than a buccaneer searching for a bottle of rum to discover how it turns out. Best add Our Flag Means Death to your 2022 must-watch list, then. Arriving sometime in March on Binge in Australia — with release details in NZ yet to be confirmed — the HBO Max sitcom sees Darby lead the show as Stede Bonnet, who was a real-life pirate who took to the seas in the early 18th century. The reason that his story is getting the streaming treatment? Bonnet was a 'gentleman pirate', as the just-dropped first teaser trailer for Our Flag Means Death dubs him. He left his life of privilege to rove the oceans, which this comedy is set to have plenty of fun with. As the initial sneak peek shows, Bonnet has some bold ideas about how life onboard should run — bold compared to the usual pirate stereotypes, that is. And, that's set to see him clash with a very famous name from pirate history: Blackbeard, which is who Waititi will be playing. The two immensely funny NZ talents are joined by a long list of co-stars that includes Ewen Bremner (First Cow), David Fane (Paper Champions), Nathan Foad (Bloods), Joel Fry (Cruella), Samson Kayo (Truth Seekers), Rory Kinnear (No Time to Die) and Leslie Jones (Death to 2020). And, while Our Flag Means Death is the brainchild of writer, showrunner and executive producer David Jenkins (People of Earth), Waititi directs the pilot — and executive produces, lending his name and support to another up-and-coming comedy after doing the same with Reservation Dogs last year. And yes, that means he's directing Darby yet again, as he's already done in everything from Flight of the Conchords and What We Do in the Shadows to Hunt for the Wilderpeople. Check out the trailer for Our Flag Means Death below: Our Flag Means Death will start streaming in Australia via Binge in March — we'll update you when an exact date is revealed. We'll also update you when release details in New Zealand are announced. Top images: Aaron Epstein/HBO Max.
Are you sick of the dull winter weather that has taken over our southern skies? Is your skin turning pale from the lack of Vitamin D hitting your pores? Do you want to bring back the sun, sand and sea of glorious summer? For those who, like us, answered 'hell yes' to all three, we have collated ten of the best beaches in the Northern Hemisphere that are must-see destinations for people wanting to chase summer around the globe and see some exquisite, exotic foreign places in the process. 1. Shoal Bay, Anguilla With its pinkish-white sand and stunning turquoise water, this two mile stretch of beach is not only one of the most popular beaches in the Caribbean, but also the world. Despite its many villas and restaurants, this holiday destination has not yet been overrun by tourists, so you can still enjoy a relaxing day at this pristine spot before witnessing a dreamlike sunset, seemingly at the edge of the earth. 2. Grace Bay, Turks and Caicos Islands Judged the 'World’s Leading Beach' at the World Travel Awards four years in a row, you can be sure that this spectacular beach will not disappoint. Along with white sandy beaches, Grace Bay is also home to some of the richest and most beautiful coral and aquatic life in the world. Unwinding doesn’t get much better than this. 3. Paradise Beach, Philippines Living up to its name, this spot really is a traveller’s paradise. It’s the perfect place to soak up the sun, sip on a coconut cocktail, munch on some delicious Filipino cuisine as you listen to the waves crashing gently on the shore whilst laying in your beach recliner. 4. Phi Phi Islands, Thailand The hype surrounding this picturesque island is not unwarranted. The looming fortress-like cliffs tower over approaching boats, and the beaches are simply beautiful. Of the two islands, Phi Phi Leh and Phi Phi Don, the former remains completely free of inhabitants and the latter totally without roads. 5. Candolim Beach, India One of the longest beaches in the state of Goa, Candolim is a stark contrast to the populated centres of bustling India. It is just south of the famous Calangute Beach, but this beach is much more serene and peaceful. Candolim is a relaxed village containing only smalls inns and hotels, and has also been home for over 12 years to an immovable beached tanker, River Princess. 6. Costa Smeralda, Italy The southern tourist island of Sardinia, off mainland Italy, plays host to some of the most alluring and secluded coves and beaches in the world. The ‘Emerald Coast’ features 80 idyllic bays with pristine beaches, many of which are only accessible by boat. This northern coastline is ensconced in the unspoiled wilderness of Sardinia’s Lisa di Vacca and contains unique panoramic views of the surrounding national parks. 7. Baska Voda, Croatia Baska Voda is a major tourist resort situated along the astonishing Makarska Riviera in Croatia’s south. Lying at the foot of the incredible mountain Biokovo, this 2km long pebbly beach is rich in olive groves and pine woods, making for an interesting and dynamic holiday destination. 8. Maspalomas Beach, Canary Islands The beach comprises of enormous wind-sculpted dunes, located just behind the mesmerising blue sea and soft sand. Divided into four regions, Maspalomas caters for all tastes. The beach offers tonnes of sports and leisure facilities as well as beach bars, restaurants and shops, and though it sits off mainland Africa it is considered the westernmost point of the Sahara Desert. 9. Makena Beach, Maui The iconic Maui Island is one of Hawaii's most popular tourist destinations, and for good reason. Comprising all the qualities travellers crave in a classic Hawaiian beach holiday - surfing, volcanoes, family friendly activities, posh resorts and traditional culture - Maui encompasses the envisioned relaxing yet exciting Hawaiian vacation. Makena is considered by many to be the best stretch of sand on the island. 10. South Beach, Florida Last but certainly not least on the list, is the primary party coastal city, Miami Beach. Featured in countless movies and TV shows, this iconic strip is a must-visit location for those on the quest of following summer around the world. Miami Beach is home to myriad festivals, parties and events, including Art Basel and Winter Music Conference.
Iggy Pop is a legend's legend. The American juvenile delinquent teamed up with the only other guys in his midwest town who liked the Velvet Underground to form the Stooges. Then the Ramones and a dozen other seminal bands formed based on being the only guys in their town who liked the Stooges. Back in the day, Iggy rolled around on stage, shirtless, covered in honey, peanut butter, and glitter (or all three) and invented crowd surfing (which he did standing up ). Though now much older, the Godfather of Punk still seems largely averse to wearing shirts. This is what he and his band of legends look like rocking out nowadays, with Minuteman Mike Watt on bass. But does their music still hold up? Oh yes. The Stooges are playing the Hordern, and this may be your last chance to see them live in Oz.
With mountains to the west, beaches to the east and pretty Tuggerah Lake on its doorstep, the little Central Coast town of Wyong has adventures for everyone and every season. Set up home base at the Mercure Koonidah Waters Central Coast and follow our guide to the area. Start your day whale watching from a windswept headland, spend your afternoon horse riding through rolling paddocks and drift into the evening with a dreamy sunset over the Great Dividing Range. Along the way, there's a milk factory-turned-cafe (and pub), an old-school Italian restaurant and a bunch of other eateries to explore. Wyong lies just 80 minutes' north of Sydney, which means you don't have to spend too much of your precious weekend stuck behind the wheel. EAT AND DRINK You'll eat well in Wyong, with restaurants here drawing on fresh produce sourced from the Central Coast and the farms just beyond. But first thing upon arrival, how about starting with coffee? Head to the Milk Factory, on the idyllic banks of Wyong River, a couple of kilometres west of Wyong. Built in 1906, this rather epic property still produces food of the best kind: chocolate and cheese. It's also home to a cafe — where hearty eats include brioche French toast with berries, pecans and maple syrup — as well as a friendly pub. Come back at lunchtime for classics like Wagyu rump or a pulled pork burger with slaw and smoked barbecue sauce, accompanied by a craft brew — be it a Mountain Goat from Melbourne or a Murray's from Port Stephens. Another option is to jump in your car and drive southeast for 20 minutes to Wamberal, where you'll find Lotus Cafe. This airy, sun-filled spot does Toby's Estate coffee and decadent dishes like breakfast coconut panna cotta with mango puree, seasonal fruit and granola. Say yes to a Nutella hot chocolate afterwards — that's the whole point of a winter weekender. By the way, the beach is just a stumble away over the dunes. Back in Wyong, book a table at Osteria A'Mano for dinner. This top-notch Italian restaurant occupies a beautifully restored 1914 building, with original timber floorboards and tiles. Head chef Alessandro Cigola oversees the creation of traditional dishes featuring fresh, premium-quality produce sourced from nearby. Start on duck liver pâté with red wine jelly, sour cherries and pickles, followed by homemade fettuccine with lamb ragu, mint and pecorino. All pastas, breads and desserts are made from scratch, while the featured Italian and Australian wines area all made "the old way". Another option is Karinyas, within the Mercure Kooindah Waters. Here, the emphasis is on simple yet creative combinations, driven by local produce. Think scallops with burnt butter and local macadamia nut sauce and duck breast with cauliflower puree, asparagus and sour cranberry jus. There's also a long, long wine list, big on local drops. The Hunter Valley is just an hour's drive away, after all. DO If there's one surefire, environmentally friendly way to warm up on a cold day, it's got to be a bike ride. The Tuggerah Lakes Cycleway begins just six kilometres from Wyong in Chittaway Bay then follows the foreshore for a peaceful 12 kilometres before reaching The Entrance. Don't have your own bike? Hire from a self-service station — there's one at The Entrance visitor's centre on Marine Parade. Once you've conquered that, your next stop is Crackneck Lookout on the coast, around 20 minutes' drive southeast of Wyong. Anytime between May and August is ideal for whale watching. Moreover, this spot doubles as a stop along the three-kilometre Coast Walking Track, which stretches to Bateau Bay in the north and Forresters Beach in the south. Meanwhile, on Wyong's inland side lie vast expanses of state forest, conservation area and national park. Among them is the TreeTops adventure park in Ourimbah State Forest, where you can ride the world's longest roller coaster zip line, a one-kilometre adrenaline rush at canopy level. There are also three high ropes courses, covering more than 100 obstacles, from ladders and bridges to tunnels and cargo nets. For scenery, the Watagan Mountains — around an hour's drive north — are particularly spectacular; immerse yourself in rainforest on the Circuit Walk or valley views at Monkey Face Lookout. Alternatively, if you're keen to get in the saddle, then give Peppercorn Park a call. The good folks there will happily take you on a trail ride around the stunning property, just ten minutes' north of Wyong, in Jilliby. Adventures begin at $70 for a 90-minute beginner's journey, and lessons and overnight treks are available, too. SLEEP To surround yourself with nature without resorting to a tent — book a sleepover at Mercure Kooindah Waters Central Coast, a golf resort and spa encircled by wetlands and bush. If you're travelling in solo or duo mode, sleep over in a King Room; if you're with buddies, there are one-, two- and three-bedroom apartments, all of which come with golf-course views. The resort also knows how to settle in for the winter — they provide giant Jenga (and other board games), which you can enjoy on the terrace while toasting equally oversized marshmallows made by the chef in-house. Mulled wine or Baileys-infused hot chocolate complete the winter idyll. Don't forget to make the most of the facilities. Among them, you'll find two pools, tennis courts, a gym, barbecues and a day spa. Go to the AccorHotels website to book your stay in Wyong, and to discover more of regional NSW, swing by Visit NSW.
Sometimes, the spirit of a movie can stem from something as simple as sole stroke of casting. Sometimes, the right actor in the right role so perfectly encapsulates the material to come that everything else hangs off of that one performance — even if everything else is finely done but also familiar, as well as quite slight. In People Places Things, that one actor and portrayal springs from Jemaine Clement, otherwise known as one half of musical comedy duo — and star of the TV series of the same name — Flight of the Conchords. If his turn as vampire lothario Vladislav in 2014's uproarious What We Do in the Shadows demonstrated a more heightened version of his antics, then writer/director James C. Strouse's (Grace Is Gone) latest feature celebrates him at his most deadpan and understated. Clement plays Will Henry, a New Zealand-born, New York-based graphic artist happily married to Charlie (Stephanie Allynne), and just as happily helping raise twin daughters Clio (Aundrea Gadsby) and Colette (Gia Gadsby) — or so he thinks. That upbeat emotion fades at his offspring's fifth birthday party amid revelations that Charlie wants to leave him for the man, Gary (Michael Chernus), she has been having an affair with. Fast-forward to a year later, with the newly single Will struggling with part-time parenting, not to mention full-time estrangement from the now-engaged and pregnant woman he thought he'd share his life with, and teaching at an art school to make ends meet. One of his more eager students, Kat (Jessica Williams), tries to set him up with her mother, Diane (Regina Hall). Alas, his considerable baggage threatens to derail any chance they have at forging a relationship. People Places Things may read like a typical mid-life malaise rom-com, and even initially threatens to follow such a path, but Strouse remains more concerned with Will's state of mind than his romantic endeavours. Love features prominently, as do laughs, but this is an effort steeped in finding internal contentment rather external companionship. The strong focus on Will's search to reclaim his sense of self — aka an adult coming-of-age — helps salvage his traversing of the usual plot points. That too has a been-there, seen-that quality, though in the filmmaker's hands it is thoughtfully written and elegantly executed, and in Clement's portrayal it feels real. Always awkward and dry, albeit authentically so, as well as enjoying impeccable timing, he's an ideal fit to deliver straight-faced puns about pain and embarrassment that sparkle with both truth and wit. He's also in good company when it comes to the commanding Williams and Hall, who each beg for more screen time, even if the narrative doesn't deliver. Other than the cast, the hand-drawn images by Gray Williams draw the eye, all passed off as Will's work and proving as charming as the actor who plays him. They're small sketches that map out big things, as the lead performance is as well. If only all such sincere and sweet yet still slender and recognisable efforts could possess such gifts.
Self-care means different things to each of us but, as Sydneysiders, it's hard to beat a trip to the beach for a stroll, an ocean swim or to just chill out on the sand. Combining your beach visit with a luxurious spa treatment can, therefore, be considered the ultimate one-two punch of self-care. Endota Spa Cronulla on Gerrale Street is just a few minutes' walk from South Cronulla beach. Part of the largest spa network in Australia, which first began in 2000 on Victoria's Mornington Peninsula, this welcoming space has six treatment rooms, plus two double treatment rooms if you're visiting with a friend or partner. The range of treatments includes massages (remedial, hot stone and pregnancy), organic and LED facials, microdermabrasion, body wraps and scrubs. Want to keep enjoying the effects of your experience long after you leave? Add a mani, pedi, wax or spray tan to your package, too.
Another of your childhood favourites is making the leap from movie to stage musical — this time, the Robin Williams-starring Mrs Doubtfire. The theatre production will once again follow the plight of a divorced dad and struggling actor who's desperate to see his kids, and so dresses up as a kindly English nanny in order to spend time with them. Originally based on Anne Fine's best-selling novel Alias Madame Doubtfire, the 1993 film won two Golden Globes — for best musical or comedy, and for best actor in a musical or comedy for Williams — as well as an Oscar for best makeup. Just when the stage musical version will be giving audiences hot flashes yet to be announced, the creative team of director Jerry Zaks, and writers John O'Farrell and Karey Kirkpatrick (book) plus Karey and Wayne Kirkpatrick (music and lyrics) will take on the task of bringing the beloved flick to Broadway. Between them, they boast an impressive history. Zaks has won four Tonys, including for the 1992 revival of Guys and Dolls, and also has Little Shop of Horrors, Le Cage aux Folles, A Bronx Tale, Sister Act and Hello, Dolly! on his resume. As for the writing team, they're behind nine-time Tony nominee Something Rotten!. If the project sounds familiar, that's because it was originally mooted back in 2015, but with different folks behind the scenes. This time, however, the musical seems set to forge ahead — unlike the film sequel that was planned in the early 00s, but didn't ever come to fruition. And no, Arrested Development's homage (aka Tobias Funke's Mrs Featherbottom) doesn't really count. If it wasn't evident before this news, then it is now — the combination of nostalgically remembering enjoyable flicks from years gone by and adding songs to the mix seems to be a licence to print money. In recent years, everything from Matilda, Charlie and the Chocolate Factory, Bring It On and Mean Girls has made the leap to the stage, plus The Bodyguard, Amelie, Waitress, Muriel's Wedding and Moulin Rouge!. A stage version of The Devil Wears Prada is also in the works, as well as Empire Records. Via Entertainment Weekly / Playbill.
Some gift guides are aspirational. This one is personal — a tight edit of what the Concrete Playground team is actually giving this year, plus the upgrades we're quietly hoping to unwrap ourselves. Expect a mix of design-forward homewares, beauty and wellness tech, kitchen heroes, audio gear and a few well-earned splurges — the kinds of gifts that get used long after the wrapping paper's binned. If your shopping list leans more aesthetic than practical, head to our design and fashion gift guide for beautiful pieces by Australian brands. SKYWALK Experience Gift Voucher, Sydney Tower Eye For those who favour adrenaline over advent calendars, this breath-taking SKYWALK experience delivers open-air views and city stories from the tallest building in Sydney. Step onto the outdoor platform with the CBD directly beneath your feet for a seriously memorable gift. In partnership with Merlin Entertainments. Shop now. Pressurised Mini Keg, TANKY For anyone who loves hosting without playing bartender all night, TANKY keeps cocktails, mocktails or spritzes perfectly chilled and freshly poured from first glass to last. It's a reusable, pressurised mini keg that looks good on the table and cuts down on bottles, mixers and mid-party mess. Shop now. Gelati Bookshelf Speakers, Encel Designed and voiced in Melbourne, these compact speakers deliver rich, engaging sound wrapped in playful, design-forward finishes. With swappable magnetic grilles and serious audio credentials, they're equal parts listening device and interior statement. Shop now. Hatch Restore, Hatch A bedside essential for anyone trying to fix their sleep without doomscrolling, Hatch Restore replaces alarms with gentle sunrise light and phone-free wind-down routines. It's the kind of gift that quietly improves mornings — and nights — without feeling overly techy. Shop now. Classic Dutch Oven, Crumble A true kitchen workhorse, this cast-iron Dutch oven handles everything from slow braises to bakery-worthy sourdough with ease. Durable, non-toxic and genuinely beautiful, it's made to move seamlessly from stovetop to table. Shop now. Dyson Airwrap Co-anda 2x™ Multi-Styler and Dryer, Dyson Dyson's most powerful Airwrap yet, this upgraded multi-styler uses enhanced Co-anda airflow and intelligent attachments to dry, curl, smooth and straighten — all without extreme heat. A luxe, all-in-one pick for anyone who wants salon-level results at home, minus the learning curve. Shop now. Luxe Café Premier Espresso Machine, Ninja This all-in-one machine takes the guesswork out of espresso, cold brew and filter coffee with guided brewing and hands-free milk frothing. Ideal for coffee lovers who want café-quality results without turning their kitchen into a science lab. Shop now. Cotton Robe, Hommey Crafted from soft, breathable cotton, Hommey's robe turns everyday lounging into a considered ritual. It's the kind of gift that gets worn daily — and feels quietly luxurious every time. Shop now. ŌURA Ring 4, ŌURA A sleek alternative to bulky wearables, the ŌURA Ring tracks sleep, recovery, activity and stress in a discreet design. It's wellness tech for people who care about insights, not notifications. Shop now. DRx SpectraLite™ FaceWare Pro, Dr Dennis Gross This clinic-grade LED mask delivers red and blue light therapy in a three-minute daily treatment designed to target breakouts, fine lines and uneven tone. A serious investment, but one backed by real results and dermatologist-level tech. Shop now. Fine Jewellery, Lindelli Designed and handcrafted in Sydney, Lindelli's pieces balance timeless silhouettes with contemporary restraint. Made with lab-grown diamonds and precious metals, they're heirloom-worthy without the traditional baggage. Shop now. Public Possession 6-Panel Cap, MAAP A collaboration that blends cycling culture with graphic design, this cotton cap is understated but distinctive. Easy to wear, well made and finished with subtle embroidered details. Shop now. La Grande Dame Artist Gift Box 2012, Veuve Clicquot Veuve Clicquot's flagship cuvée comes presented in an artist-designed gift box that celebrates creativity as much as craftsmanship. A special-occasion champagne with depth, finesse and undeniable presence. Shop now. ART Sparkling Water Maker, SodaStream With its retro silhouette and hands-on carbonation lever, this SodaStream makes everyday sparkling water feel a little more intentional. A practical gift that reduces waste while keeping bubbles exactly how you like them. Shop now. Pearl Letter Bracelet, Saint Valentine A delicate chain finished with a single initial and freshwater pearls, this bracelet makes a personal gift without being overly sentimental. Designed for everyday wear, it's subtle, meaningful and easy to layer. Shop now. Gift Card, HÜD For anyone who values great skin but prefers choice, a HÜD gift card unlocks access to one of Melbourne's most respected skin clinics. It's an experience-led gift that prioritises long-term results over quick fixes. Shop now. Super Milk Body Spray, Lush A cult-favourite scent spun out from Lush's viral hair product, this biscuity, lemony body spray settles into a creamy vanilla warmth that's surprisingly grown-up. Sweet without tipping cloying, it's an easy, feel-good fragrance you can mist from head to toe — and one that reliably earns compliments on the road. Shop now. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Oblivion is like a 'Best of' album for sci-fi movies. It's got the isolation and planetary caretaking of Moon or WALL-E, the post-alien-invasion devastation of Independence Day, the memory wipes and insurgency of Total Recall, the sentient and menacingly red-eyed robots of 2001: A Space Odyssey and the 'You maniacs!...You BLEW IT UP-edness' of Planet of the Apes. In fact, with so many classic hits, it's like the I Am Sam soundtrack, but where one of the tracks is I Am Legend. So if it's not terrifically original — if what we're talking about here is essentially a 'covers' film — is it worth seeing? Well, yes, thankfully, because like any good covers album, the tributes are done lovingly, respectfully and with a just enough reinterpretation to keep you interested. Oblivion is directed by Tron: Legacy's Joseph Kosinski, whose touch is immediately obvious both cinematically and aurally (although this time the pulsing soundtrack is provided by M83 rather than Daft Punk). Set in a fantastically bleak 2077, humanity has abandoned Earth save for two individuals, Jack (Tom Cruise) and Victoria (Andrea Riseborough), whose job is to monitor and repair a small fleet of aggressive security drones that hunt down any remaining alien invaders. Like every old cop in an action movie, Jack and Victoria are just two weeks away from retirement when the unexpected crash landing of another human, Julia (Olga Kurylenko), throws a spanner into the works. Jack wants to know who she is, whilst Victoria doesn't want anything to threaten their plans to rejoin the rest of Earth's survivors on an off-planet sanctuary. Performance wise, Cruise is dependably solid, though its Riseborough who steals every one of their scenes. Her Stepford Wife-esque emotional repression more than makes up for their lacklustre sexual chemistry and becomes especially compelling once Kurylenko is introduced into the mix. Morgan Freeman also makes a cameo in a Morpheus-type role; however, his performance is both fleeting and unremarkable. The true star of Oblivion is in fact the production design, brought to life in astounding detail via Claudio Miranda's (Life of Pi) engaging cinematography. Jack and Victoria's exquisite airborne apartment sits atop Earth's expansive wastelands, and the scenes in both are equally sumptuous. Coupled with Oblivion's many sci-fi tributes, Kosinski and Miranda's vision offers an enjoyable and fast-paced film that should appeal to a broad audience.
Sydney is no stranger to Irish pubs and bars. Usually the resemblance consists of a quirky name, Guinness on tap and not much else. The Gaelic Club, located on the Central Station end of Devonshire Street, is no such place. Pass through the green doors (what else?) to enter a den of celtic fun, fiddles and festivity. There is an ongoing roster of cultural events: traditional Irish music, language and dance lessons, live music and talks. On the last Friday of every month, Green Lights Comedy holds a curated stand-up comedy show in the little-known top bar. Green Light feels like stepping into someone's living room and hosts Alexei Toliopoulos and Nikki Malyon emulate this warmth perfectly. If you feel like seeing decent comedy in a friendly, homey setting over a dirt-cheap pint of Kilkenny, look no further.
UPDATE, March 4, 2022: Crimson Peak is available to stream via Netflix, Stan, Google Play, YouTube Movies, iTunes and Prime Video. "Beware of Crimson Peak," an eerie voice warns Edith Cushing (Mia Wasikowska). Thankfully, audiences need not heed the same warning. The gothic offering that shares its name with a crumbling mansion atop clay-filled heights is a dark delight that haunts with its unsettling mood and enchants with exquisite imagery. Coming from the mind of Guillermo del Toro, that shouldn't be surprising. In the writer/director's ninth and latest feature, as co-written with Don't Be Afraid of the Dark's Matthew Robbins, he dives further into all things scary and sublimely staged than he perhaps has before — and that's with the likes of vampire fare Cronos, ghost tale The Devil's Backbone and spellbinding fantasy Pan's Labyrinth on his resume. His protagonist, Edith, finds her way to the titular locale courtesy of tragedy and romance. In late 19th-century New York, British baronet Sir Thomas Sharpe (Tom Hiddleston) sweeps the aspiring author off her feet, much to the disapproval of her wealthy industrialist father, Carter (Jim Beaver). Kindly childhood pal, the smitten Dr Alan McMichael (Charlie Hunnam), also looks on in dismay, with neither the charming Thomas nor his terse sister Lucille (Jessica Chastain) warmly welcomed. When Edith accompanies the siblings to their dilapidated home, only to be met by sinister happenings, their secrets start to be revealed. Crimson Peak is the type of slow-building, richly evocative effort that feels torn from the pages of literature, as it is designed to. That the dialogue namechecks Jane Austen, Mary Shelley and Arthur Conan Doyle gives a firm indication of the balance of elements del Toro aims for, combining romance, horror and mystery. Make no mistake, though, the movie is more than just the sum of his influences. From the atmospheric unease to the heaving themes of love and loss to the overt sensation of yearning, there's never any doubt that is del Toro's film through and through. He inspires an unrelenting sense of tension that bursts forward whenever something untoward graces the feature's frames, but never subsides even in quieter moments. He also conjures the type of devastating detail that demands to be seen on a big screen. Whether transitioning between scenes with iris wipes, looking down on snowy ground laced with scarlet footsteps, watching colour-coded ghostly entities peer around corners or enjoying a fast-paced waltz with a flickering candle in hand, the movie is a sight to behold. With Crimson Peak such an effective exercise in tone, texture and aesthetics, it certainly proves a relief that the story does more simply justify its look and feel, and that the cast do more than wander through sumptuous surroundings. The deep red hue of the film's name references both the blood that flies freely as well as the focus on the luminous Wasikowska and the enjoyably unnerving Chastain, resulting in an effort where jump scares are modest, surprises few and the characters' inner workings made apparent from the outset, yet emotions run as deep as narrative intrigue, and attention never wavers. Pacific Rim this ain't. Del Toro is at home once again making sensually charged, period-set, haunted house fare. Intimate and intricate in the best possible ways, Crimson Peak is something sumptuous, spooky and gorgeously gothic to savour — as is superbly complex leading man Hiddleston, who almost anyone would follow into such creepy surroundings.
GFC: the diminutive acronym that represents a terrifying truth: 20 trillion dollars in losses and bailouts; in essence, more an Armageddon than a mere Global Financial Crisis. Acclaimed documentary filmmaker Charles Ferguson chronicles the creation of this financial black hole with the same cool and devastatingly incisive eye that he cast over the Iraq War in No End In Sight. With Ferguson comprehensive mind behind the camera and Matt Damon’s familiar, calmly authoritative tone in narration, Inside Job is likely to be one of the most shocking and edifying cinematic experiences of 2011. “This is how it happened," the audience is told, as Ferguson carefully states his facts in a five-part documentary of impressive detail and clarity. He opens with a cautionary tale in the form of Iceland, a once secure and stable economy, ripped to shreds by a heady foray into financial deregulation. This sets the disquieting scene for America, as Part I outlines 'How We Got Here,' before moving on to The Bubble, The Crisis, Accountability and, finally, Where We Are Now. If that sounds sandpaper dry, then you'll be pleasantly surprised, as Ferguson keeps up an enthusiastic pace, and his array of talking heads — from the Prime Minister of Singapore, the French Finance Minister, Ivy League and IMF (International Monetary Fund) economists, and a high class escort 'Madam' — are well able to keep your interest and attention. Unlike Michael Moore's histrionic Capitalism: A Love Story, Inside Job is less about pulling your heartstrings than it is concerned with getting everyone on the same page (though the two would make for a compelling double bill). This documentary feels a lot like 'GFC 101', but presented with enough spirit — particularly in the Accountability chapter — to let you know Ferguson is spitting with fury about the horrifying hubris that has lead Wall Street to reap ludicrous rewards during the bubble, then cry poor for federal bailouts and now cry foul about planned regulation. This seething incredulity is probably responsible for Ferguson's awfully trite ending, closing on an earnest shot of the Statue of Liberty, but as a call to arms he certainly landed on an arresting symbol. “Nothing comes without consequence,” Inside Job makes its thesis all too clear. But alas Ferguson also reveals a horrifying portrait of a financial system running amok. As Andrew Sheng, the Chief Advisor to the China Banking Regulatory Commission, highlights in an all too convincing analogy: this is an industry obsessed with feathering their nests by building impossible dreams, while others are forced to pay for the nightmares.
The temptation with a lot of Australian Italian food is to go way over the top with ingredients. Not so at Buffalo Dining Club, where the ingredients in the classic Cacio e Pepe are as follows: cheese, pasta, end of list. Perfecto. "Cacio e pepe" translates to "cheese and pepper" in central Italian dialects. The Buffalo Dining version of this classic pasta dish involves salt, pepper, olive oil and parsley chucked into a massive, hollowed-out wheel of pecorino. The pasta is then tossed around in the tasty mess, creating a dish that's simple and delicious. Instead of picking up a jar of Woolies bolognese sauce on the way home, step out and get the authentic stuff. Image: Kimberly Low.
This 590-room five-star haven was Sydney's very first luxury hotel built in the CBD. And it has never fallen behind the pack, constantly setting the standard for all new hotels in the area. It is a true Sydney institution — for overnight stays, pampering and dining. There was never a doubt about it, Sofitel Sydney Darling Harbour is one of the very best hotels in Sydney. First off, the rooms. Spread over 35 floors in one of Darling Harbour's tallest buildings, guests enjoy all the latest tech and contemporary design with sleek French touches. In keeping with the global Sofitel aesthetic principles, the rooms are classically designed but they never feel old or outdated — much of this is thanks to the regular updates to ensure it never gets tired or underwhelming. And while their spa won't open up until 2023, they still have plenty of ways to relax — none better than taking a dip in the infinity pool overlooking the harbour. And while the luxe spa facility gets a makeover, spa-like options exist in your own room. Food and drink wise, you'll be sorted too. Visit their French-inspired grill combining French flavours with locally sourced produce at Atelier, order a poolside cocktail at Le Rivage Pool Bar, take in the sunset at award-winning Champagne Bar or grab a coffee & croissant at the Esprit Noir Lobby Bar on Sundays. It's clear why Sofitel Sydney continues to be one of the most reliably good hotels in Australia.
Rugby usually involves a few schooners at the pub after the game, but George Gregan's latest hospitality venture (also backed by Phil Waugh, David Wenham and Sam Neill) couldn't be further from a footy club bar room. A relatively new addition to the Neutral Bay café/wine bar scene, The Local Bar is as good for a relaxed breakfast and flat white as it is for a pre- or post-dinner drink and nibble. Tucked away on Young Lane just off Grosvenor Street, inside is ultra-modern but intimate with small tables that curl around the pressed metal bar. The tables on the footpath outside are perfectly positioned for the morning sun and something off the breakfast menu. Try the novelty of "fancy Weet-Bix" (really just Weet-Bix, banana and honey but nostalgically satisfying nonetheless) or something more substantial like boiled egg, jamon and rocket on toast. Jamon and other charcuterie meats take pride of place on the menu, used as a toast topping in the morning and on generous platters in the evening complemented by quality cheeses, cornichons and spiced almonds. The menu encourages matching charcuterie with one of the Spanish sherries on offer, with a sherry "flight" of four different kinds available for $13. The wine list is extensive and favours an Australian drop ,while the beer and cider selection is more international. Cocktails deserve a special mention with their playful names and enticing combinations. 'Lucky Lips' ($16) is a caipiroska with mashed kiwi fruit and vodka, and the 'Chilli Jam Margarita' ($16) gets its name from a mix of Tequila, Grand Marnier, fresh lime and chilli. It's hard to go wrong, though, with 'The Fish House Rum Punch' ($38) for 4 - a heart-warming jug of rum, cognac and "love."
After three years, Sydney Design Week — the flagship design program conceptualised by the Powerhouse — is back with a plethora of experiences for art and design lovers across the country. And, for the first time ever, all events are IRL. Scheduled to run from Thursday, September 15 to Thursday, September 22, the event will take over a wide range of venues, including the Ace Hotel, Powerhouse Ultimo and Western Sydney University. Themed 'Making Now', the festival has curated a lineup of seasoned designers and makers, who have all worked to redefine the design scene. Revealing the amount of cross-pollination that happens in creative industries, expect to go deep on an array of topics at panels, workshops and exhibits. The offering in its entirety is worth your keen attention but, together with the Powerhouse, we caught up with four industry insiders to get the low down on four stand-out events to get yourself to this week. DESIGNER MAKERS with Elliat Rich Designer Makers, the session hosted by interiors, architecture and design journalist Karen McCartney, invites a panel of creative experts to touch upon the evolution of design (which has been incredible). Alice Springs-based product, furniture and exhibition designer Elliat Rich is one such expert. "It's an interesting time to be a designer", she comments. "The increased interest in process and some dissolving of the modernist aesthetic means that experimentation — and risk — has an accepted value." "Not being dedicated to one material or process means I can 'designer-make' things without knowing how they'll end up," Rich explains. It's true that multidisciplinary creatives are reimagining the concept of art. Joining Rich in this session are interior designer David Flack of Flack Studio, Powerhouse Creative Industries resident Nell, and sculptor Sanné Mestrom, offering avid art and design lovers insight into pre- and post-industrial creativity and the individual creative practice of each panelist. Rich also has Tones of Shimmer — a collection of lights which exemplifies the above sentiment — on show at both Powerhouse and Eddy Multi Space. Of the installation, she says: "I hope people take away the intention to find more time to offer attention to the remarkable shimmering that they might not have realised they're a part of." Designer Makers is on at Ace Hotel on Friday, September 16 at 3pm. Head to the website to join the waitlist. MADE IN WESTERN SYDNEY with Dr Katrina Sandbach Inspired by designer and academic Dr Katrina Sandbach's project Creative West — an initiative that maps creative practice and cultural production in Western Sydney — Made in Western Sydney presents a conversation with ground-breaking designers from a span of fields. With perspectives offered from photography, video, new media, urban art and fashion design, and a considered focus on different backgrounds and cultures, this event has made a mission of celebrating collaboration and the varied influences that go into artistic works. "You'll hear about some of [the panellists'] recent projects, how being in Western Sydney impacts their practice and what's on the horizon for creatives in the West," Dr Sandbach shares with Concrete Playground. "Creatives in Western Sydney aren't new or emerging: we have a history of ingenuity that many people outside of the area aren't aware of. I hope that people walk away inspired and curious to find out more." Artist Hayley Pigram, multi-disciplinary designer Ginan Tabbouch, photographer Liza Moscatelli, creative director Luke Beeton, and art director Matt Wilson are the talented creatives on the bill and Dr Sandbach herself will be hosting. Made in Western Sydney is on at the Western Sydney University Hub on Saturday, September 17 at 4.15pm. Head to the website to grab your tickets. MAKING PAPER PLANES CHAIRS with Sarah Langley Calling all design enthusiasts (though, that's probably why you're here)! Making Paper Planes Chairs is the hands-on workshop giving you the opportunity to put your skills to the test. Presented by Mobilia, in collaboration with famed furniture company Moroso and textile design studio Kvadrat Maharam, the 90-minute experience will have attendees creating their own mini iteration of Moroso's gravity-defying 'Paper Planes' armchair maquette. The design was originally created by Nipa Doshi (pictured in the top article image) and Jonathan Levien of London-based studio Dosi Levien, using fabrics from Kvadrat Maharam. "We thought it would be fitting to host a series of workshops that allowed design enthusiasts to engage with a Doshi Levien masterpiece," shares Sarah Langley, marketing manager at Mobilia. "Moroso and Kvadrat [Maharam] have run similar workshops with leading design identities globally, so it's exciting to be bringing the concept to Australia." The workshop will be graced by a panel of judges — Nipa Doshi, Mobilia's Salvatore Fazzari, Sydney Design Week creative director Stephen Todd and Powerhouse's senior curator of design and architecture Keinton Butler. The all-star cast will decide among themselves on a winning chair, with the attending maker receiving an original Paper Planes Chair (worth $7000). There's a session especially for teens, too. Making Paper Planes Chairs is on at the Powerhouse Museum on Saturday, September 17 (12pm and 2.30pm sessions), and Sunday, September 18 at 10am (for ages 12–17). Head to the website to grab your $10 ticket. MAKING THEATRE with Dr Susanne Thurow UNSW is taking the idea of interactive design to the next level with its 360° three-dimensional cinema AVIE in Kensington. The main draw card? It allows users (like Sydney Theatre Company) to visualise sets at a completely immersive, cinematic scale. And Making Theatre is the Sydney Design Week session that gives you a look inside. "Visitors will be able to step into a stunningly meticulous virtual reconstruction of Sydney Theatre Company's new Wharf Complex," explains Dr Susanne Thurow, deputy director at the iCinema Centre. "They'll experience its modular architecture from intimate and surprising angles as they witness a production design evolving before their very eyes." This new platform is born from the idea of leveraging the progress seen in interactive systems and immersive aesthetics, specifically for the performing arts and design fields. Award-winning production designer Michael Scott-Mitchell will be hosting the workshop, which offers the chance to adjust your designed space's parameters (like size, texture and colour) in real time — "everything from initial experimentation blocking of space to the refined-textured final space," according to Dr Thurow. Scott-Mitchell will also walk guests through his creative process and "explain how he draws on new technologies to bring together the many elements flowing into his sophisticated multi-layered works," Dr Thurow tells Concrete Playground. Making Theatre is on at the iCinema Centre from 10am–1.45pm on Thursday, September 15 and Friday, September 16. Head to the website to grab your $10 ticket. Sydney Design Week is on across Sydney venues from Thursday, September 15 to Thursday, September 22. Head to the website for more info and the full lineup.
If you can find a better date than hearing talks and seeing live music over cheeky vinos in an art gallery, we'd love to hear about it. This spring and summer, the Art Gallery of New South Wales’s Art After Hours program is extending the The Greats love to live music. Each Wednesday night, AGNSW will be brimming with after-hours shenanigans for free in the Gallery’s entrance court, in conjunction with the epic exhibition from the National Galleries of Scotland. Each week will see a different lineup of art-inspired happenings in the Gallery, from comedy to talks and music. Want to get a serious art education? Comedian Hannah Gadsby will be getting serious about art history. Apparently Gadsby has a secret identity as a 'serious art nerd'. Every week, she'll be putting on her serious art scarf and delving into the great eras of Western art history, tackling a different theme each week with her serious art brain. According to the Gallery, "Please note, this is not stand-up comedy. IT WILL BE VERY SERIOUS. It will be very silly. SERIOUSLY." If you're a snuggle-into-a-dark-cinema type of person, check out the European Cinema Classics series — bi-weekly showings of iconic motion pictures from all across the continent. Held on select Wednesday and Sundays between now and the first week of February, the program features ten films in total, spanning more than five decades in European film history. Highlights include Roman Polanski’s violent adaption of Macbeth, Pier Paolo Pasolini’s biblical drama The Gospel According to St. Matthew, Werner Herzog’s medieval epic Aguirre: the Wrath of God and Ingmar Bergman’s undisputed masterpiece The Seventh Seal. If you're an earlybird who can't wait to bust out of the office and head to the Gallery, each Wednesday at 5.30pm will see exhibition talks — the 'masterpiece series' will see one expert a week discuss, in detail, one work in The Greats exhibition they're particularly fond of; rom Dr Michael Hill from the National Art School discussing Georges Seurat’s La Luzerne, Saint-Denis to artist Michelle Hiscock picking apart Camille Corot’s Ville-d’Avray: entrance to the wood. Art After Hours runs till 10pm every Wednesday night, except December 16, 23 and 30 — the Gallery closes at 5pm then. While you're there, why not check out the The Greats? Here's six artworks not to miss from the exhibition to start. By Shannon Connellan and Tom Clift.
You sure couldn't accuse Sydney restaurant Bill & Toni's of expanding too quickly. After all, it's only now — with more than 50 years under its belt — that the Darlinghurst institution is preparing to add three more venues to the family. So, why now? Well, the venue has a new owner, Chris Montel, who, since taking over last year, has swiftly made plans to launch three more outposts by the end of 2018. Surfers Paradise and Melbourne's Lygon Street will each get their slice of Bill & Toni's in the coming months, followed by a venue in Montel's own stomping ground of Cronulla later in the year. The aim for each, according to Montel, is to recreate the vibe and offering of the original — everything from the retro-leaning decor to the memorabilia lining the walls will be reimagined for the new spaces. The loveable old-school diner has cemented its status as a cult favourite of Sydney's Italian dining scene with its generous fare, pinball machines and the complimentary orange cordial that makes its way onto most of the tables. But, arguably, its charm lies in the fact that it's been around forever, and we're not quite convinced that will resonate with new cities and communities — especially Lygon Street, which is full of long-running old-school Italian joints already. While details for the Cronulla restaurant are still vague, the planned interstate outposts will be a little smaller, each boasting just one level and room for about 150 people, though they'll be dishing up the same short and snappy menu Darlinghurst folks have been loving for years. Time will tell if those hefty serves of crisp chicken schnitzel and spaghetti bolognese will win over a few new lifelong fans. Bill & Toni's will open on the Gold Coast, Melbourne and Cronulla in Sydney's south this year. We'll let you know opening dates and exact locations of the three new venues as they drop. Until then, you can visit the OG Bill & Toni's at 72–74 Stanley Street, Darlinghurst. Images: Kimberley Low.
Parramatta has always had lots of good places to eat, but things are getting more and more refined. Just this year, modern Australian diner Husk & Vine recently arrived in the neighbourhood, the Speakeasy Group will open a much-anticipated rooftop bar, and big names Rockpool and Sake have announced they'll be part of the exciting development at 8 Phillip Street. Also keen for a piece of the Parramatta pie is the Aslan Hospitality Group, which has just opened its ambitious new all-day venue, Alex & Co. beneath Church Street's Meriton Altitude Towers. And it's a monster. The 600-square-metre, $2.5 million, 350-seat space is a restaurant, cafe and cocktail bar in one, featuring three separate menus, function spaces, sweeping river views and seating options for all occasions. It's open almost all the time — from morning till midnight every single night of the week. Fresh from the pans at NOLA Smokehouse in Barangaroo, executive chef Kyle Quy's delivering a menu of familiar favourites, cleverly executed and crafted around local produce and modern techniques. There's coddled eggs with blue swimmer crab in the morning, freshly shucked oysters and salt and vinegar calamari to scoff alongside after-work drinks, and the likes of oxtail tortellini and a three-hour braised lamb shoulder to see you through the evening. Meanwhile, Vasco's Max Greco lends his award-winning talents to the drinks list, across a range of bespoke cocktails designed to complement Quy's plates. Highlights include sips like the Riverside — made on dill-infused Bombay Sapphire, chamomile, fresh citrus, white chocolate and an absinthe mist — alongside a tight, yet wide-roaming list of wines and a solid little spirits selection.
Sydney hospitality giant Merivale has unveiled the first phase of its 'Ivy 2.0' project, which will see four new venues open in the Sydney CBD this year. First up is Little Felix: a 60-seat cocktail bar and little sister to Ash Street's hatted French bistro Felix on George Street. The space itself — by lauded design firm Acme and stylist Amanda Talbot — is opulent and designed to transport guests back to 1920s Paris — or at least to the set of Midnight in Paris. Think Zelda and F Scott Fitzgerald parties at their grandest. In terms of drinks, Group Bar Manager Sam Egerton has created a succinct cocktail list featuring eight old-world classics made with premium French ingredients and liqueurs. Instead of a straightforward French 75 (gin, citrus and champagne), Little Felix serves up the Paris Meridian, which uses Chandon blanc de blancs and Farigoule de Forcalquier (a French thyme liqueur). Then there's the Le Ricain (the bar's take on a Sidecar), made with Hennessy VS, Cointreau and Armagnac. The wine list is impressive in its own right, too, curated by Merivale's Master Sommelier Franck Moreau and Head Sommelier Jean-Charles Mahe. Expect by-the-glass wines and champagnes to be poured from magnums — 1.5-litre bottles — and a custom-built wine fridge behind the bar. Guests can also order back vintages from the (impressively large) wine list next door at Felix. To eat, Head Chef Nathan Johnson has created a dedicated menu of simple French dishes for Little Felix, with the focus on charcuterie, cheese and tartines (temptingly spread out on the bar). Order a plate of jambon and melon, creamy duck liver parfait or one of the nine different cheeses. Also joining the group's Ivy Precinct this year is a casual Middle Eastern eatery by ex-Rockpool Chef Simon Zalloua, a sister to Bondi's Italian restaurant Totti's and a new Mexican joint. The precinct is already home to Bar Topa, Felix, Palings, Ash St Cellar, The Royal George and Ivy Pool Club, Den and Lounge. The openings coincide with the big Light Rail reveal and the soon-to-launch George Street pedestrian zone that comes along with it, as well as City of Sydney's newly approved late-night trading plan. This phase of Merivale's 'Ivy 2.0' project is the first step toward entirely redeveloping the site, but that won't come into play for many years to come. We'll keep you in the loop as we learn more about all of the new Merivale happenings. Images: Nikki To.
The charmingly titled Juniper Hall, also known as Ormond House, dates back to 1894. That's when its construction began under gin distiller Robert Cooper, who clearly inspired its more recent moniker. Unique in its design given its Old Colonial Georgian style, it features an upper balcony which looks directly onto the heart of Oxford Street. Located a stone's throw from the idyllic Paddington Reservoir, the majestic mansion was restored to its original state in 1988, when the modern shops and houses in front of it were also removed. A sight to behold alone, the Paddington site currently plays host to the Doug Moran National Portrait Prize exhibition of photographs and portraits. Here, you can take a step back in time — and out of the hustle and bustle of city life — while losing yourself in an afternoon of art, stories and imagination, and soaking in a slice of Australian history as well. Images: Kitti Smallbone
Maybe you've gone in for pizza and had a surprisingly great cocktail. Or maybe you've done it the other way around. Either way, one thing is for sure: Maybe Frank does great pizza and cocktails. And now, the team behind the Surry Hills' restaurant is expanding its offering with Maybe Sammy, opening in The Rocks tomorrow. Owners Stefano Catino and Vince Lombardo have just completed their new Harrington Street digs, which sits just opposite Neil Perry's Rosetta. The venue is fittingly named after another jazz era icon, Sammy Davis Jr. — if you hadn't guessed, Maybe Frank is named after Sinatra. But this new venture is all about the cocktails — something that Maybe Frank has gained quite a following for. The restaurant's leading barman Andrea Gualdi most recently won the Australian Bartender of the Year at the 2017 Diageo World Class Competition. He's a co-owner along with Catino and Lombardo, and leads the bar team at the new venue. Gualdi's cocktails at Maybe Frank are theatrical — complete with rose petals, pop rocks and charred wood — and the drinks at Sammy are equally creative and entertaining. Named after the Rat Pack's favourite venues, the cocktail list features eight signature sips, including the Circus Circus, made with rye, vermouth, mint and poblano and presented with a magic trick; the vodka- and passionfruit-infused Lady Luck, which is, interestingly, served with house-made hand cream (to use, not drink); and the Thunderbird, made with jasmine kombucha, Aperol and a Czech herbal bitters called Becherovka. Those whose wallets are noticeable lighter after the festive season will be happy to know that a lineup of 'minis' also features on the menu — a rotating list of classic tipples for only $10 a pop. If, on the other hand, you came into possession of lots of coin over Christmas (lucky you) you may choose to indulge in one of the 'high roller' cocktails, which start at a cool $70 each and feature ingredients like Champagne and Hennessy. Coffee also features heavily on the menu, with a list of non-alcoholic caffeinated drinks and boozy ones, such as the Sammy Shakerato (with Ethiopian coffee, Campari and limoncello). What the new menu doesn't feature is pizza. Replacing the Italian eats are snacks inspired by 1950s Hollywood glamour, complete with a fit-out that emulates a high-end hotel bar. Designed by Sydney's LD Studio, the space is opulent, with pink velvet banquettes, gold lamps, brass fittings, marble tiles and lots of indoor plants. Find Maybe Sammy at 111 Harrington Street, The Rocks from Wednesday, January 9. It's open from 4pm–12am, Tuesday and Wednesday; 4pm–2am, Thursday–Saturday; 4pm–12am, Sunday. Images: DS Oficina. Updated January 7, 2019.
Made out of sponge cake, chocolate coating and desiccated coconut, the humble lamington is a jewel of a sweet treat. Australian childhoods aren't complete without them, and neither are trips to the bakery any old time. But Sydney-born dessert chain Tokyo Lamington likes to mix up the classic cake, making a great thing even better by serving it up in an array of inventive flavours. And, in a first, the brand is also spreading the lamington love by releasing its own custom sneakers as well. To eat, Tokyo Lamington's wares have come in varieties such as Ferrero Rocher, Neapolitan (yes, taking inspiration from the ice cream combo), yuzu meringue, vegan red velvet, black sesame and more. To wear, the brand's shoes also reimagine the dessert's usual setup — so you'll see cream and brown colours like you do on OG lamingtons, and also blue and pink hues as well. The shoes: Nike Dunk Lows, which the artists at Customs Den are using as a canvas. Tokyo Lamington hasn't formed a partnership with Nike, but has purchased 40 pairs, then tasked Customs Den with working their magic on them. Yes, the range is that limited. As a result, these kicks don't come cheap. If you love lamingtons, Tokyo Lamington or both so much that you need a pair of sneakers to show it, they'll set you back $450. At that price, you might want to display them rather than wear them — calling all sneakerheads as well as lamington fiends, obviously. View this post on Instagram A post shared by Tokyo Lamington (@tokyolamington) Every pair of Tokyo Lamington x Customs Den shoes is individually handcrafted, and bespoke for each order — so your kicks won't just be one in 40, but unique as well. When you woke up this morning, you likely had no idea that lamington-inspired footwear exists. Now, you're probably keen on new shoes and, understandably, craving a cake. [caption id="attachment_774463" align="alignnone" width="1920"] Tokyo Lamington x Koko Black collaboration[/caption] For more information about Tokyo Lamington's sneakers, or to buy a pair, hit up the chain's website.
I imagine that Travis Cotton, the writer and director of Robots Vs Art, was watching Arnie curl his fingers into a gloriously corny thumbs-up towards the conclusion of Terminator 2 when he decided that the notion of robots being able to feel and emote needed to be revisited with more meta, and that that decision resulted in the creation of his incredibly entertaining play. Robots Vs Art is set in a dystopian (or utopian, depending on your stance) future where humans have been eradicated by their humanoid creations and sent to work in mines to source energy for the now-sustainable world the robot overlords rule. However, fate intervenes for Giles (Daniel Fredriksen) — the last human alive — when Master Executive Bot (Simon Maiden) charges him with the task of making robots feel through the final frontier they are yet to conquer, art. What ensues is one of the funniest plays I have seen in some time. It is littered with brilliant one-liners — "wanker detected" will bring a smile to my face for the foreseeable future — and expertly written jokes about the theatre industry that Mr and Mrs Normal Viewer can also enjoy. The didactic dictionary-defined nature of the robots also provides some side-splitting moments. However, it is the physical humour of Clawbot (Paul Goddard) that steals the show. Goddard is magnificent as the dysmorphia-suffering robot, and he provides the heartiest laughs of the evening, both when he attempts to pick up a pencil with his claw hands and later with his over-the-top acting of 'being taken aback', which still has me giggling hours later. He is brilliantly supported by Maiden, who becomes hilarious once he explodes with emotion, and Natasha Jacobs, who plays the fembot Gib to perfection, right down to her meticulously hypnotic double blinks. The play has its flaws; Fredriksen's performance is ironically unemotional as our human hero Giles, the scene changes are clunky and dislocating, and the ending is quite abrupt. However, these do not detract from the overall enjoyment that Robots Vs Art delivers, and it delivers it in spades. It is a thoroughly entertaining and witty, 80-minute exploration of the value of art that will more than quench your thirst for hilarious theatre.
What's better than one IMAX in Sydney? Two, obviously, which is a big-screen dream that's about to become a reality. A second IMAX experience is on its way to the Harbour City, setting up shop in an Event Cinemas location. The where and when haven't yet been revealed — but this is still literally massive news. Between 2016 and spring 2023, movie lovers in the New South Wales capital would've been content with just one IMAX, of course, after Sydney's IMAX at Darling Harbour closed down to get demolished and then rebuilt. The venue was originally meant to get its projectors running again in 2019, then in 2021; however, that didn't happen. Thankfully, giant flicks have been back on the agenda since October on one of the biggest cinema screens in the world, which measures 692 square metres. The news of a second Sydney IMAX comes via EVT and IMAX Corporation. The former is the hospitality company behind IMAX Sydney, Event Cinemas, Moonlight Cinema, the Skyline Drive-In and the State Theatre; the arrival of surround-screen viewing Down Under; a heap of bars and restaurants; QT Hotels, Rydges and other hotel chains; plus IMAX venues in Auckland and Queensgate in New Zealand, as well as IMAX Karlsruhe in Germany. The latter is self-explanatory. Together, the duo announced a deal for five new state-of-the-art IMAX setups, but only one in coming to Australia. To check out the other four, you'll need to head to Germany. "Expanding our collaboration with IMAX aligns to our strategy of providing customers with choice on how they want to watch a movie. The right combination of our proprietary cinema experiences such as gold class, boutique and V-Max alongside global premium formats like IMAX is proving to be successful," said EVT CEO Jane Hastings, announcing the news. "IMAX performs exceptionally well at our current locations in Sydney, New Zealand and Germany, and we are thrilled to bring state-of-the-art IMAX with Laser systems to more locations in Australia and Germany in the near future," Hastings continued. "On the heels of the wildly successful debut of IMAX Sydney, we are excited to expand our collaboration with EVT, a partner that transcends exhibition in creating premium experiences that span cinema, hospitality, leisure and more," added IMAX CEO Rich Gelfond. "Australia and Germany are two markets where consumer demand for IMAX vastly outstrips our footprint, and this deal is great for our fans in both countries and our continued network growth worldwide." That Sydney success that Gelfond mentioned? Within mere weeks of opening, the new IMAX Sydney has become IMAX's highest-grossing location outside of the United States and United Kingdom. Wherever the second Sydney IMAX experience pops up, it'll combine Laser by IMAX technology, which means 4K laser projection showing the flicks, plus EVT's range of seating. At Darling Harbour, choices to get comfortable include standard places to sit, as well as getting comfortable in a full recliner, cosying up with your plus one in a couples' recliner and going with a private box for up to four people on an elevated platform. Film fans outside of Sydney, you'll have a second spot to add to your must-visit list when you visit the Harbour City — especially if you're in a city like Brisbane, Adelaide or Perth that doesn't have its own IMAX. IMAX Sydney is now open at Darling Harbour, 1/35 Wheat Road, Sydney, from Wednesday, October 11. Details of the city's second IMAX experience, including where it'll be located and when it will open, are yet to be announced — we'll update you when more information is revealed. Images: IMAX Sydney.
Two men walk into a bar. One, Larry (Colin Friels), waiting to meet his daughter's fiance, is a Bostonian self-made man whose suave banker get-up is interrupted by a broken arm and accessorised with a reckless ownership over all that he touches. The other, Jimmy (Bryan Brown), is an Australian real-estate broker on the wrong side of the housing bubble who is bleeding from the head and will trade his limited-edition Hummer watch for a tab. It's 11am in the middle of a recession, so the bar is empty except for the salty barmaid, Robinson (Nadine Gardiner). There are punchlines coming aplenty. The STC's ZEBRA! is a new play by Ross Mueller (Concussion) with a transnational perspective and very funny, rambunctious, rapid-fire dialogue. It all unfolds on one set that looks like it won't be bumped out in a hurry — a fully realised, Irish-centric New York dive bar decked with leather stools, Celtics memorabilia, mounted game and firefighters' helmets, pictures of JFK and a framed harmonica gifted by Shane MacGowan. If you were to cross the worn timber floors, you could pull a beer from the tap. It's a marvel. Those hoping for the promised answers as to "who we are post-GFC" will likely be disappointed. It's a long time until the salesman and the entrepreneur start discussing the new financial world order, and the conversation rarely crystallises the surrounding abstract ideas. For something written with lofty intentions, ZEBRA! too often feels like it's about nothing at all. But sometimes, just sometimes, a thin thread does pull together the finest patches of verbal jousting and subtle introspection to evoke one very good question: What can be bought? Ultimately, the tension between the characters becomes a weight of shouting that blows out on near random lines, and it grates. Friels performs every word of it, but that's within the realms of possibility for the brash American Larry (who, after all, introduces himself to new acquaintances as "a millionaire"). Brown wears the ocker, make-do Jimmy like a comfy sweater. The two have a good dynamic, but the pleasant surprise is Robinson; her character is actually the one with the most depth, and Gardiner, ribald sass covering wounded stares, makes her especially compelling. The few leftover standing tickets will get you ringside for the rumble between these nationally prized actors, although maybe not close enough for the best bit of the play — seeing Friels' and Brown's brilliantly creviced faces at work.
There's no official Wes Anderson Cinematic Universe. That label isn't bandied across his trailers and posters to describe connections between his movies, storylines don't continue from one film to the next and characters from past flicks aren't popping up in the writer/director's new works. Fan theories can speculate otherwise however they like; however, rather than any overarching narrative tidbits, it's the inimitable auteur's distinctive style, recurrent themes and familiar troupe of actors that connect Anderson's movies — delightfully so 13 full-length titles into his resume (if you count 2023 shorts The Wonderful Story of Henry Sugar, The Swan, The Rat Catcher and Poison as one charming anthology). Still, being a part of one of the Bottle Rocket, Rushmore, The Grand Budapest Hotel and Isle of Dogs' helmer's features is akin to entering a specific realm for his cast. Starring in an Anderson picture means working with a filmmaker with a precise aesthetic and meticulous direction, the results of which then get splashed across the screen for audiences to cherish in elaborate detail. In The Phoenician Scheme, Benicio del Toro (Reptile) and Michael Cera (Sacramento) are two such players. They're each either relative or literal newcomers to Anderson's world — del Toro first collaborated with him on The French Dispatch, while Cera was slated to be in Asteroid City but the birth of his son understandably took precedence — and they're loving it. Nothing is accidental in the making of a Wes Anderson film. Nothing is anything but intricately planned and orchestrated, in fact. Accordingly, it should come as zero surprise that del Toro and Cera weren't merely cast in the 50s-set The Phoenician Scheme — they're the only actors that Anderson had in mind for the roles of European business magnate Anatole 'Zsa-zsa' Korda and Norwegian tutor/entomologist Bjorn, respectively. Chatting with Concrete Playground, they both use the same word to describe that situation. "It's a hell of a gift," del Toro advises with a smile. "It was really a treat and a gift," says Cera. Zsa-zsa is The Phoenician Scheme's protagonist. The plan that gives the flick its name — as stored in shoeboxes, and involving a range of business partners spread far and wide (as portrayed by Here's Tom Hanks, The Studio's Bryan Cranston, Relay's Riz Ahmed, A Private Life's Mathieu Almaric, The Last of Us' Jeffrey Wright and Fly Me to the Moon's Scarlett Johansson) — is all his. Brought to life by one of Oscar-winner del Toro's greatest performances, he's also wealthy, charismatic, cut-throat in his professional endeavours and, after surviving his sixth plane crash, keen to get reacquainted with Liesl (Mia Threapleton, The Buccaneers), the nun in training that's also his estranged daughter and preferred heir. As for Bjorn, he's enlisted to teach Zsa-zsa about insects, but finds himself acting more as a personal assistant while getting close to Liesl — who is expectedly wary about her father and his endeavours — as they jet around attempting to lock in The Korda Land and Sea Phoenician Infrastructure Scheme. Cera is stellar, too, as well as a seamless fit into Anderson's repertory cast; his work here ranks up there with Arrested Development's George Michael Bluth, Scott Pilgrim vs. The World's eponymous figure, Twin Peaks' Wally Brando and Barbie's Allan among his most-memorable characters. [caption id="attachment_1006881" align="alignnone" width="1920"] Giulia Parmigiani[/caption] For co-stars, del Toro, Cera, Threapleton and the fellow talents listed above also have everyone from Richard Ayoade (Dream Productions), Benedict Cumberbatch (Eric), Rupert Friend (Companion) and Hope Davis (Succession) to Willem Dafoe (Nosferatu), Stephen Park (Death of a Unicorn), Charlotte Gainsbourg (Étoile) and Bill Murray (Ghostbusters: Frozen Empire) for company. And for plot specifics, the ensemble has "disrupting, obstructing, impeding" bureaucrats, the price of bashable rivets, lie detectors, suspicious uncles, locomotives, basketball shots, terrorists, freighters, marriages, grand hotels and heaven to navigate. They're stepping into a redemption story, and also a complex family dynamic with deep emotional resonance. This group is in another Anderson gem, then. Ask del Toro how he approaches plying his skills for Anderson, a filmmaker who is giving him rare comic parts — so much so that the actor was astonished the very first time that the director called — and he speaks about his commitment to telling the truth no matter the role. Ask Cera about conveying complicated bonds for the helmer, and also about the path that's brought him to Bjorn after more than a quarter of a century of acting, and he's all about the people around him. For both, trust and faith in Anderson are pivotal to them giving their all, and the results are on the screen. "You trust him and you try to be as honest as you can, even when you're lying," del Toro notes. On Digging Into a Wes Anderson-Penned Redemption Story That's Characteristically Both Comic and Has Emotional Depth Benicio: "I think I do what I do in every movie — I try to tell the truth. Wes and Roman Coppola, together they wrote this incredible script. You just draw from it. You know, I'm not known to do comedy — and one thing that we tried to keep in mind was 'don't try to be funny'. If the laughs come, good. If not, it's good. Don't try to make the laugh happen. Let the laughs follow. So try to tell the truth. And for me, it's just like what I do in other movies. I mean, this time I have to do it verbally, and there's a lot of dialogue. So for that, you just have to get ready and practice that dialogue. But the bottom line for me is basically what you said — it's the depth of this arc of this character. But also those dream sequences or heaven sequences, that is his subconscious also talking. It just added for the actor to know what was the arc about. It helped. It was like having your psychiatrist explaining the character as well. It's like having the psychiatrist explaining who the character is. Those dreams fed a lot of information to me of where we were on this story — also where was his emotional arc of that particular moment in the story." Michael: "I think the material and the writing takes care of a great deal of that for you. If it's able to get you invested in the story — which, it's just such strong writing — you feel it when you read the script. You feel and you know completely — you know where the feeling is going to come from and how you know it needs to be rendered. But even so, I found the movie much more moving in the end than I even expected, even after having shot it. I find it to be very moving." On How del Toro, Cera and Mia Threapleton Worked Together to Convey Their Characters' Deepening Bond Across the Film Michael: "We did have a little bit of a rehearsal period, fortunately, with the three of us and with Wes. And we just really worked, the four of us privately, for a couple of weeks — like two weeks or so. And it's a great thing to be able to do. It makes you get ahead of things a little bit. It allows you to come up with some observations and ideas that that later can feed into the work. And it also, but most importantly I think, just creates a strong sense of a team and comfort and trust with each other. And that carries into the work, I think. But we discovered, also I think, in reading it, discovered the dynamics and the emotions that these characters feel toward each other. And what it feels like for to be betrayed, when there are betrayals that happen. It was nice to get ahead of all of that and find the specific way in, and what was specific about it — because I love the way it's played. Things are salvaged even though there's a major betrayal. And there's an emotional bond that helps them all pull through that even, which is really nice. A really nice turn, I think." On the Significance of Anderson Writing Specific Parts for Del Toro and Cera Benicio: "Well, it's a hell of a gift. I think that we never talked about anything. 'Hey, did you write this for me? Am I your second choice?'. I never really questioned that. He called me up. He sent me the first 20 pages. I have to go back and explain to you that when I got The French Dispatch and he first called me, I was super elated. It was hard to believe that Wes Anderson was calling me to be in one of his films, because most of the movies I do, even though they're fiction, they tilt towards documentaries. Wes movies, they're fiction but they tilt more to theatrics — to the theatre, let's put it that way. When he called me up the first time, I was a little bit like 'wow, is he, is he really?'. I immediately thought 'wow, he's thinking outside the box, he's going against stereotypes'. Because there's many actors that do comedy better than me, and he could have gone to those actors. But for some reason, he pulled me into that world, his world. And I was really elated by it. When I read the part of The French Dispatch, it was like it was so good, and then I realised that it came to an end and another story happened and that was it — and it was like 'wump, wump, wump'. I was little bit like 'oh, wow, I could really get into this character, the painter Moses'. And so then that happened. I did the film. I had a blast working with him. When you work with Wes, you have to let the kid in you, you've got to let them out, the imagination. You have to play. It's a lot of fun. It reminded me — I was trained in the theatre, so it was kind of like back to the future, in a way. It was like I had travelled back in time to my beginnings, studying with Stella Adler and being on the theatre. And then come to this, when he sent the first 20 pages, I was like 'oh wow, this is amazing'. But I thought that might be it. And then he sent the next 20 pages and I'm still in the movie. And then the next 20 pages — and then I'm going 'oh my god, now this is going to be hard work'. So it was kind of like one of those, and I was really excited — and it's a gift from Wes. But at the same time, you had to really put on, strap on your boots and get to work, because there was a lot of work to do." Michael: "I didn't know that really, to be honest. So I'm not sure — like I don't know exactly what his process was with that or when I came into his mind for it. But obviously just so happy to be considered and invited. Wes had offered me one role once before, in Asteroid City, and I ended up not being able to do it because of the birth of my son interfering with the dates. So I was so disappointed. I mean, obviously it was the most-important kind of life event for me. So it was all good, but it was just horrible timing. I was like 'oh no, I finally got offered by Wes to come along and be a part of his one of his productions and I can't go'. It was heartbreaking. But this more than redeemed it. So I was just happy that he was still thinking of me, and then so delighted to read it and to discover this character — and so caught, really, by surprise by how involved of a role it was too in the whole story, and in the whole play of everything. I didn't expect to be given such an opportunity by him. So it was really a treat and a gift." On Cera's Knack for Taking on Distinctive, Specific Characters That Aren't Going to Be Mistaken for Any Others, Including in Arrested Development and Twin Peaks Michael: "It's the greatest thing when you get a piece that's exciting to read and an amazing opportunity as an actor. I remember reading the script for Arrested Development when I was like 14 or 13, and really, it was very clear how special it was. I don't know — I think there are things that you just gravitate toward and you just want in. There are a lot of things that I have felt that about that I didn't have a chance to work on, too, but you're just like 'oh, I need this. I want this. I get this. I love this world. I love the people making it'. So when you are lucky enough to get onto the ones that you feel that way about, it's the greatest." [caption id="attachment_1006861" align="alignnone" width="1920"] Roger Do Minh/TPS Productions/Focus Features © 2025 All Rights Reserved.[/caption] On How Working with a Filmmaker with Such a Precise Visual Style Influences the Way an Actor Approaches a Role Benicio: "Well, you know his movies are handmade. There's nothing there that is — let's say CGI, very little. You might have to use something but very little is CGI. Everything is built. Everything is put together. Everything is really — you can touch it. So my approach to it was the same way I approach any movie: is just try to tell the truth unless, and trust Wes that if I do what I do, he will take it to the finish line. He will do his thing and take it to the finish line. And, like any actor, you try to tell the truth — even when you lie. So that's what you do in a Wes Anderson movie as that's an actor. You trust him and you try to be as honest as you can, even when you're lying. That's what I did. Hey, there might be other ways, but everybody's different." Michael: "Well, you have a lot of faith in him. You have a lot of trust in Wes, because you know that he's across every inch of the movie and he's not going to let something get through that breaks the spell or destroys the nuance of what he's creating. So you just feel you're in incredibly good hands and he's going to make you shine — and make you look better than what you did, even. So working with someone on that level, it makes you feel very confident. And then you can you can try things and you can work with confidence. That feeling is not always there, and sometimes you have the opposite feeling, and it's really hard to really put yourself out there as an actor when you have that, when you have doubts." On What Cera Makes of His Journey as an Actor Over More Than a Quarter of a Century, Leading Him to The Phoenician Scheme Michael: "I feel really lucky to be doing this for a living and doing what I was attracted to from that age. When I was a kid, it wasn't like a career. It was just something I loved. And then it turned into something that was kind of a job, but I loved that, too. It's an interesting life. I've had a very positive experience of coming up as a child actor and turning into an adult person who's acting. There are obviously the famously unfortunate versions of that. But for me, I was always just around great people. [caption id="attachment_1006880" align="alignnone" width="1920"] Giulia Parmigiani[/caption] It was exciting to be nine years old and having colleagues that were grown people that you admire and that took care of me and showed me how to do it. Even first assistant directors and things, when I didn't even know what I was doing. I didn't know where I was supposed to go, what I was supposed to, what I was supposed to say — and people helped me. So I feel very lucky. I've had a very good road to be where I am now. And it's really nothing but good luck that made it that way. I just have had really good people around me." The Phoenician Scheme opened in cinemas Down Under on Thursday, May 29, 2025. Film stills: courtesy of Focus Features © 2025 All Rights Reserved.
Treat yourself — or a friend — to a luxury gift box of artisanal chocolates from family-run chocolatier Just William. Owner Suzanne Francis makes the bite-sized chocolates by hand in new and surprising flavour combinations, from the popular ganache cream centre 'bombs' filled with fruit, booze or caramel, to the animal-shaped treats like mango penguins, strawberry echidnas and orange koalas. The store always has gift boxes dedicated to special occasions such as Mother's Day, Valentine's Day and Easter — so even if you forgot to save the date, Francis has your back for a premium gift set of handmade truffles on any day of the year.
By August, winter can begin to feel as though it's been dragging on forever. Some of us, like migratory birds, make an annual pilgrimage to our favourite Northern Hemisphere destination, avoiding the darker months altogether. Others dig in like grizzly bears, travelling no further than is necessary to obtain food and money. Fortunately, one of Australia's geographical benefits is its proximity to an abundance of eternally sun-kissed destinations. Whether you prefer the seemingly boundless expanse of the Pacific Ocean, or the monsoonal mystery of the Indian Ocean - the warmest ocean in the world - you're only ever a a few hours' flight time away from winterless climes. So, if you're feeling as though you'd like a quick preview of summer before December ushers in the main act, here are ten destinations that could well have you digging out your long lost swimmers. Eratap, Vanuatu If you happen to be sitting at an airport on the eastern seaboard of Australia right now, this view is just three hours and twenty minutes' travelling time away. That's a three hour flight to Vanuatu's capital, Port Vila, and a twenty minute drive to the pier pictured above. Even though the exclusive resort of Eratap is comprised of just twelve villas, all located on the waterfront, it occupies an entire peninsula, incorporating eight acres of lush gardens and three lonely beaches. Plus, the resort's gardeners will drop you to one of several surf breaks just off the beach should you feel the inclination. Semara Luxury Villa Resort, Bali If you like your rooms over-sized, your ocean views panoramic and your gardens perfectly manicured, Semara is likely to tick all your boxes. Located on Bali's southernmost point, this resort features seven commodious, architect-designed villas, which overlook the Indian ocean from the spectacular heights of Uluwatu's stunning white limestone cliffs. Zeavola, Phi Phi, Thailand Encompassing an unspoiled stretch of too-white-to-be-true sand on Phi Phi Don Island's northern tip, Zeavola promises an indulgent experience based on sensual pleasure. The accommodation, modelled on island-style housing, is built of hand-hewn teak, and the landscaping features quiet gardens, romantic outdoor showers and hand-painted murals. Wayalailai Ecohaven Resort, Fiji One of the few 100% locally owned resorts in the Pacific Islands, Wayalailai offers a beach-side break in the heavenly Yasawa Islands that isn't quite as devastating on the wallet as other, more luxurious options. Run by nearby villages, Wayalailai features traditional-style bures (both doubles and dorms) and enables the visitor to experience Fijian society and culture as it occurs on a daily basis, rather than as a construction for the purpose of tourist entertainment. Prices start at $70, inclusive of three meals, and you can even pitch a tent for $55. All profits go to improving living standards and increasing access to education in local communities. Aitutaki Lagoon Resort and Spa, Cook Islands Many a well-seasoned traveller has concluded that Aitutaki Lagoon is the most beautiful in the world. 'No artist's palette could ever conceive of a more perfect, more luminous turquoise,' Steve Daley wrote in Unforgettable Places to See Before You Die. The only resort in the Cook Islands to occupy its own private island, the Aitutaki Lagoon Resort and Spa, perched on the lagoon's edge, is renowned for its intimate, Polynesian-style over water bungalows. Te Tiare Beach Resort, French Polynesia Te Tiare Beach Resort - one of the smallest and most intimate in French Polynesia - is located on Huahine, one of the less visited and most tranquil of the country's islands. There's a local farmer's market, a strong traditional fishing culture and an abundance of fertile plantations and orchards - vanilla, noni fruit, taro, watermelon, mango, papaya, banana and breadfruit are all made for the South Seas. You can choose your bungalow according to your tastes - garden, premium garden, beach, lagoon overwater or deep overwater. L'Escapade Island Resort, New Caledonia Like French Polynesia, New Caledonia offers a little European je-ne-sais-quoi without the pain of a gruelling long-haul flight. In fact, it's less than three hours' time in the air from Sydney. Similarly to the Aitutaki Lagoon Resort and Spa, L'Escapade inhabits its very own private island, twenty minutes' boat ride from Noumea. Access to both inner and outer lagoon areas enables an array of sun-blessed activities, from swimming and snorkelling to windsurfing and kayaking. 69 bungalows - both over water and terrestrial - comprise the accommodation. Fregate Island, Seychelles With 2000 free-roaming Giant Aldabra Tortoises, hundreds of Hawksbill Turtles' nest and an indigenous forest rehabilitation plantation, Fregate Island is not just one of the world's most prestigious holiday destinations, it's also an important conservation project. Visitors can rent one of 16 spacious private pool residencies, a five-building estate or an entire island. Niyama, Maldives The world's first underwater live music club and a 24-hour spa mean that Niyama offers more than your regular beachside vacation. Located forty minutes by seaplane from Male, it features over water pavilions and stand alone studios with unimpeded views of the horizon. The onsite restaurant serves meals just five hundred metres from the water's edge. Sila Evason Hideaway and Spa, Thailand Found on the northern tip of Koh Samui, Sila Evason is famous for is its 41 pool villas, each of which comes with its own private infinity edge pool. They're set in twenty acres of native forest, on a sloping headland, and offer panoramic views of the ocean and surrounding scenery. There's also a Six Senses Spa on the premises.
Now that New Year’s resolutions are well in the past you no longer need an excuse to drink mid-week and eat pizza, but Li’l Darlin’s Surry Hills outpost has one anyway. Each Wednesday from 8.30pm until late they’re serving up a big slice of acoustic goodness along with their signature pizzas and cocktails, starting with 25-year-old Sydney singer/songwriter Jordan Millar. Millar’s jam is pretty folksy pop backed by bluesy riffs and an addictive intimacy — it’s stirring, yet still provides a light balance to a plate of Crispy Chilli Chicken Drummers ($11.90). His quietly (and independently) released EPs have sold thousands of copies since he released the first back in 2009, and since then he’s been touring with the likes of The Fray, Xavier Rudd, Colin Hay and Tim Freedman. Millar’s new album Cold Lights On Curious Minds came out just last week, so it’s a good chance to try before you buy.
If you like your art medieval with a splash of mystery, you definitely need to see The Lady and the Unicorn exhibition at AGNSW this autumn. Since arriving (in separate planes at that) last month from the Musèe de Cluny — Musèe National du Moyen Âge in Paris, the six mind-blowingly exquisite wool and silk tapestries have been intriguing Sydney crowds. While art buffs know the wealthy Le Viste family commissioned them around 1500, no one knows exactly who designed them, or why, or for whom exactly. And although now widely interpreted as a meditation on courtly love and earthly pleasure through an allegory of the senses, the tapestries' potential to be read a variety of ways creates an enduring mystery that only adds to their charm. To help you get the most out of your visit, we spoke to Art Gallery of NSW curator and exhibition researcher Jackie Dunn about some of the symbols within the enchanting works, their varying interpretations and the pleasure of not ever being able to definitively solve the puzzle. [caption id="attachment_663309" align="alignnone" width="1920"] 'Sight' c1500 (detail) from 'The Lady and the Unicorn' series, Musée de Cluny — Musée National du Moyen Âge, Paris Photo © RMN-GP / M Urtado.[/caption] THE MIRROR The depiction of a beautiful woman holding a mirror could be interpreted as a symbol of vanity. However, within the Sight tapestry, things are a little unusual. The Lady holds the mirror up to the unicorn, who sits tamely with forelegs in her lap and seems very taken with his own reflection. Has she used the mirror to charm him into submission? Or does the mirror have, as Dunn terms it, "strong religious underpinnings"? Many engravings of the time feature a similar configuration involving the Virgin Mary holding a mirror up to Jesus, revealing his humanity. This, along with several other elements, has led certain scholars to argue that the entire tapestry suite is a religious metaphor. Dunn however, is unconvinced. "I don't think it means the tapestries are religious per say," she says, explaining that the artist who designed the tapestries (most likely the anonymous 'Master of Anne of Brittany') would have been unavoidably influenced by the religious art of the time. "Scenes like this are part of their image bank, what they would have been brought up on." Whether about vanity, seduction, religious metaphor or all three, the mirror is just one of the tapestry cycle's "rich, crazy, mixed-up bag of symbols". [caption id="attachment_663307" align="alignnone" width="1920"] 'Hearing' c1500 (detail) from 'The Lady and the Unicorn' series, Musée de Cluny — Musée National du Moyen Âge, Paris Photo © RMN-GP / M Urtado.[/caption] THE INSTRUMENT At the centre of the Hearing tapestry, we find the Lady standing up and serenely playing a portative organ. Framed by unicorn and lion, she's assisted by what is most likely her maidservant (and a none-too-thrilled one at that) who stands working the bellows. Looking to modern eyes like a strange hybrid between panpipes, a keyboard and a small harp, a portative organ was a commonly used instrument within secular music at the time. If we go with the allegory of the senses interpretation, then we could argue the instrument, creating music, simply symbolises the sense of hearing. However, according to Dunn the presence of the instrument also tells us something notable about the Lady's class status and the period's new expectations of women of her social standing. "It was seen as important that women were getting a broader education in the arts," explains Dunn, including music, dance, languages and poetry. In this light, the musical instrument might represent that the lady is well educated and highly moneyed, but also that she has the ability to create music, to make beautiful things. "The instrument is interesting because, in a way, it's showing her capacity to make art." [caption id="attachment_663310" align="alignnone" width="1920"] 'Taste' c1500 (detail) from 'The Lady and the Unicorn' series, Musée de Cluny — Musée National du Moyen Âge, Paris Photo © RMN-GP / M Orated.[/caption] THE RABBITS, THE DOG AND THE MONKEY Animals abound across all six tapestries, reflective of the era's fascination with the natural world. Aside from the lion and unicorn, within the Taste tapestry alone we can also see rabbits, a monkey, a bird, a sheep and several types of dog. Rabbits often symbolise fertility, but according to Dunn, here they could also be a warning about "the dangers of sex" and the likely consequences of breaching the chaste limits of the courtly love tradition, which dictated that "you could push the limits of seduction between a young man or woman to the point that they were completely filled with desire, but they never consummate it." What about the tiny pet dog seated on the train of the Lady's dress? Gazing up at her adoringly, it most obviously conveys ideas of loyalty and fidelity. However, Dunn adds that a collared or chained animal (occurring throughout the tapestries) might also symbolise the containment of animal desire in favour of moral self-control. On another, more worldly level, the pet dog — along with the monkey — again displays the Lady's wealth and fashionable status to viewers: "Only people with money can have pets like that rather than a working dog or a scrounging hound at the back door!" [caption id="attachment_663308" align="alignnone" width="1920"] 'My Sole Desire' c1500 (detail) from 'The Lady and the Unicorn' series, Musée de Cluny — Musée National du Moyen Âge, Paris Photo © RMN-GP / M Urtado.[/caption] THE CHEST OF JEWELS When you stand in front of Mon Seul Desir, the sixth and final tapestry, ask yourself whether the Lady is lifting out the jewels or putting them away. Chances are you'll be undecided. "We're delighted that it's ambiguous," says Dunn. "For a long time it was thought that she was putting them on, but the way that it's now interpreted is that it's probably her renouncing the world of material things and returning the jewels to the box." Widely agreed to symbolise the Lady's purity and ability to control her earthly desires, the putting away of the jewels could also represent a more mature woman's rejection of the vanity of youth. There is a competing scholarly argument that the tapestry cycle depicts the various stages of a woman's life, with this tapestry portraying the Lady later in life. But while finding that reading "quite a beautiful one," Dunn isn't convinced it makes sense for the suite as a whole, preferring instead to embrace a multiplicity of not wholly resolved interpretations — an approach far more in keeping with the tapestries' romantic, multi-faceted and richly poetic medieval context. "It's a world of all these symbols overlaid. They love complexity, they love cleverness, not being able to fully resolve things but to bounce between different layers of meaning. There's nothing straightforward about the way they thought about the world. It's actually very rich." The Lady and the Unicorn tapestries are on display at the Art Gallery of NSW until June 24.
Science fiction has never been afraid of unfurling its futuristic visions on the third rock from the sun, but the resulting films have rarely been as earthy as The Creator. Set from 2065 onwards, after the fiery destruction of Los Angeles that could've come straight out of Terminator 2: Judgment Day, this tale of humanity battling artificial intelligence is visibly awash with technology that doesn't currently exist — and yet the latest movie from Monsters, Godzilla and Rogue One: A Star Wars Story director Gareth Edwards couldn't look or feel more authentic and grounded. That isn't a minor feat. And, it doesn't simply stem from making a sci-fi flick with heart, which isn't a new move. Don't underestimate the epic yet intimate impact of seeing bold imaginings of what may come that have been lovingly and stunningly integrated with the planet's inherent splendour, engrained in everyday lives, and meticulously ensure that the line between what the camera can capture and special effects can create can't be spotted; The Creator hasn't. So, as undercover military operative Joshua (John David Washington, Amsterdam) is tasked with saving the world — that go-to science-fiction setup — robots walk and talk, spaceships hover, and everything from cars to guns are patently dissimilar to the planet's present state. Flesh-and-blood people aren't the only characters with emotional journeys and stakes, either, with AI everywhere. Even if The Creator didn't tell its viewers so, there's zero doubting that its events aren't taking place in the here and now. Edwards and cinematographers Greig Fraser (The Batman) and Oren Soffer (Fixation) know how to make this flight of fancy both appear and seem tangible, though. Indeed, The Creator earns a term that doesn't often come sci-fi's way when it comes to aesthetics: naturalistic. Also don't underestimate how gloriously and immersively that the film's striking and sprawling southeast Asian shooting locations not only gleam, but anchor the story. Edwards and his team, including production designer James Clyne (another Star Wars alum), have given their film human skin, then, amid all the tech workings. That's one of the big leaps forward in Edwards' screenplay with his Rogue One scribe Chris Weitz, too, with The Creator delivering its main examples of AI in humanoid form. These droids can easily be mistaken for something less cybernetic if the whirling circles where ears would normally be are covered, plus their exposed metal necks and backs of their heads as well. As Joshua discovers, they're also easy to connect with. The feature itself earns that same description — as it splashes two-plus hours of spectacular sights across the screen, this is big-thinking and big-feeling science fiction not just about where technology might lead, what that means for humans and how the species could spark such a situation, but also about empathy. Humans and AI are long past co-existing in happy harmony when The Creator initially drops into Joshua's life, but he's a glowing expectant dad enjoying domestic bliss with his wife Maya (Gemma Chan, Don't Worry Darling) anyway. They're in New Asia, the artificial intelligence-sympathising part of the world after Los Angeles went nuclear, and she considers machines her family. The catch: his special forces gig, then a raid with a tragic outcome. Five years later, Joshua is back stateside, grief-stricken and on clean-up duties when he's brought back in by General Andrews (Ralph Ineson, The Northman) and Colonel Howell (Allison Janney, To Leslie). On this latest mission, eradicating AI's enigmatic mastermind Nimrata — and therefore wiping out AI at the same time — is still the aim, just made more urgent by news of a war-ending weapon that's capable of annihilating humanity's beam-wielding and village-bombing winged NOMAD vessel. But Joshua doesn't expect to meet android child Alphie (newcomer Madeleine Yuna Voyles) while going about the job. As his resume attests, Edwards is head over heels for his chosen genre. His pre-Monsters gigs also span visual effects, which makes The Creator's seamless appearance hardly surprising. In fact, on his feature debut — a flick that's one of the great first films — he was also the movie's director of photography and production designer, and took care of the VFX, doing the latter at home in his bedroom. Back away from franchise land after his Godzilla and Star Wars stints, he's at his best making original sci-fi again, this time with a picture that grapples deeply with the big existence-changing development of our time. The Creator eagerly stands out there as well, clutching onto a message of acceptance in its central conflict. Shining with ambition, it's also a rarity with such an utter (and welcome) lack of past chapters, books, flicks, TV shows and any form of pre-existing intellectual property behind it, although it does worship a swathe of inspirations. There's a difference between gleaning that a filmmaker watched and adored Blade Runner, District 9, Aliens and Dune, though — plus Apocalypse Now, Akira, The Matrix, Interstellar, Laputa, Castle in the Sky and, yes, Star Wars — and sitting through a movie that just brazenly ticks through element after element from other sources. The Creator never falls into the second category, instead playing like it's its own machine rather than a Frankenstein's droid built from other tech's parts. The narrative, the world-building, the visuals (even with Rogue One's Fraser earning an Academy Award for Denis Villeneuve's Dune: Part One), the heartfelt mood, the down-to-earth and old-school vibe, the sound (with a score by fellow Dune: Part One Oscar-winner Hans Zimmer, and also the exceptional use of Radiohead's 'Everything in its Right Place'), the ideas: they all ensure that this isn't cobbled together from spare components. So do the excellent performances by Washington in Tenet mode and first-timer Voyles, who convey a poignant rapport while selling their individual and shared yearnings. Also beyond a doubt: that AI couldn't have made this movie (a timely thought given that it arrives to tackle the topic as Hollywood's strikes have been raging partly due to that very possibility). The Creator feels like it has fingerprints everywhere. As its magnificent visual effects glisten so convincingly that they don't resemble VFX at all even though they clearly are, the film looks carefully and affectionately crafted. When its dialogue is a touch obvious and Joshua's path a tad predicable, that still smacks of relatable and inescapable human nature. And, as it tensely and thrillingly — weightily, too — ponders war, hate, fear, military control, the fast jump to divide, what technology can destroy and give alike, and who sits on which side of the humans-versus-AI clash, The Creator happily gets thorny. Edwards seems sincerely fascinated with every thing, person, gadget, backdrop, sight, sound, notion, theme and musing he packs inside his film. Matching that response couldn't be a more instinctive reaction.
If you listen carefully, you might just hear the sound of a light- to medium-bodied red wine sloshing around a glass. That's because the world's favourite celebration of pinot noir is finally returning, with the news Pinot Palooza will make its comeback in just a few short months. In its 10 years of life, the Melbourne-born wine tasting festival has become a global affair, with an estimated 65,000 tickets sold, worldwide. But once COVID hit in 2020, it saw the popular event shelved for two-and-a-half years. Now, that hiatus is finally over, with a huge tenth-anniversary edition of Pinot Palooza set to hit Melbourne, Brisbane, Sydney and Auckland in 2022. The comeback tour kicks off this autumn, returning to the festival's homeland of Melbourne with a couple of wine-filled days at Port Melbourne's Timber Yard from May 6–7. Brisbane Showgrounds are up next, hosting Pinot Palooza from May 20–21, before Sydney gets its shot on June 17 and 18. The festival then crosses the ditch for its Auckland edition from October 15–16. While the wine-sipping fun will play out similarly to before, across three sessions at each event, there is one big new addition in store — a dedicated Tasmanian hub set to showcase a curation of wine, spirits, cider and cheese from over 20 top Tassie producers. As always, you'll spend your event session swirling and sampling a huge array of pinot noir from across Australia, New Zealand and the world. Word is, over 70 winemakers are coming to the party. Also like before, there'll be pop-up bars and food stalls to keep you busy in between sips, with favourites Burn City Smokers, Taco Truck and Nama already confirmed for the Melbourne edition. Pinot Palooza 2022 will hit Melbourne on May 6–7, Brisbane on May 20–21, Sydney on June 17–18 and Auckland on October 15–16. To nab tickets or find out more, jump over to the website.
