Since 2019, witnessing David Tennant utter the word "angel" has been one of the small screen's great delights. Playing the roguish demon Crowley in Good Omens, the Scottish Doctor Who and Broadchurch star sometimes says it as an insult, occasionally with weary apathy and even with exasperation. Usually simmering no matter his mood, however, is affection for the person that he's always talking about: book-loving and bookshop-owning heavenly messenger Aziraphale (Michael Sheen, Quiz). With just one term and two syllables, Tennant tells a story about the show's central odd-couple duo, who've each been assigned to oversee earth by their bosses — Crowley's from below, Aziraphale's from above — and also conveys their complicated camaraderie. Also since 2019, watching Tennant and Sheen pair up on-screen has been supremely divine. The actors clearly realised it themselves, spending lockdown making comedy Staged as versions of themselves, which they then continued for two more seasons. Great double acts feel like they've always been a twosome. They seems so natural that you expect them to continue the same routine off-screen as innately as breathing. They can be playfully parodied by themselves, as Staged does, and still just as winning. And, they're often the heart and soul of whatever project they're in. Good Omens, which hails from Terry Pratchett and Neil Gaiman's award- and fan-winning 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, was always going to be about Aziraphale and Crowley. And yet, including in its second season on Prime Video from Friday, July 28, it's always been a better series because it's specifically about Sheen as the former and Tennant as the latter. In the first season, the end of the world was nigh (the fact that Good Omens debuted the year before the pandemic arrived and life began to feel ominous in reality was pure coincidence). In the show's narrative, Aziraphale and Crowley faced their biggest test yet after observing humans since biblical times: the always-foretold birth of the antichrist and, 11 years later, cosmic forces rolling towards snuffing out the planet's people to start again. Hell, where Beelzebub (Anna Maxwell Martin, The Duke) led the forces, was primed for a fight to claim power. As guided by the archangel Gabriel (Jon Hamm, Confess, Fletch), heaven was up for the fray, too. But in a comedic fantasy involving satanic nuns, witch hunters, prognostications, hellhounds, the four horsemen, seances, and also the simple pleasures of two pals bickering and bantering, the crisis to end all crises was ultimately averted. In the long-awaited second season, neither Aziraphale nor Crowley are beloved by their higher-ups or lower-downs thanks to their thwarting-the-apocalypse actions. One fussing over his store and remaining reluctant to sell any of its tomes, the other continuing to swagger around like Bill Nighy as a rule-breaking rockstar, they've carved out a comfortable new status quo, though, until a naked man walking through London with nothing but a cardboard box comes trundling along. He can't recall it, but that birthday suit-wearing interloper is Gabriel. He knows he's there for a reason and that it isn't good, but possesses zero memory otherwise. And, in the worst news for Aziraphale and Crowley, he has both heaven and hell desperate to find him. Returning for a second season saddles Good Omens with a considerable obstacle: when you've already told the tale that was laid out in print, what comes next? Thankfully, Gaiman is back as executive producer and co-showrunner, building upon his text with the late Pratchett by enlisting John Finnemore (That Mitchell and Webb Look) as his new co-scribe — and with director Douglas Mackinnon (a Doctor Who veteran) again helming every episode. The approach? A mystery, as Aziraphale and Crowley try to discover what's behind Gabriel's terrestrial visit. Gaiman crafts a missing-person search as well, including by the demon Shax (Rams' Miranda Richardson, switching into a new role from season one), and archangels Michael (Doon Mackichan, Toast of Tinseltown) and Uriel (Gloria Obianyo, Dune). Good Omens season two also takes a few sizeable trips elsewhere, spending time with Job (Peter Davison, Gentleman Jack) in the Land of Uz, during the Victorian era when robbing graves was a key way that surgeons advanced medicine and among undead Nazis in the Blitz in 1940s England (Finnemore solely scripts the Job segment, Ten Percent's Cat Clarke the body stealing, and Ghost Stories' Jeremy Dyson and Andy Nyman the zombies.) Also crucial: a few romances, commencing with Aziraphale and Crowley trying to get coffee shop proprietor Nina (Nina Sosanya, His Dark Materials) and record store owner Maggie (Maggie Service, Life) to fall in love by cribbing from Jane Austen and Love Actually filmmaker Richard Curtis. Any future season of Good Omens that purely regales audiences with Aziraphale and Crowley's past escapades would be a certain winner, but weaving such jaunts into season two still works a treat. For all of the show's drawcards — the irreverent battles for the fate of the universe, the heaven-versus-hell hijinks, the gleeful satirising of organised religion, the Paddington-esque aesthetic, the fact that anything and everything can occur (and does) in a comedy about angels and demons — Gaiman knows that Sheen and Tennant are its biggest. Cue more eager digging into Aziraphale and Crowley's bond, and more of Sheen and Tennant bouncing off of each other brilliantly. In the process, cue more unpacking the fact that Aziraphale isn't just pious and dutiful beneath his halo, nor fallen angel Crowley simply evil. And, also cue more examining what Aziraphale and Crowley mean to each other as an ever-wonderful chalk-and-cheese pair. Sheen and Tennant are visibly having a ball again, with both expressing oh-so-much through gazes, glorious line readings and the vibe that sparkles during their patter. They aren't the only ones enjoying their Good Omens stints, with Hamm leaning into his comic side — see also: 30 Rock, Parks and Recreation, Toast of London, Unbreakable Kimmy Schmidt, Curb Your Enthusiasm, The Increasingly Poor Decisions of Todd Margaret, Childrens Hospital, Medical Police, Angie Tribeca, The Last Man on Earth, Wet Hot American Summer: First Day of Camp and Confess, Fletch — with gusto. Richardson is as much of a scene-stealing marvel as she's kept proving since her Blackadder days, Bridgerton's Shelley Conn relishes playing Beelzebub's new guise and Quelin Sepulveda (The Man Who Fell to Earth) is joyous as a daffy lower angel. Indeed, even when season two overtly puts the wheels in motion for a third spin, its cast ensure that too is a great and welcome omen. Check out the trailer for Good Omens season two below: Good Omens streams from Friday, July 28 via Prime Video.
Whether its Pappa Rich's nasi lemak burger or Betty's Burgers' prawn roll, limited-edition sandos are an easy way to have some fun with your menu, and Sydneysiders love when a local favourite pulls together an inventive new creation between two buns. The latest spot to mix things up in the burger world is Nashville-style fried chicken chain Super Nash Brothers who are bringing an outlandish Barbacue Shapes-flavoured burger to their three Sydney stores and to Deliveroo. The Super Shapes Sando takes the basics of the Nash Brothers' popular Super Nash Sando and adds the nostalgic flavour of Arnott's beloved snack. On the burger, you'll find a super-crispy fried chicken thigh, first seasoned in the Super Nash Brothers secret breading before it's deep-fried and then completed with a healthy amount of Barbecue Shapes-inspired seasoning. From there, it's joined by slices of pineapples and a tangy tomato and onion relish. The burger can be ordered solo or in a combo, which comes with chips, a Shapes-flavoured chicken tender, a drink and a sachet of Shapes seasoning which you can add to your chips. "Nostalgia is a big part of our vibe at Super Nash Brothers so we're super pumped to be working with such an iconic brand and flavour," Founder and CEO at Super Nash Brothers Ross Kemp said. The limited-edition burger is available at Super Nash Brothers Waterloo, Waitara and Willoughby, and can be ordered for delivery via Deliveroo. If you want to get your hands on one, you'll have to act fast. It's only available for the next six days, between Tuesday, September 20 and Sunday, September 25. The Super Shapes Sando is available in-store from Super Nash Brothers at 503 Wiloughby Road, Willoughby, 29 Amelia Street, Waterloo and 22 Waitara Avenue, Waitara, or via Deliveroo.
Turn Sydney's urban jungle into an urban jungle gym: play deviator by notorious Western Australian new media art collective pvi. Their site-specific project is here as part of the International Symposium on Electronic Art and runs from June 11-16. Over the course of an hour, using a smartphone provided, participants (or deviators) seek out hidden audio instructions and perform up to 15 interventions and interactions, turning the world into a playground. You could find yourself guerrilla pole-dancing or playing spin the bottle in public or sack racing or WHO KNOWS what else. You will, if you do it. But this is more than just a game. This is a call to arms (and legs) to get people out onto the streets, to reclaim them for revolutionary fun, to ignore commerce and to start a new narrative. What does playing a game mean as an adult? How can games alter your reality and open up new possibilities? deviator is inspired by psycho-geography, by modern-day revolution, anti-materialism and political interventionism. This is an opportunity to stop signing petitions on Facebook and start engaging with what's really happening, or not happening, and to start making it happen. Deviator is part of the Switched On season at Performance Space, which is part of ISEA (itself under the umbrella of Vivid this year). The works featured each take something from the electronic world and combine it with other practices such as theatre, dance and sound. You'll be able to watch as experimental dance meets motion-sensing technology in Breathing Monster by French choreographer Myriam Gourfink, consider how a person sits through dialysis in Body Fluid II (Redux) and consider what human society should put down for posterity with the launch of the Forever Now project, to be concluded at MONAFOMA 2014. Image by Lucy Parakhina.
William 'Billy' Blue was one of early Sydney's great characters. A ferryman, smuggler and raconteur, his rakish charm earned him the nickname The Old Commodore, with a legacy that lives on in the Lower North Shore. Now, nearly 170 years after his son opened the original Old Commodore Inn in honour of his old man, the storied North Sydney pub has been reborn for a new generation. Set on the threshold between the bustle of North Sydney's commercial centre and the leafy calm of McMahons Point, The Old Commodore is now pouring again under the stewardship of Glenn Piper's Epochal Hotels group (Harbord Hotel, The Scarborough Hotel, Merweather's Beach Hotel). The pub's smart new look celebrates contrasts — timber, steel and brick accents are softened with refined touches of travertine, brass and linen — while paying homage to its namesake via maritime stipes, pressed metal ceilings and handpainted signage, as well as walls adorned with portraits, artefacts and historic curiosities that tell the story of the Old Commodore himself. Music sits at the heart of the new Commodore, with a weekly lineup of local artists, small ensembles, DJs and the odd surprise act from further afield. You'll be able to catch a gig from the front bar's main stage or the verdant, sun-drenched terrace, with the occasional acoustic or songwriter's session soundtracking the main dining room. And come nightfall, the moody, cellar-style sports bar transforms from an elevated game-day destination into an after-dark music den. On the menu, expect no-nonsense classics: chicken parmi, fish and chips, woodfired pizzas and a standout shepherd's pie with braised lamb, lardons and red wine jus. There's seafood aplenty, too, from bug sliders to crab croquettes, as well as playful bar snacks like plantain crisps and lamb ribs. To drink, signature cocktails like the Commodore Spritz (bay leaf vodka, peach, passionfruit, apple and prosecco) sit alongside Aussie wines, craft beers and considered non-alc options — all served with a side of North Shore charm.
First up, let me start by saying that this film is not The Karate Kid. Yes, it's a remake of the beloved 1984 original complete with updated versions of Pat Morita's classic Mr. Miyagi and charismatic poster-boy Ralph Macchio's Danny Le Russo. Yes, it follows the same familiar Star Wars-like formula of helpless-lost-boy-meets-wise-mentor-who-him-to-greatness. But rather than combating bullies on the gritty urban streets of LA, our waif-like African-American hero is transported to the teeming streets of Beijing, China, where he's winded by culture shock and schooled in the art of kung fu not karate. So for the sake of preserving everyone's favourite childhood classic, I'll be referring to this remake as 'The Kung Fu Kid' henceforth. In 'The Kung Fu Kid', 12-year-old Dre (Jaden Smith, son of Will and Jada) has a hard time adjusting when he moves with his mother (Taraji P. Henson) to Beijing. Not only is the language and landscape completely foreign, he has to contend with a group of schoolyard bullies who terrorise him via some pretty brutal fight scenes (kiddies, avert your eyes). Enter Mr. Han (Jackie Chan), the solemn, reclusive maintenance man who lives in solitude next door and happens to be a clandestine kung fu master. He takes the young hopeful under his wing and trains him in the ancient Chinese art, enabling him to beat the bullies, win the girl and prove himself as a 'man'. As far as cinematography goes, this film hits it out of the park. It may be a kid’s movie, but the sweeping vistas of mountainous Chinese countryside and bustling streets of Beijing redeem it from the predictable storyline and make for compelling adult viewing. The other surprisingly notable features of this film are its leads, Smith and Chan. Smith, who's clearly right at home in front of the camera, is entirely his dad's son in terms of charisma and screen presence. At only 11 years of age at the time of filming, he manages to carry the weight of a hefty 140 minutes of cinema (a little too long? I thought so) with relative charm and ease, while Chan portrays the world-weary, multidimensional Mr. Han with honesty and heart.
"Time is an open-ended narrative — there's no right or wrong way to experience the space. People make their own story and every person will experience it differently." This is how international street artist Rone (Tyrone Wright) describes his latest and most expansive beauty-meets-decay exhibition, which opens to the public tomorrow, Friday, October 28. More than three years in the making, Rone's ambitious new work will completely transform Flinders Street Station's hidden third floor and ballroom. "Flinders Street Ballroom is one of those urban legends — you hear people talk about it, rarely could you find a photograph of it, and access to it was near impossible," Rone says of Time's location. "When I began the process back in 2019, no one had really been up here for 40 years." [caption id="attachment_875111" align="alignnone" width="1920"] Image: Switchboard Room, RONE's Time[/caption] Running with newly-announced extended exhibition dates until Sunday, April 23, 2023, Time is a masterclass in storytelling and imbued with history. Like a sentimental love letter to mid-century Melbourne, it invites audiences to time-travel back to post-WWII, its 11 themed rooms sharing fictional histories that shine a light on the working class. "I let the space and architecture inform the installation. For each building, I try to do something that feels like it has always been there — or belongs," Rone tells Concrete Playground. [caption id="attachment_875112" align="alignnone" width="1920"] Image: The Classroom, RONE's Time[/caption] "One of the biggest challenges was just the logistics — it's up on the third level, it's five flights of stairs, everything has to come through a very narrow doorway on an active train platform — so you can only move things when there's not a train at the station," Rone explains. "From the very beginning, I wasn't able to be onsite because of COVID — so I've only been in the space for about eight weeks ... I had to do it all offsite and on the computer in 3D before we actually constructed anything. So I designed something that could be built, and then taken apart into small pieces, and then reassembled." Each chamber is brought to life via a curation of original — and carefully recreated — heritage artifacts, lighting, soundscapes and historic architectural features; with the haunting female portraits that have become Rone's trademark. Prepare to be transported back to the public libraries, typing pools and machine rooms of yesteryear as you wander through the intricately designed spaces, pondering the meaning of time, progress and loss. [caption id="attachment_875121" align="alignnone" width="1920"] Image: The Typing Pool, RONE's Time[/caption] The major installation has taken a team of over 120 people several months to deliver, including long-time Rone contributors such as interior set decorator Carly Spooner and sound composer Nick Batterham. "Nick, who is the composer and did the sound — he engaged 12-15 musicians to record the composition, plus there's a sound engineer who designs the speaker layout and installation. Then there are five or six people who install all that — so there ends up being 20 people just for sound." [caption id="attachment_875120" align="alignnone" width="1920"] Image: The Work Room, RONE's Time[/caption] "There's been a couple of pieces that have really surprised me — that have been quite simple but come out really well, and quite beautiful," Rone says. Time follows similar large-scale transformations from Rone's famed back catalogue, including The Omega Project, which took over an abandoned Alphington cottage, and Empire, which transformed a deserted mansion in the Dandenongs. Both of these works presented imagined stories of the wealthy upper-class of old. The mysterious, long-closed Flinders Street Ballroom has enjoyed an artistic revival these past few years, having recently played host to Patricia Piccinini's otherworldly exhibition A Miracle Constantly Repeated. Find Rone's 'Time' at Level Three, Flinders Street Station, Melbourne, from October 28, 2022—April 23, 2023. Tickets are available online. Top image: The Glasshouse, part of 'Time', photo by Rone.
When it comes to art exhibitions, second chances aren't common. A big-name showcase may display at several places around the world, but it doesn't often hit the same venue twice. French Impressionism is about to become an exception, then, when it returns to the National Gallery of Victoria in Melbourne in 2025 after initially gracing the institution's walls in 2021. When it was first announced for that debut Australian run, French Impressionism was set to be a blockbuster exhibition — and with 100-plus works featuring, including by Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Mary Cassatt and more, it's easy to understand why. But 2021 wasn't an ordinary year, like 2020 before it. Accordingly, when this showcase of masterpieces on loan from Boston's renowned Museum of Fine Arts opened Down Under, it was forced to close shortly afterwards due to the pandemic. [caption id="attachment_977038" align="alignnone" width="1920"] Camille Pissarro, French (born in the Danish West Indies), 1830–1903, Spring pasture, 1889, oil on canvas, 60 x 73.7 cm, Museum of Fine Arts, Boston Deposited by the Trustees of the White Fund, Lawrence, Massachusetts, Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] Cue another season in this part of the world four years later, thankfully, with French Impressionism returning to NGV International from Friday, June 6–Sunday, October 5, 2025. This is one of the largest collections of the eponymous art movement to ever make its way to Australia, complete with works that've never been seen here before. The exhibition's Australian comeback is the result of "long dialogue and negotiation with the MFA Boston", Dr Ted Gott, NGV's Senior Curator of International Art, tells Concrete Playground. "I think both parties, the NGV and the MFA, realised what a tragedy it was that this fantastic show closed after just a few weeks in 2021 due to COVID." [caption id="attachment_977037" align="alignnone" width="1920"] Pierre-Auguste Renoir, French, 1841–1919, Woman with a parasol and small child on a sunlit hillside, c. 1874–76, oil on canvas, 47.0 x 56.2 cm, Museum of Fine Arts, Boston Bequest of John T. Spaulding Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] "It's just extraordinary that it was sort of stuck here in aspic for months with the doors locked, because COVID also froze all the flights, so it couldn't go back automatically. So we had this bizarre situation where the whole exhibition was sealed up inside the NGV, and not even staff were allowed in to have a look at it," Gott continues. "Those who saw it in those first few weeks were amazed, and word of mouth got out very quickly that it was an extraordinary show, so we had really good numbers for those first few weeks." [caption id="attachment_977035" align="alignnone" width="1920"] Claude Monet, French, 1840–1926, Grand Canal, Venice, 1908, oil on canvas, 73.7 x 92.4 cm, Museum of Fine Arts, Boston Bequest of Alexander Cochrane Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] Again part of the Melbourne Winter Masterpieces exhibition series, French Impressionism isn't short on gems, especially given the array of artists with pieces on display, which also includes Camille Pissarro and Berthe Morisot. But one certain must-see is the presentation of 16 Monet pieces in one gallery, all in a curved display to close out the showcase — and focusing of his scenes of nature in Argenteuil, the Normandy coast and the Mediterranean coast, as well as his Giverny garden. In total, there's 19 Monet works in French Impressionism from the Museum of Fine Arts' collection (Water Lilies among them), and that still leaves the US gallery almost as many to display in Boston. Another section digs into early works by Monet and his predecessors, such as Eugène Boudin — and Renoir and Pissarro's careers also get the in-depth treatment. As the exhibition charts French impressionism's path across the late-19th century, visitors will enjoy three never-before-seen-in-Australia pieces, with Victorine Meurent's Self-portrait one of them. Ten-plus Degas works, as well as two pieces that were part of the very first exhibition of French Impressionism that took place in 1874, also feature. [caption id="attachment_977042" align="alignnone" width="1920"] Claude Monet, French, 1840–1926, Water lilies, 1905, oil on canvas, 89.5 x 100.3 cm, Museum of Fine Arts, Boston Gift of Edward Jackson Holmes Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] "People just feel excited and uplifted when they look at a glorious impressionist painting, and I think that's why they haven't lost their perennial fascination and value," notes Gott. If you made it along to the showcase's first trip Down Under, you will notice changes, with the exhibition design reimagined for its latest presentation. "I'm sure that those who saw it in 2021 will come back again, and we want them to have a completely different experience. Also, we just didn't want to do the same thing. That's too easy," says Gott. "So we've completely reimagined the design of the show, and also the catalogue has been redesigned. So it'll be completely fresh, and the design is going to be absolutely sumptuous — and that will also make people feel warm and fuzzy inside." [caption id="attachment_977040" align="alignnone" width="1920"] Vincent van Gogh, Dutch (worked in France), 1853–90, Houses at Auvers, 1890, oil on canvas, 75.6 x 61.9 cm, Museum of Fine Arts, Boston Bequest of John T. Spaulding Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] French Impressionism will display at NGV International, St Kilda Road, Melbourne, from Friday, June 6–Sunday, October 5, 2025. Head to the NGV website for more details and tickets. Top image: excerpt of Claude Monet, French, 1840–1926, Grand Canal, Venice, 1908, oil on canvas, 73.7 x 92.4 cm, Museum of Fine Arts, Boston Bequest of Alexander Cochrane Photography © Museum of Fine Arts, Boston. All Rights Reserved.
Following the opening of ground floor bistro Menzies Bar last month, historic CBD building Shell House welcomes two new sky-high venues named Sky Bar and Clocktower. Both bars offer guests the opportunity to sip drinks high above Sydney's skyline in two unique locations. Sky Bar boasts an open-air rooftop with top-notch city views. Those looking to gaze over Sydney while they enjoy their drink will be treated to floor-to-ceiling glass doors surrounding the bar. The doors fully retract, allowing for optimal appreciation of the venue's views. On the menu here: tasty bar snacks including pickled mussels, raw tuna and coal-roasted quail. If you're on the hunt for a more decadent experience, the Oscietra caviar service is truly luxe but will set you back $190. When it comes to drinks, the Sicilian Margarita has made its way up from Menzies Bar, however there is a range of cocktails unique to Sky Bar. The Tenth Floor Fizz mixes whey gin, native peach, yuzu, amaro, rosé and soda; while the Cloony Tunes is a Casamigos Reposado, mezcal and pineapple creation. "The Sky Bar is designed for fun and relaxation, a getaway, an oasis in the city. It just feels like the city's living room to me. It's just super relaxed," says Shell House owner and restaurateur Brett Robinson. Alongside Sky Bar, Clocktower Bar has opened, housing patrons within the Shell House's 400-tonne clock. The space inside the clock has been refurbished with a fit-out that pays tribute to 1930s art deco. The void of clocktower with restored operational clock mechanisms is situated above the bar, reminding visitors of the space's history with grandeur and flourish. The Shell House was announced back in May, with The Point Group laying out plans for a multi-level venue inside the Margaret Street building after signing a 15-year lease with Brookfield Place Sydney. The Point Group currently operates The Dolphin, Bondi Beach Public Bar and Harry's, and is set to open a restaurant, bar and wine room on former defence facility Fort Denison. Sky Bar and Clocktower mark the second and third bars to open in the venue, with the final piece of the puzzle, The Shell House Dining Room and Terrace set to open this November. "I spent a lot of my recent days thinking about restaurants that are essential — the havens that become indispensable to their communities, that galvanize trends, set standards for hospitality, or illuminate a cuisine in ways that feel fresh and magnetic," Robinson says of the dining room. "I want Shell House to feel essential to the Sydney CBD. I like the rhythm of the crowd, a clear mix of the crème of the corporate scene, the city's socially active, and those who are looking for a new experience from both near and far. This Dining Room holds a very special place for me as I hope it will for many others — it's the beating heart of Shell House." [caption id="attachment_834296" align="alignnone" width="1920"] Clocktower[/caption] Sky Bar and Clocktower are now open at Shell House, 37 Margaret Street, Sydney. Shell House is open 4pm–late, Wednesday–Saturday. Images: Jonny Valiant and Jason Loucas
In 2023, Australia's east coast joined New York, Hawaii, Mexico and Croatia as a host of Palm Tree Music Festival, the fest filled with folks hitting the decks that was co-founded by Kygo. With one of the event's guiding forces himself leading the lineup — and Tiësto also on the bill — the Down Under debut went down well, so much so that a second spin is on its way. Mark your calendars for December 2024, then, because the festival is returning for round two. 'Stole the Show', 'Here for You', 'Stay' and 'It Ain't Me' talent Kygo isn't on the lineup this time, but The Chainsmokers happily lead the charge instead, ready to bust out 'Closer', 'Something Just Like This' and more. The Grammy-winners' spot on the bill marks Drew Taggart and Alex Pall's first trip to Australia in five years — and get excited about the festival's rendition of 'Don't Let Me Down' because Daya is also on the Palm Tree Music Festival roster. For company so far, Swedish DJ and producer Alesso, the San Francisco-born Gryffin and Harlem's Austin Millz round out the first announcement of acts. Accordingly, everything from 'Words', 'Remedy' and 'If I Lose Myself' to 'Woke Up in Love', 'You Were Loved' and 'Cry' — and also 'Lovely Day', 'Inside Out' and 'Bad Behaviour' — could echo through Palm Tree Music Festival's three 2024 Aussie stops. Just as with its premiere run in Australia, the festival will roll into Sydney, Brisbane and Melbourne, heading to Sydney Showgrounds, Brisbane's Sandstone Point Hotel and Melbourne's Sidney Myer Music Bowl. With its holiday-friendly name, it should come as no surprise that Palm Tree Music Festival takes inspiration from Kygo's stints touring the world. Expect a cruisy vibe set to EDM's greatest and latest, too — this time with the bonus of a summer berth. More names will be announced for the fest's 2024 return Down Under at a later date. Palm Tree Music Festival 2024 Australian Lineup: The Chainsmokers Alesso Gryffin Austin Millz Daya Palm Tree Music Festival 2024 Australian Dates: Friday, December 6 — Sydney Showgrounds, Sydney Saturday, December 7 — Sandstone Point Hotel, Brisbane Sunday, December 8 — Sidney Myer Music Bowl, Melbourne Palm Tree Music Festival returns to Australia in December 2024. Tickets presales start at 12pm local time on Monday, July 8, with general sales from 3pm local time on Friday, July 12. For more information, head to the festival promoter's website. Images: Jared Leibowitz.
If you've found yourself hankering for an Italian beef sandwich after watching The Bear or been inspired to devour a damn-fine slice cherry pie thanks to Twin Peaks, then you'll know that TV shows and movies can influence your culinary choices. You mightn't have expected Yellowjackets to be on that list, however. When a series follows a group of teenage girls stranded in the wilderness after a plane crash, then forced to get creative — and cannibalistic — to survive, then IRL menu options don't normally jump out. Trust Sydney's NEL to challenge that perception with its latest imaginative 11-course degustation. The Harbour City fine-diner has taken inspiration from pop culture before, including via its popular Disney-inspired feasts and its Moulin Rouge!-themed spread. Among the restaurant's other limited-time degustation menus as well — KFC-inspired dinners, Christmas meals, heroing native Australian ingredients and more — taking cues from Yellowjackets certainly stands out, though. On offer: dishes that dig into the wild and primal reality that the hit show's characters find themselves in. The fact that NEL has dubbed the four-day-only pop-up menu 'Eat Your Heart Out' says plenty. [caption id="attachment_991129" align="alignnone" width="1920"] Kailey Schwerman, Paramount+[/caption] "To be approached to create a Yellowjackets-inspired menu just felt like the perfect next venture for NEL Restaurant," said Chef Nelly Robinson about whipping up an inventive feast that aims to plunge diners' senses into Yellowjackets' world — not just via sights and sounds, but also via tastes. "For anyone that knows us, they understand we are about pushing the boundaries of what is possible, and getting to ask the questions of 'how do we make an ear appetising?' or 'how can we get someone to dig into a brain?' was a very exciting quest. The answer is obviously in the flavours, and while it might not be visually 'conventionally appetising', the flavours and aesthetics will most definitely leave you speechless." Across a three-hour experience that'll be on offer between Tuesday, March 4–Friday, March 7, 2025, think: digging for truffles, then tucking into the aptly named Salmon over River Misty (a moss- and salmon-heavy dish) and also seeing how NEL comes up with its own take on the show's darker survivalist scenario. Some dishes will nod to the diet consumed in the series, whether via heart-shaped servings, working in liver or plating up "something a little more ear-y". If you're feeling adventurous enough, you will need to try your luck not only in terms of testing your tastebuds, but to score a seat. Sittings are only available via entering for a chance to win on the NEL website between now and 11.59pm AEDT on Wednesday, February 26, 2025. So, attending is free — but only if your name is selected. If you're not located in Sydney, travelling there is at your own expense, but the Yellowjackets dinner at NEL will be on the house. For those who haven't dived into the series so far or need a refresher, Yellowjackets instantly proved one of the best new shows of 2021 when it debuted courtesy not just due to its killer setup — but it does tell a tale that fascinates from the outset. The thriller hops between the 90s and 25 years later. Across two seasons until now, life and friendship have proven complex for Yellowjackets' core quartet of Shauna (The Tattooist of Auschwitz's Melanie Lynskey as an adult, and also No Return's Sophie Nélisse as a teenager), Natalie (I'm a Virgo's Juliette Lewis, plus Companion's Sophie Thatcher), Taissa (Law & Order's Tawny Cypress, and also Scream VI's Jasmin Savoy Brown) and Misty (Wednesday's Christina Ricci, and also Atlas' Samantha Hanratty). The trailers for season three also put it this way: "once upon a time, a bunch of teenage girls got stranded in the wilderness ... and they went completely nuts." The full setup: back in 1996, en route to a big match in Seattle on a private aircraft, Shauna, Natalie, Taissa, Misty and the rest of their teammates entered Lost territory. The accident saw everyone who walked away stuck in the forest — and those who then made it through that ordeal stuck out there for 19 months, living their worst Alive-meets-Lord of the Flies lives. Season three starts streaming in Australia via Paramount+ on Friday, February 14, 2025. Check out the trailer below: NEL's Eat Your Heart Out degustation will be available from Tuesday, March 4–Friday, March 7, 2025 at 75 Wentworth Avenue, Sydney. For more information or to go in the running for a seat — which is only available to competition winners, with entries open till 11.59pm AEDT on Wednesday, February 26, 2025 — head to the NEL website. Yellowjackets season three starts streaming in Australia via Paramount+ on Friday, February 14, 2025.
Dwayne Johnson (aka 'The Rock') is an absolute Hollywood powerhouse. Just physically the guy's so strong he looks like he could bench press someone while they were bench-pressing. Yet there's so much more than brute force to this wrestler-turned-box office behemoth. In recent times he's had years (such as 2013) where his films have grossed more than US $1 billion combined. With more instalments of the unstoppable Fast and Furious franchise on the horizon, he's fast becoming the most bankable man in the business. No wonder, then, he's recently been hailed as the official heir-apparent to the king of action – Arnold Schwarzenegger. Then there's Kevin Hart, fast-becoming a movie-making powerhouse in his own right. Since just 2014 he's already churned out thirteen films, prompting Chris Rock to joke at the Oscars that not even porn stars make them as quickly as he does. Hart is increasingly being likened to Eddie Murphy for his style of comedy, his likability and his growing credentials as an action-comedy star. With all that said, the only thing surprising about Central Intelligence is how long it took to actually put Hart and Johnson together. And if you're wondering, yes, the film immediately went to no.1 on the US Box Office. Plot wise, there's very little to speak of. Johnson plays Bob Stone, an unflappable CIA operative who may or may not have gone rogue from the Agency, and who twenty years prior was the enormously fat kid subjected to relentless bullying by just about everyone other than Hart in his high school. On the eve of their school reunion, Stone reaches out to Hart's character, Calvin Joyner – the former class president and guy voted 'most likely to succeed'. Joyner is now a mid-level accountant in the throws of a mid-life crisis. Together, the pair quickly find themselves pursued by the CIA as they chase down some secret classified information. It's a classic odd-couple, buddy action comedy in the vein of the Schwarzenegger/DeVito movie Twins, only with far less class and only the most threadbare of storylines. Both Hart and Johnson throw themselves completely into their roles, without which the film would be a proper stinker. They're both terrifically funny actors, and Johnson's deadpan delivery of ridiculous lines is when the movie is at its strongest. It's just frustrating to see the current kings of action and comedy let down by a movie in which the action is entirely dull and derivative, and the comedy is so absent that the only real laughs come from the outtakes playing over the final credits. It all has a feeling of 'she'll be right, mate', relying far too heavily on the celebrity and charisma of its leading men instead of giving them a clever, considered script through which to showcase all that they're capable of. The film does also boast a handful of 'surprise cameos' that briefly recapture your attention, but they're not enough to cover up the gaping holes in plot or direction. Full of potential yet thin on substance, Central Intelligence is best seen as a challenge to the next writer-director to put this pair together. Imagine how brightly these two stars could shine if only they had a decent script. https://www.youtube.com/watch?v=MxEw3elSJ8M
A hole was left in the heart of the Neutral Bay dining scene when the Woodland Kitchen closed its doors after seven years. Last month, the venue was sold to the owners of Henrys Cronulla — and, after a quick refresh, will reopen the doors to its leafy lower north shore digs as Henrys Neutral Bay this Saturday, February 8. The Neutral Bay restaurant will boast a similar laidback vibe as its south Sydney sister restaurant, but in more refined surrounds. Expect black-and-white tiled tabletops, patterned chairs, heaps of light and outdoor seating aplenty. Head Chef Allan Mikami is coming up from Cronulla to head up the kitchen and — just like down there — his Brazilian-Japanese background heavily influences the menu. Think crispy flathead tacos with habanero mayo, yellowfin tuna sashimi with wasabi ponzu, Alaskan king crab soldiers with foie gras and crispy sichuan calamari. Larger plates include rare seared petuna trout with goats curd and chicken karaage with wakame seaweed and curried mayo, plus a lamb rump with chimichirri dressing. For drinks, expect a wine list focusing on biodynamic, organic and vegan drops — with a focus on bottles of rosé and bubbles in these warmer months. A list of cocktails will be available, too, and you can bet it'll include a spritz or two. It's open for lunch and dinner seven days a week.
Newtown's King Street has a new gelateria in its ranks. Mapo opened last month and is scooping quality gelato with a focus on sustainable ingredients. Italian-born owner Matteo Pochintesta is a rare architect-turned-gelato maker who trained under the owner of Milan's gelateria Ciacco — and recently returned to Sydney to put his skills to the test. Sure, there are plenty of gelato shops along King Street, but Pochintesta is bringing a purist's sensibility to the local ice cream game. That means he's not turning out complicated flavour creations. Instead, Pochintesta is focusing on using the highest quality ingredients and all seasonal fruit. Signature flavours include the pistachio, made with certified premium Sicilian nuts, and the single-origin chocolate gianduja. Both are vegan, but do not include milk replacements, like most vegan ice creams do. Instead, Pochintesta keeps them creamy by mixing the solid ingredients with water — which, surprisingly, really does work. [caption id="attachment_716744" align="alignnone" width="1920"] Kitti Gould[/caption] Other traditional Italian flavours include the fior di latte and the stracciatella (chocolate chip), both made with Barambah organic milk. For fruit flavours, expect in-season Australian varieties only — at the moment, there's organic nectarine, red plum, watermelon, and pineapple and mint. Flavours will remain limited to 12–14 at a time, with plenty of specials on offer. At the moment, those include blueberry and buffalo ricotta, matcha green tea and the incredibly creamy sea salt caramel — made with Pepe Saya butter, no less. For the cooler months ahead, liquorice, pear and cinnamon, and mascarpone and coffee are all on the docket. And, for the upcoming Easter holidays, Mapo has teamed up with Sonoma to create a decadent hot cross bun gelato. Plus, the shop will serve ice cream buns every weekend through Easter — stuffing those Sonoma HCBs with any gelato flavour you like. [caption id="attachment_716751" align="alignnone" width="1920"] Kitti Gould[/caption] The shop is also looking to keep things as sustainable as possible, using all compostable packaging. Another noticeable difference is that the gelato is kept in shiny stainless steel vats instead of in your typical display case. Mapo does not use any stabilisers, and instead keeps their gelato fresh the old school way — by keeping it covered. Don't worry, you're still invited to give any flavour a taste before making your final decision. As the choices are quite straightforward, it's suggested you mix two — and, with the 'one scoop with two flavours' option only costing fifty cents extra, there's really no excuse not to. Mapo is now open at 123 King Street, Newtown. Opening hours are Sunday through Thursday from noon–10pm, and Friday through Saturday from noon–10.30pm. Images: Kitti Gould.
Hotel William, a historic four-storey hotel on Darlinghurst's William Street, has reopened after a big round of renos as Hyde Park House — and it now boasts a public bar, cocktail parlour and lounge. But we're already heading up to the hotel's top level, where Slims Rooftop offers views across Hyde Park, izakaya-style eats and Asian-inspired drinks. The bright fit-out starts with retro frilly orange and pink umbrellas covering all-white furnishings, which include a mix of low and high tables, along with a few picnic-style benches. Heaps of tropical greenery and potted cacti add to the lush surrounds. It's no secret that cocktail-sipping and rooftops go hand-in-hand, and Slims follows suit with a selection of classics like Aperol spritzes and margaritas ($16–$18), sitting alongside signatures such as the Million Dollar Mermaid (vodka and lychee liqueur) and the Social Call (grapefruit vodka, Cointreau and dragon fruit) for $19. A mostly Australian wine list and local brews by Balter, Modus Operandi and Young Henrys are also up for grabs. The menu focuses on modern Japanese-inspired small plates — think sushi rolls and poké bowls, along with snacks like truffle oil edamame ($9), pan-fried pork or veggie gyoza ($10) and wasabi karaage chicken ($17). If you're looking for larger dishes to share, there's a traditional teppanyaki slinging grilled goods like salmon teriyaki ($30), miso eggplant ($19) and barbecued prawns ($29).
Every neighbourhood needs a reliable Thai restaurant. For Potts Point, it's Llankelly Thai. The laneway restaurant is perfect for when you and your mates desperately need a catch-up but you're all on a budget. It likes to pride itself on simplicity, offering up food that always tastes great. The service is friendly and relaxed and they're open every day for lunch and dinner. The lunch special runs from 11:30 in the morning until 4:40 in the afternoon and it is a great place to swing by with a group of mates or colleagues. The laksa chicken is prepared in a homemade laksa based soup, paired with your choice of vegetables including carrot, broccoli and beansprouts before being topped with dried red onion. Alternatively the wanton soup with chicken wontons, vegetables and egg noodles is especially delicious. Vegetarians might enjoy pumpkin and tofu stir fry served with rice. The dinner menu is more eclectic but still has a traditional approach. Start with a roasted duck salad tossed in lychee with tomato, cucumber, shallots and chilli jam dressing and the tom yum noodle soup with Thai herbs and bok choy. For a main, the brave can try the spicy panang curry with bamboo, chilli and basil leaves, while a gentler option is the massaman with slow cooked beef, coconut milk and roasted peanuts. As you'd hope, the chef recommendations are spot on. Our favourite being the 'Holy Duck' — a stir fried roasted duck with chilli, mixed vegetables, pumpkin and basil. Llankelly Thai is the kind of Sydney restaurant you head to for classic and tasty Thai eats in a laidback setting. It's not trying to invent the wheel. That ain't necessary when the food tastes this good.
Sydney Festival is back in 2024 from Friday, January 5–Sunday, January 28 with a massive lineup, so clear your diaries because summer is going to be very, very busy. The huge citywide fest's program will feature over 1000 artists and a huge lineup of events that includes 26 world premieres, 29 Australian exclusives and 43 free activities. If you're looking to get your dose of art, theatre and live music without breaking the bank, we've rounded up eight of the festival's best events that you can nab tickets to for less than $50. There's blockbuster art series, giant overwater installations and a free moonlight symphony to discover.
UPDATE, May 19, 2021: A Quiet Place is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Silence isn't simply deafening in A Quiet Place. As a family attempts to evade aliens that attack every sound, the absence of noise couldn't scream louder. The film's stillness is forceful and unrelenting, creating a stunning soundscape. One type of silence fills a room, farm house, abandoned supermarket and sprawling country property with dread and anxiety. Another thrums with the comfort of routines designed to impart normality in a clearly abnormal situation. Moreover, this symphony of quiet doesn't just play at different volumes, but with different instruments. As voices drop below a whisper and words are signed rather than spoken, the surrounding din of a desolate, post-apocalyptic world buzzes faintly: the whistling wind, the rushing water, the creaking of branches. In a movie that's acoustically muted for most of its running time — a movie that infuses its hushed status into its very premise — all of the above couldn't be more crucial. As an achievement in sound design, A Quiet Place is positively thunderous, even if Buffy the Vampire Slayer did something similar years ago. Director, co-writer and actor John Krasinski makes every minute of silence and every sudden burst of noise count, executing a straightforward B-movie concept with exceptional technical precision. More than that, The Office star ensures that his third stint behind the camera echoes both literally and emotionally. Here, a protruding nail is a heartbreaking sight. A bloodied hand streaking along a pane of glass proves horrifying as well as surprisingly hopeful. A suppressed grimace of pain gets the audience's adrenaline pumping, as well as their empathy. Viewers first meet A Quiet Place's central family on day 89 of their ordeal. When the central unnamed couple (Krasinksi and Emily Blunt) and their young children (Millicent Simmons, Noah Jupe and Cade Woodward) take a cautious trip to stock up on supplies, it ends in tragedy, establishing just how deadly absolutely any sound can be. Skip to day 472, with Blunt's character now heavily pregnant, Krasinski's patriarch trying to keep everyone safe, and the remaining kids quite rightly nervous. Still, they're as happy as they can be in their terse, jumpy, grief-stricken state. They're together, and thanks to the eldest daughter's hearing impairment, they're able to communicate via sign language. But the impending baby is certain to cry, the children waver between wanting to help and wanting to run, and the extra-terrestrial critters are rarely out of earshot. Krasinski's stripped-back use of sound reflects his entire approach, crafting a masterfully sparse movie from start to finish — and a downright masterful one too. Forget questions about why the monsters are there and where everyone else is: they couldn't matter less in this taut, fast-paced thriller, and they shouldn't even cross your mind. Disposing with the need to provide clunky explanations or exposition (something which can and has thwarted many horror flicks), A Quiet Place hones its focus on the protagonists, their immediate plight and their quest for survival. Indeed, the script's economical nature allows the film to flex its other muscles — or sharpen its other senses, fittingly. Visually, A Quiet Place flits between claustrophobic close-ups and the wide-open expanse of the family's farm, a contrast that ratchets up the tension as well as the movie's impact. When it's used, the score proves stirring without over-stressing the scenario's urgency, or making the bumps and jumps feel cheesy. Above all, however, it's the cast that not only benefit from the film's preference for showing rather than telling, but make their mark as a result. Like her work in Looper and Sicario, Blunt is both formidable and feminine, demonstrating that one doesn't negate the other in one of the best performances of her career. Watch out for the scene-stealing Simmons, though. The deaf young actress, who was similarly great in last year's Wonderstruck, is the strong, silent, expressive heart of this stellar picture — and its secret weapon in more ways than one. https://www.youtube.com/watch?v=eqy27Bk0Vw0
Fast food doesn't seem all that speedy when you're sat in your car, queued nine vehicles deep and trying to get through a drive-thru that's at a standstill. For folks who want their finger lickin' good fried chicken as soon as possible, with minimal waiting and hassle, KFC has a new solution — its first drive-thru-only store. Moving away from the usual one-lane drive-thru model, the chain has just opened a five-lane drive-thru-only concept in Newcastle. The first spot of its kind in the world, it features three lanes for the pick-up of online and app purchases, as well as two lanes for regular drive-thru transactions. Customers can order and pay in advance, then whiz through and pick up their food, or choose on the spot and and then collect their chicken. The idea reflects the growth on online ordering, and endeavours to respond to the rise of home delivery services such as Deliveroo and UberEats. It also nods to an obvious truth — for many folks, eating in at a suburban KFC doesn't often cross their minds. For Broadmeadow customers who choose to order by the KFC app or website, they'll receive a four-digit code with their transaction, which they'll then enter on a touchscreen when they drive up. Whichever way Newcastle residents decide to ask for their fried chook, they'll still need to wait for it to be cooked — but the whole concept is designed to speed up the time between asking for a two-piece feed and snatching those drumsticks through the drive-through window. Of course, if you need something to listen to in your car while you wait, KFC has that covered as well. Last year, it launched KFChill, a wellness website that lets you unwind to the sound of chicken frying, gravy simmering or bacon sizzling away in a pan. Yes, it'll make you hungry. You can find the drive-thru-only KFC at 80 Lambton Road, Broadmeadow. It's open from 10am–midnight daily.
Unfolding over 200 kilometres, the country's largest outdoor gallery will soon play host to the new Silo Art Hotel — a luxury, street art-themed pop-up getaway located in Sea Lake, near the northwest corner of the art trail's looped route. Announced today, Monday May 17, the Silo Art Hotel will give visitors an opportunity to spend the night just a short hop away from the trail's many spectacular visual offerings. Located beside the vivid pink waters of Lake Tyrrell, the hotel is crafted from three repurposed shipping containers, two of which have been transformed into luxe suites. The third has been reimagined as a heated open-air swimming pool, ideal for weary travellers after a long day spent exploring the region. It's all appearing for just one month, from June 11–July 12 this year. A joint effort from Visit Victoria and street art collective Juddy Roller, the Silo Art Hotel will offer some visual splendours of its own with the Matt Adnate Suite and Drapl & Zookeeper Suite each kitted out with never-before-seen artworks from their respective namesake artist. Adnate concepted and created the mural on the Sheep Hills silos in 2016, while Drapl & The Zookeeper are behind the collaboration that has graced the Sea Lake silos since 2019. A colourful mural by Rosebery silo artist Kaff-eine will adorn one side of the pop-up swimming pool. [caption id="attachment_812361" align="alignnone" width="1920"] The Sea Lake silos, featuring artwork by Drapl and The Zookeeper.[/caption] The Silo Art Hotel design is the work of Contained — the same crew behind The Wine Down pop-up winery hotels. The two self-contained hotel rooms boast high-end features including fancy Cultiver linen and robes, Australian-made toiletry products and a mini bar stocked with local goodies. Each room will also boast a private deck, ensuite bathroom and reverse cycle heating and cooling. The Silo Art Trail has been slowly and steadily expanding since its conception in 2016. It currently features 10 large-scale artworks, painted onto towering silos dotted across the state's Wimmera Mallee region. The Silo Art Hotel will pop up at Sea Lake from June 11–July 12. Rooms are $275 per night Sunday through to Thursday, and $375 per night from Friday to Saturday. Head to the website to book your stay.
It wasn't so long ago that most Australians only knew Wendy's for its insanely viral social media posts. However, since 2022, the American chain has begun to establish a significant presence on our shores. First launching in Surfers Paradise (unless you're counting a series of stores closed in the 1980s), the brand aims to open over 200 locations around Australia by 2034. Well, they've ticked another off the list, with a flagship Wendy's Brisbane restaurant touching down in the heart of the CBD. Serving as a major milestone in the company's national rollout, delivered in partnership with Flynn Group, this two-level themed location provides an extra special nod to the restaurant's bold design, nicknamed Haus of Wendy. Featuring more than enough space for 130 diners, an openair ground floor leads into an expansive lower level, with both decked out in contrasting bright red and blue decor that resonates with fun-loving energy and personality. Going beyond just a splash of paint, red celebrates Wendy's sass and spice, with the in-store experience seeing hand-painted murals set against bespoke wall panelling inspired by Wendy's famed braids. Meanwhile, blue speaks to Wendy's iconic Frosty, with this level featuring a bow wall crafted by local artist Rachel Burke and made from upcycled materials. Here, you'll also encounter a Frosty-inspired lounge area, complete with a photo booth. "This flagship represents everything the Wendy's brand stands for — fresh food and bold personality," said Corina Black, Chief Marketing Officer, Wendy's ANZ. "Brisbane's vibrant energy is a natural fit for Wendy, and we're proud to contribute to the city's reputation as a destination for food, culture and creativity." With the spread of Wendy's across the country just getting underway, this brand-new location remains one of the few spots in Australia where you can dine on the brand's signature dishes. Think classic doubles, Baconmators and spicy chicken sandwiches alongside Wendy's Frosty in chocolate or vanilla. Plus, super crunchy double hand-breaded chicken tenders and sea-salted fries with loaded options hit the mark for an on-the-go snack. "Wendy's has built its reputation on doing things differently, and this flagship takes that spirit to a new level," said Lauren Leahy, Chief Transformation Officer, Flynn Group. "We've taken Wendy's much-loved global brand and reimagined it for Australia. The new store brings that to life in a way that's both unmistakably Wendy's and uniquely Australian." Wendy's Brisbane launches on Wednesday, October 29, at 245 Albert Street, Brisbane, open daily from 9am–10pm. Head to the website for more information.
When King Richard III was killed in battle in the 15th century, did anyone wonder about a public holiday? Given the era and its working conditions, likely not. There's also the hardly minor fact that the monarch was slain by the forces of Henry Tudor, who promptly became England's ruler, so downing tools for a day of mourning probably wasn't a priority. The world has a frame of reference for grieving a British sovereign, though, and recently. When Queen Elizabeth II died in September 2022, pomp and ceremony reigned supreme. Dramatising the discovery of Richard III's remains, The Lost King wasn't made with the queen's passing in mind. Actually, it world-premiered a day afterwards. But the Stephen Frears (Victoria & Abdul)-directed, Steve Coogan- and Jeff Pope (Philomena)-scripted drama benefits from audiences knowing what's done now when whoever wears the crown is farewelled. The Lost King isn't about chasing a parade, pageantry, and a day off work for the masses in Britain and further afield. Charting the true tale of Richard III's location and exhumation 527 years after he breathed his last breath, it follows a quest for recognition and respect. When the film opens, Philippa Langley (Sally Hawkins, The Phantom of the Open) wants it for herself, as a woman over 40 overlooked for a promotion at work in favour of a younger, less-experienced colleague — and as someone with a medical condition, myalgic encephalomyelitis/chronic fatigue syndrome, who's too easily dismissed due to her health. She's also newly separated from her husband John (Coogan, This Time with Alan Partridge), adding to her unappreciated feelings. It's no wonder that Richard III's plight catches her interest thanks to a production of Shakespeare's Richard III, aka one of the reasons that the king was long seen as a hunchbacked villain. Swiftly an amateur historian, Philippa objects to the characterisation of the last Plantagenet sovereign as monstrous, a usurper and a murderer, and the connection between this dim standing in the annals of history and being a person with a purported disability. As she researches via piles of books, zoom chats and the Richard III Society, aka the Ricardians, she questions what's fact and fiction — not just due to Shakespeare, but also Tudor propaganda from five centuries earlier. Arguing the case, including with dismissive academics, is one thing; however, taking on the search to find the monarch's long-lost skeleton is another. It's a two birds, one stone situation in The Lost King's neat screenplay: restore the denigrated ruler's reputation and put his remnants to rest, and show Philippa's own naysayers — or even just herself — what she can achieve. Yes, she follows a hunch. Yes, there's an obligatory gag about it British cinema loves an everyperson taking on the establishment, and underdogs in general. The past two years have also delivered The Dig and The Duke, after all. The first chronicled another extraordinary find by someone not deemed an expert, and the second delighted in its working-class protagonist's antics with Goya's Portrait of the Duke of Wellington — and, in a case of tonal seesawing, The Lost King recalls both. There's clearly a fascinating IRL story behind this flick, which ripples with intrigue whether or not you already know the details (or you've merely seen the trailer, which spells everything out). There's also a tussle between positioning the film as a bit of a caper and something more serious. Having Philippa see Richard III (Harry Lloyd, Brave New World) — being haunted by the play's version of him and talking to him, in fact — wavers between the two moods depending on the scene. Buried within The Lost King is a sense that Frears, Coogan and Pope — who all collaborated on Philomena, too — aren't always sure how they want the movie to land with audiences. They're patently keen for it to inspire rousing support for everyone who's ever been downplayed, cast aside or ignored, including for their gender and health. They're eager for the same emotions to spark up for anyone ever saddled with a pre-judged narrative about themselves that isn't accurate, as both Richard III and Philippa are, as well. And yet, there's also an air of not quite trusting that the true tale being relayed innately evokes those responses. It does, so everything feels simplified and smoothed out here, given too many quirks and rendered a tad cartoonish. Also noticeable: using the contemptuous academics as easy adversaries, perhaps as conveniently as Shakespeare is said to have demonised Richard III. Getting angry at seeing Philippa pushed aside and underestimated again and again is easy, but so is spotting how The Lost King itself is constructing its story. Thankfully, Frears does trust in Hawkins, the feature's MVP alongside its real-life details (and an on-screen treasure in everything from Happy-Go-Lucky and Submarine to The Shape of Water and the Paddington movies). The two-time Oscar-nominee serves up a winning, earnest and relatable blend of vulnerability, warmth, curiosity and determination, plus the kind of persistence that arises when someone has spent too long being forced to fight just to be seen, let alone valued. Indeed, even when The Lost King is at its slickest and most straightforward — or when it inexplicably focuses on whether John will get a new car — she's its anchor and heart. With Philomena in 2013, The Lost King's key creative trio also unearthed the past. As they do now, they similarly told of addressing secrets and redressing wrongs. And, they centred on a mature woman, enlisted a phenomenal leading lady to play the part, gave Coogan a prime role and set it all to an emphatic Alexandre Desplat (Guillermo del Toro's Pinocchio) score. There's no doubting why their latest collaboration has a formulaic feel to it, then, despite the intriguing slice of history it brings to the screen. No one needs the type of intuition that guided Philippa to the Adult Social Services department's car park in Leicester, to a space marked 'R' for reserved, to spy those parallels. No one needs as much force and fantasy as The Lost King deploys, either, to understand that this is a rare and meaningful tale that's told with all the subtlety of the world's latest royal goodbye — so, very little. Richard III and Queen Elizabeth II's deaths mightn't have much in common but, via this still engaging-enough film, they do share that.
At the beginning of 2012, when the world discovered that Channing Tatum was starring in a movie about male strippers — and that it was based on his own experiences working in the field — everyone was a little sceptical. Which was understandable. Magic Mike boasts a great director in Steven Soderbergh, and a cast that also includes Matthew Bomer, Joe Manganiello, Olivia Munn, Riley Keough and peak McConnaissance-era Matthew McConaughey, but, on paper, it was hardly a sure thing. Of course, once the film hit the screens, it was a hit. More than that — it was a smart and sensitive look at men chasing the American Dream by taking off their clothes. Sequel Magic Mike XXL, which released in 2015, not only repeated the feat but added more depth, and Tatum successfully turned what could've been a forgettable chapter of his pre-fame life into a successful big-screen franchise. Actually, he's turned it into a stage and screen franchise. Yes, Magic Mike was always going to go back to where it all began. In Las Vegas and London (and soon Berlin), Magic Mike Live has been steaming up venues and letting real-life male dancers strip up a storm for eager audiences. Not to be confused with Magic Mike the Musical — because that's something that's also happening — the "immersive" dance show is coming to Australia in 2020. Hitting Birrarung Marr in Melbourne from Tuesday, May 26 — then heading to Sydney, Brisbane and Perth — Magic Mike Live will unleash its stuff in a 600-seat spiegeltent called The Arcadia. It's the world's largest spiegeltent, because clearly this kind of show has plenty of fans. This is the first time that the performance will be held in the pop-up two-storey spot, which comes with 360-degree views of the stage, a glass lobby, custom bars, a mini food hall, and a lounge area both inside and out. And while it's blazing a trail venue-wise, on the stage, the Aussie show will combine elements of the Magic Mike Live's three other international productions. While Tatum came up with the idea for Magic Mike Live and co-directs the show, the Step Up, 21 Jump Street, Logan Lucky and Kingsman: The Golden Circle star isn't actually one of the performers. Instead, a cast of 20 — including 15 male dancers — will showcase a combination of, dance, comedy and acrobatics. Continuing her role from the films, stage show co-director and choreographer Alison Faulk is behind the sultry moves, drawing upon a career spent working with Janet Jackson, Britney Spears, Miley Cyrus, Missy Elliott, P!NK, Madonna, Jennifer Lopez and Ricky Martin. It probably goes without saying, but if you're already thinking about buying Magic Mike Live tickets, expect to have plenty of hens parties for company. [caption id="attachment_753643" align="alignnone" width="1920"] Jerry Metellus[/caption] MAGIC MIKE LIVE AUSTRALIAN TOUR Melbourne — Birrarung Mar, from Tuesday, May 26, 2020 Sydney — Entertainment Quarter, Moore Park, from Thursday, November 19, 2020 Brisbane — TBC Perth — TBC Magic Mike Live tours Australia from Tuesday, May 26, 2020, when it kicks off its shows in Melbourne. For more information — or to buy tickets for the Melbourne and Sydney legs, or sign up for the Brisbane and Perth waitlists — visit the website.
Now, before you get us all wrong, this is a guide to hotels where you can swing back and forth on actual swings and hammocks. It's not for the other kind of swingers. These hotels have swings on the beach, by the pool, at the bar and in the rooms — on which you can gleefully rock back and forth and take in spectacular views in total comfort. Read on to find our favouriting swinging spots. Recommended reads: The Best Hotels in Sydney The Best Hotels in Melbourne The Best Hotels in Brisbane The Best Pet-Friendly Hotels in Australia SHINTA MANI, CAMBODIA You'll rethink your kitchen chairs after a stay at Shinta Mani, where the streetside Kroya restaurant boasts dreamy swings on a breezy terrace. The idea of swings and food might sound messy, but you'll soon get the hang of things in no time. Plus, these swings are huge — you really shouldn't be falling off them. The excellent Cambodian dining options available will also make practice a pleasure rather than a chore (perhaps only the steady-handed should order crab bouillabaisse). American architect and interiors whizz Bill Bensley styled the hotel and added in all the swinging details. NALADHU PRIVATE ISLAND RESORT, MALDIVES Why doesn't every hotel have beach hammocks and in-room swing chairs? Naladhu Private Island Resort, set between a lagoon and the sea, boasts both. That's not all it has, either: each of the 19 intimate beach houses comes with its own private pool and romantic semi-outdoor glass-sided bath and shower. With all this in your villa, don't be surprised if you never reach the main pool, flanked by inviting sun loungers and overlooking the lagoon. When you want to have both feet planted firmly on the ground, head to the Living Room, a thatched-roof restaurant with an openair hardwood deck, to feast on local seafood as the sun sets over the water. COQUI COQUI COBA, MEXICO This luxury Mexican resort is a swinger's paradise. Within the Coqui Coqui Coba suites and villas, you'll find hammocks hanging in the centre of rooms, wooden swings in the bathrooms and hammocks simply used as decorations on the walls. You can even head down to the pool located by the lagoon and surrounded by Mayan-inspired towers to swing about on one of the outdoor hammocks all day long. Order some food and cocktails from its restaurant and swing here while watching the sun set over the mountains. THE GRAY, ITALY The swinging scene at Milan's The Gray revolves around the lobby, where a giant fuchsia-upholstered swing with lipstick-red cords drops from the ceiling: a memorable first impression, regardless of whether you're bold enough to go and sit on it. If you take the swing as a promise of the unexpected, you won't be let down. The rooms have ivory-silk curtains that whoosh open at the touch of a button; there are Jacuzzis in bathrooms; the restaurant has black-velvet chairs, grass-topped tables and spoons and forks suspended from light fittings. It's all over the top and we love it. SAL SALIS, AUSTRALIA A little closer to home, this swingers accommodation is set right on the Ningaloo Reef, where the desert meets the sea — an extraordinary and unique part of Australia that should be on all travel bucket lists. The 16 off-grid wilderness tents are located right on the beach, surrounded by little else but untamed nature. Swing in your hammock all day long, gazing into your stupid-beautiful views with an ice-cold beer at hand, or get out on a sea kayak to explore the nearby reefs full of colourful sea life. Not only is this one of the best accommodations for swingers, it's also one of the best glamping spots in Australia. COMO COCOA ISLAND, MALDIVES COMO Cocoa Island is your quintessential luxury Maldives resort that's home to villas hovering on stilts above clear blue waters. It's the kind of place you see in honeymoon brochures and would expect to be the next location of The White Lotus. It is pure luxury. It's also where swingers can hop from beachside hammock to beachside hammock throughout a long sunny day. When you grow tired of your own private pool and the waters full of turtles and dolphins, you can hit up some of the swings dotted about the island. Bring a good book and a few beers with you and spend your holiday swinging by the sea. RUSCHMEYER'S, UNITED STATES This grown-up, summer camp-style boutique hotel in the Hamptons is home to 19 detached rooms surrounding a large swath of grass that provides a back-to-basics luxury — with swings, a tepee and lawn chairs aplenty. Swingers will even find hammocks in some of the Ruchmeyer's bedrooms. And come night-time, the lawns host summer parties and outdoor cinemas. This means you can swing here all day and all night long. GAYANA MARINE RESORT, MALAYSIA At Gayana Eco Resort, you can take swinging to whole new heights: this eco-luxe hideaway has jungle paths with a canopy walk and zip line, so you can whoosh through the trees like an over-caffeinated monkey. For calmer moments, there's also an excellent spa with horizon-view rooms and a selection of massages, scrubs, facials and beauty treatments. There's even an on-site marine research centre: a hub devoted to giant-clam breeding and coral restoration programmes, where guests can feed man-sized groupers in floating pens, plant coral, or scoop up starfish and squishy sea cucumbers in the touch tanks. WALDORF ASTORIA LOS CABOS This Los Cabos resort is huge and opulent. The 115 individually decorated guestrooms feature fireplaces, private plunge pools and balconies overlooking the private beach. Swingers won't find any swings in their rooms, but there are plenty dotted about the resort. On the beach, stacks of hammocks line the shores, while the beach bar has swapped out the stools, preferring guess to sip cocktails while sitting on wooden swings. These may get a little dangerous once you've had a few bevs, so you best head to the beachside hammocks or one of the four Waldorf Astoria restaurants soon after. THE KOROWAI, INDONESIA Each of Korowai's wood-framed rooms are carved into the limestone cliff overlooking Bali's famous Impossible Beach (known for surfing, not partying). Marvel at the ridiculous uninterrupted 180-degree views across the ocean from the privacy of your own little balcony adorned with traditional Balinese décor — including many hammocks and crochet nets. It's one of the most romantic places to stay in Bali. The glitz and glam of other Uluwatu resorts doesn't exist here. Instead, you and your partner will feel as if you've found your own hidden oasis. But, when or if you do want to get into town, the hospitable resort staff will rent you a scooter or organise a taxi ride. Plus, there are a few walkable restaurants nearby if you somehow get tired of dining at their restaurant overlooking the beach. Top images: Naladhu Private Island Resort Feeling inspired to book a swinging getaway? Book your next dream holiday with Concrete Playground Trips — with deals on flights, stays and experiences at destinations around the world.
Journey into an underground bitter theatre at the MUCHO Group's negroni-fronted Bar Herbs, which showcases classic cocktails with a tightly curated menu of negronis, aperitifs and digestifs. Expect the same creative flair as seen in bustling sister venues, like Cantina OK!, Centro 86, Bar Planet and Tio's Cerveceria, with a myriad of drink and design influences blended together to create a dynamic space that borders on the psychedelic. Centred on a small selection of core drinks that impress and surprise in equal measure, Herbs' menu spans a few riffs on the classic negroni, a small selection of house-blended digestifs, and a handful of original cocktails. The eponymous Herbs Negroni nods to tradition, with gin, Campari and an inventive mix of two red vermouths — one rich and one bright. The Gold Negroni dazzles with gin, Cocchi, Gentian, and Chinola. As for the digestifs, highlights may include the likes of the Fuji, which blends Montenegro with meshu, or try a Seagreen cocktail with vodka, sake, rocket, lime and sugarcane. "We're honoured to open our sixth beautiful venue," says Daisy Tulley, MUCHO Group's General Manager. "Herbs is another nugget of joy for Sydney — a warm, cosy, artistic space with delicious, surprising cocktails and an inclusive and empathic team who are ready to make memories. And the popcorn recipe is our best yet." While the influences behind Herbs come from far and wide, the bar's philosophy also looks inward to Sydney's culinary pantry. Merging European drinking traditions with down-to-earth ingredients, the 45 amaros collected from Italy to Japan are complemented with fixings picked from Polish delis and Chinese grocers, capturing the city's multicultural makeup. "We're trying to connect flavours that sing together, without being boxed into the expectations of their origin. Delicious cocktails that step just far enough outside of frame to feel distinctively MUCHO," adds Jeremy Blackmore, Creative Director at MUCHO Group. Herbs' design also doesn't miss a beat, ramping up the ethos further with an eclectic fusion of 1900s theatre, mid-century diners, German shoe shops and Flemish Renaissance paintings. Surreal but somehow cohesive, the venue immerses visitors through a wrap-around mirror, red velvet furnishings and vintage wood-panelled decor. Meanwhile, the soundtrack proudly leans into early 2000s New York indie nostalgia. Primed for a big night out, kick back with a ruby-red concoction, MUCHO's iconic complimentary popcorn, and the irreverent tones of LCD Soundsystem or The Strokes beneath the disco ball. Images: Nikki To.
It's easy to hide away from the weather, but another lazy weekend spent at home is bound to get boring before long. With this in mind, it's a good thing Tanuki —Double Bay's chic Japanese-inspired izakaya and bar — is ramping up the cosiness factor with the launch of its new Lounge Lunch every weekend. Developed by the same crew behind nearby neighbour Matteo Sydney, this fresh event is designed as a sultry, slow-burning take on a bottomless long lunch. Guided by Head Chef Ken Wee Lee (Sushi e, Toko), expect bold, cheeky twists on Japanese flavours, like salmon tataki, spicy tuna crispy rice, grilled miso chicken set and matcha tiramisu. Paired with two hours of free-flowing cocktails and wine, Tanuki's alluring lounge and upbeat courtyard are the ideal settings to sip Bandini prosecco and Rameau d'Or rosé alongside a curated selection of vino and tap beers. Plus, if you're really keen to enliven your weekend, you're welcome to upgrade to bottomless margaritas for $20 per person. Served every Saturday and Sunday for groups of four or more, this share-style banquet and beverage package is available for $100 per person. Perfect for when you've been cooped up inside a little too long, trust this inventive Japanese feast to carry the good vibes until the late afternoon and beyond.
*This event is not officially associated with Laneway Festival, and the competition prize does not include tickets to Laneway Festival. Ages 18-plus only. Drink responsibly. Summer is nearly here, which means one thing: festival season. On Sunday, February 8, artists including Chappell Roan, PinkPantheress, Malcolm Todd, Role Model, Wet Leg and more of your 2025 Spotify Wrapped favourites will be heading to Sydney's Centennial Park for Laneway Festival. Before you dive headfirst into the mosh, we're giving you the chance to warm up in style. We've teamed up with the weird and wonderful wine brand Old Fat Unicorn to throw the ultimate exclusive pre-party brunch*. And you're invited. You and three mates could be in with a chance to win a festival pre-party at Since I Left You, located in Kent Street's YCK Laneway. Your free tickets include a delicious brunch in the courtyard (you've got to get your energy up, after all), a glitter station to complete your festival outfit, DJs spinning tunes and a drag queen host to bring the energy. Of course, there'll also be complimentary drinks thanks to Old Fat Unicorn. You'll be able to sip (responsibly) on the delicious Citrus Sorbet spritz, try the crisp prosecco, enjoy the light-bodied pinot gris, as well as Old Fat Unicorn's peachy moscato. How to Enter To be in with a chance to win, all you have to do is tell us in 25 words or less why you and your friends deserve to attend this brunch party. There are only 100 tickets to give away, so make sure you and your friends get in quick. Drinks on Us: We're Giving Away 100 Tickets to an Exclusive Pre-Festival Party in a Laneway Lead image: Getty Images
If it wasn't for the hordes of people crowding into this unassuming place, Coffee Alchemy would certainly go unnoticed along Marrickville's industrial concrete stretch. We all know looks can be deceiving so what this place lacks in aesthetic appeal it makes up for with killer produce – coffee. Coffee Alchemy is serious doing things right. Yes, we're talking about their beans. Good beans. For these guys, "coffee is the elixir of life." They are meticulous about freshness, preparation and having the most superior coffee. In short, your coffee will no doubt come with a shot of devotion and taste pretty darn fine. Owner Hazel de los Reyes was recently awarded NSW Barista Champion for 2012, but this is only an addition to the list of other accolades both she and the cafe have received, including SMH "Best Coffee" for 2011 and 2012. Evidently, Hazel is mad about coffee and not half bad at making liquid gold out of it. The house blend, Goodness Galileo, is the standard bearer for cappuccinos and lattes ($3.50 or $12.50 for 250g bag). With rich notes of chocolate and nuts, it leaves a satisfying taste on the palette long after the last sip. Coffee Alchemy's Sibila's Brew — fruity with a bit of spice and clean finish — is another popular coffee and best prepared in plungers, espresso machines or sophisticated equipment such as a vacuum brewer ($12.50 for 250g bag). For those coffee nerds who are bearers of such sophisticated equipment, the usual suspects such as filter, pour over and syphon are available. A Bolivian mamani mamani is the pour over special of the week ($5) and has a lively orange acidity to it, with hints of toffee and caramel even coming through. If you're in the mood for something experimental, the sparkler ($6) is the way to go. Served in a tall beer glass, at first glance it might look like you're getting a dark lager instead of a caffeine fix. However, the chilled coffee is an appropriate refreshment for those balmy days. And on Saturdays, Coffee Alchemy extends the fort with a takeaway counter in the garage next door. There's something truly remarkable about Coffee Alchemy and you'd be a fool to miss out if you're a fan of the bean
In self-portrait after self-portrait, Frida Kahlo was no stranger to giving the world a window into what made the artist tick. The Mexican painter didn't just create art — she bared her soul, especially in pieces where she stares back at audiences. Frida Kahlo: In Her Own Image has a similar intimate aim in mind, as aided by some of the icon's depictions of herself, as well as a treasure trove of her personal belongings. When it arrives Down Under in 2025, this will be Australia's latest celebration of Kahlo after the Art Gallery of South Australia's 150-work Frida & Diego: Love & Revolution showcase of Mexican modernism in 2023, and also Sydney Festival's multi-sensory Frida Kahlo: Life of an Icon the same year. That's quite the spread of places around the country that've been dedicating walls and halls to the artist, with Bendigo now joining them. Frida Kahlo: In Her Own Image will display at the Bendigo Art Gallery from Saturday, March 15–Sunday, July 13. [caption id="attachment_966475" align="alignnone" width="1920"] Frida Kahlo in blue satin blouse, 1939, photograph by Nickolas Muray © Nickolas Muray Photo Archives.[/caption] Many of the artworks and items that'll feature have never been seen in Australia before. In fact, some were sealed for 50 years in her family home when Diego Rivera ensured that the site would become a museum after Kahlo passed away in 1954, and that her most-personal items were stored in the bathrooms away from public eyes. Objects such as clothes and makeup will make the trip to regional Victoria, as will mementoes and photographs. Accordingly, attendees will be peering at traditional Mexican garments, including a headdress from the Oaxaca region, that were worn by Kahlo; Revlon cosmetics, such as lipstick, nail polish and an eyebrow pencil; and hand-painted medical corsets that she donned following spinal surgeries. Appearances Can Be Deceiving, a self-portrait drawing that provides a view through her clothing to her corset x-ray style, is also a highlight. [caption id="attachment_966474" align="alignnone" width="1920"] La Casa Azul. Photograph by Sebastián Monsalve. © Frida Kahlo & Diego Rivera Archives. Bank of Mexico, Fiduciary in the Diego Rivera and Frida Kahlo Museum Trust.[/caption] Arriving direct from the Museo Frida Kahlo in Mexico, Frida Kahlo: In Her Own Image is exclusive to the Bendigo institution, so you'll need to make the trip if you're keen to explore what the artist's belongings and style says about her art. "This remarkable collection rarely travels outside Mexico, and has never before been seen in Australia. Kahlo's much-loved home, Casa Azul, now the Museo Frida Kahlo, was the embodiment of her art, philosophies and design influences," explains Jessica Bridgfoot, Director of Bendigo Art Gallery. "Frida Kahlo: In Her Own Image will shed a light on Kahlo's carefully crafted appearance in the world, and how her vibrant clothing, poetic use of makeup and adornment constructed her captivating public image, and also addressed global political issues, cultural identity and how her physical disabilities both defied and defined her." [caption id="attachment_966476" align="alignnone" width="1920"] Cotton blouse embroidered with glass beads; satin skirt with chain stitch and floral motif embroidery; holán (ruffle) and guatemalan waist-sash. Photo: © Museo Frida Kahlo - Casa Azul Collection - Javier Hinojosa, 2017.[/caption] "Frida Kahlo: In her own image originates from the extensive investigation of Frida Kahlo's personal objects, found in trunks, wardrobes, drawers, bathrooms and cellars of the Casa Azul," adds Perla Labarthe Alvarez, Museo Frida Kahlo's Director. "The exhibition is a unique opportunity to learn about the Kahlo's life in a classical Mexican house which encompassed not only her personal world but so much of Mexican life and culture. These endearing objects help us understand the story of this complex artist with all her humanity, resilience and creative power." [caption id="attachment_966477" align="alignnone" width="1920"] Frida Kahlo, by Guillermo Kahlo, 1932 © Frida Kahlo Museum[/caption] [caption id="attachment_966478" align="alignnone" width="1920"] Revlon compact and powderpuff with blusher in 'Clear Red'; Seal-fast nail varnish top coat; Lastron nail varnishes in 'Frosted Snow Pink' and 'Frosted Pink Lightening'; lipstick in 'Everything's Rosy'. Before 1954. Photo: © Museo Frida Kahlo - Casa Azul Collection - Javier Hinojosa, 2017.[/caption] Frida Kahlo: In Her Own Image will display at Bendigo Art Gallery, 42 View Street, Bendigo from Saturday, March 15–Sunday, July 13, 2025. Head to the gallery's website for further details. Top image: Frida Kahlo in blue satin blouse, 1939, photograph by Nickolas Muray © NickolasMuray Photo Archives.
Jimmy Chin is no stranger to peering at the world from angles that most folks don't see. He's also familiar with hitting peaks. As a mountain athlete, scaling great heights has been his job; however, the above descriptions also apply to his work as a filmmaker. With his partner Elizabeth Chai Vasarhelyi, he won the Best Documentary Feature Oscar for Free Solo. Before that, the pair took home an audience award at Sundance for the also climbing-focused Meru. The Rescue, their doco about the efforts to free 12 Thai schoolboys and their soccer coach from the Tham Luang Nang Non cave system, earned them more acclaim — and both Annette Bening (Apples Never Fall) and Jodie Foster (True Detective: Night Country) scored Academy Award noms for starring in the duo's feature debut Nyad. Get Chin talking, then, and he'll clearly have much to discuss — about his work as a director and a mountaineer alike. On his first appearance in Australia, he'll be doing just that at Sydney Film Festival and Vivid Sydney. The two events are co-hosting Beyond the Summit with Jimmy Chin, where the Oscar-winner, National Geographic photographer and author will be behind the microphone for one night only. [caption id="attachment_706085" align="alignnone" width="1920"] National Geographic/Jimmy Chin[/caption] How does someone who clambers up mountains then become a celebrated documentarian? How did skills in the former help with the latter — not just when climbing is the focus on-screen, as was clearly the case with Meru, and also with Free Solo's chronicle of Alex Honnold's El Capitan ascent sans ropes, but in general? Why do extraordinary feats, including Diana Nyad's 110-mile ocean swim, appeal to Chin as a filmmaker? They're just some of the threads that this in-conversation session, which is taking place on Friday, June 13, 2025 at Sydney Town Hall, might cover. Chin will dig into shooting in extreme conditions, too, alongside how being a professional adventurer influences the way he sees the natural world on film. [caption id="attachment_833518" align="alignnone" width="1920"] National Geographic[/caption] "I'm excited to be a part of Vivid Sydney and the Sydney Film Festival this year. It's a great way to celebrate storytelling and creative risk-taking, which have both shaped my life in the mountains and behind the camera. To share my experiences in one of the world's most iconic cities is an incredible opportunity," said Chin about his upcoming trip Down Under. "Vivid Sydney's collaboration with Sydney Film Festival this year helps bolster the calibre of both festivals and this event is testament to that. Jimmy Chin is a captivating creative with an equally impressive resume, and this conversation promises to be one to remember," added Vivid Sydney Festival Director Gill Minervini. "Jimmy Chin's work sits at the intersection of art, athleticism and ambition. His films are as exhilarating as they are emotionally resonant, and we're honoured to welcome him to Sydney for this one-of-a-kind conversation," noted SFF Festival Director Nashen Moodley. [caption id="attachment_945212" align="alignnone" width="1920"] Kimberley French/Netflix ©2023[/caption] Sydney Film Festival and Vivid Sydney have a number of collaborations on their 2025 slates, including a screening of Justin Kurzel (The Narrow Road to the Deep North)-directed documentary Ellis Park, about iconic musician Warren Ellis establishing an animal sanctuary to protect endangered species in Sumatra, plus An Evening with Warren Ellis at City Recital Hall. At the first, at the State Theatre, audiences will obviously see the film. Afterwards, its subject — a Nick Cave & The Bad Seeds collaborator and Dirty Three founder, as well as a pivotal force in movie scores, including on The Proposition, The Road, Far From Men, Mustang, Hell or High Water, The Velvet Queen, The New Boy, Back to Black, Kid Snow and newly minted Oscar-winner I'm Still Here — will chat about the doco, and also put on a short musical performance. Then there's Planet City: Live. Courtesy of designer and director Liam Young, the speculative fiction experience takes attendees to a different future — one where humanity has responded to the environmental destruction of the planet in a decisive fashion. Young's film is set at a time where there's just one city, which is where everyone on earth resides, with the rest of the globe left to rewild. At SFF, Young will provide live narration for the film, while Forest Swords will play its score live as Planet City screens. All of the above are just a taste of Sydney Film Festival's program, which has unveiled a few other sneak peeks so far — a batch of other initial titles, a Jafar Panahi retrospective and Together as the opening-night flick, for starters — in advance of the full lineup releasing on Wednesday, May 7. Check out the trailers for Meru, Free Solo, The Rescue and Nyad below: Beyond the Summit with Jimmy Chin takes place on Friday, June 13, 2025 at Sydney Town Hall — head to the Sydney Film Festival website for tickets. Sydney Film Festival 2025 runs from Wednesday, June 4–Sunday, June 15 at cinemas across Sydney. Hit up the festival website for further information and tickets — and check back in with Concrete Playground on Wednesday, May 7 for the full lineup. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
Ever had a cocktail so good it deserved a permanent place on your skin? Now is your chance to get inked, as Bar Planet celebrates three years of slinging martinis with a one-off tattoo pop-up on Saturday, May 17. Whether you're already decorated from head to toe or a first-timer, it all kicks off at 2pm on a first-come, first-served basis. Headed up by the supremely talented Sydney-based tattoo artist Onnie O'Leary, guests can choose from a flash sheet of original Bar Planet designs inspired by the venue's iconic drinks and details. Starting from $100, the lasting memory might just be priceless. These creations are instantly recognisable to Bar Planet fans, with options including David Humphries' kaleidoscopic terrazzo bar top, bags of MSG-laced popcorn, wax-drenched candles, and the off-menu Skyscraper martini topped with a string of seven Kalamata olives. "Over the years, we've received lots of martini tattoos in our Instagram DMs," says Daisy Tulley, Group General Manager at MUCHO. "We can't believe Bar Planet has made its way onto our guests' skin! It's such a privilege and a joy to see." Images: Nikki To / Dexter Kim.
Prove your adventure credentials on the first date by booking a picnic hanging from a cliff. We're not suggesting an awkward meal perched on a rocky ledge, but rather one of the fancy cliffnics organised by Shoalhaven-based business Outdoor Raw. You and your date will be suspended on a bench hanging off the side of a cliff, legs dangling, while baskets of locally sourced cheeses, charcuterie, fresh fruits, bread, preserves, wine and beer are lowered to you for feasting. This dramatic cliffside affair pops up at numerous locations with spectacular beach and mountain views and requires little physical exertion to walk to the sites and clamber onto the platform — just a whole lot of gusto to actually relax while suspended high above ground level.
Sydneysiders have been collectively falling in love with Japan for years. In fact, you'd be hard-pressed to find a mate who hasn't at least contemplated traveling to the land of izakayas, onsens, and shinkansens. Luckily, we're seeing a steady stream of Japanese retailers bringing a taste of Toyko to Oz. For those looking to freshen up their look, Triple Major Store is the perfect place to start. Inside a cute orange townhouse on Kensington Street, this shop is home to an extensive range of designer streetwear for men and women, making it a must-visit for anyone looking to bring a touch of Japanese cool to their wardrobe.
It was trialled in The Rocks and Broken Hill, then rolled out to the Sydney CBD, northern beaches and Bega Valley — and now the New South Wales Government's Dine & Discover program is becoming available statewide. The scheme provides $25 food and entertainment vouchers, and had been earmarked to expand across the state in March. Today, Friday, March 19, Premier Gladys Berejiklian confirmed that it was proceeding as planned. Different local government areas will gain access to the program each week, starting with 67 LGAs around the state right now. The list of areas currently able to nab vouchers includes Campbelltown, Sydney, Hornsby, Ryde and northern beaches in Greater Sydney, plus everywhere from Byron and Lake Macquarie to Narrabri and Snowy Monaro — with the rest of the state due to be added in the coming weeks. Everywhere across NSW will have access by the end of March. To take advantage of Dine & Discover, you'll need to be a NSW resident over the age of 18 — with everyone who falls into that category becoming eligible to receive $100 in vouchers when the program hits their area. You'll then score four $25 vouchers, with two available to use at restaurants, cafes, clubs and other food venues from Monday to Thursday, and the other two specifically for cultural institutions, performing arts, cinemas and amusement parks seven days a week. The vouchers can be used at a hefty list of spots — including Dendy Newtown, the Enmore Theatre, Sydney Opera House and the Australian Maritime Museum. Also on the list: Earl's Juke Joint and The Bank in Newtown, Love, Tilly Devine and Lankan Filling Station in Darlinghurst, Ria Pizza and Wine in Potts Point, Since I Left You in the CBD and Lilymu in Parramatta. [caption id="attachment_789626" align="aligncenter" width="1920"] Since I Left You[/caption] There are a few caveats, understandably. The big one: you have to use the vouchers by June 30, 2021. If you were thinking of redeeming the vouchers over Easter, though, you'll need to revise your plans — as you can't redeem them on public holidays. You also can't use them on tobacco, alcohol or gambling. And, you can only use each voucher once, including if your transaction totals less than $25. You'll need to use your vouchers separately, actually, because the idea is to get NSW folks heading out several times to several different places. To access the vouchers, you'll need a MyServiceNSW account — and the corresponding Service NSW app, so you can use the vouchers digitally. You can only redeem them at participating and COVID-safe registered businesses, however, which are listed online. Businesses can still register to participate. Hospitality company Sydney Collective has already announced that it'll double the value of the vouchers at eight of its NSW venues — so it'll give you an extra $25 on top of each $25 voucher. The Dine & Discover program was announced as part of the NSW Government's State Budget 2020–21 in a bid to help NSW's hospitality and entertainment businesses, which had a rough run during COVID-19. Originally called Out and About, the program is designed to encourage folks to head out of the house, have a meal, and see a movie or show. And, to do so on multiple occasions. The NSW Government's Dine & Discover scheme is now being rolled statewide. For more information — including which Local Government Areas now have access to the program, and which businesses are participating — visit the government's website. Top image: Kitti Gould
Next time you're jetting abroad, you might want to add a visit to Singapore's Changi Airport to your trip. After hosting a short-term Harry Potter-themed world over the Christmas period and opening the world's largest indoor waterfall in April, the airport has now added a massive new Canopy Park into the mix. It features a mirror and hedge maze, suspended sky nets and a slide-filled sculptural playground, to name a just few of its attractions. Located on the top level of the airport, the indoor park spans over 14,000 square metres and houses over 1400 trees. It's home to seven different attractions, including the aforementioned maze, which comes in at a whopping 500 square metres (we suggest you don't enter here — and get lost — just before your flight). Travellers can also catch views of it from above on one of several elevated platforms. Other sky-high features include a 23-metre-high bridge with a glass floor offering views of the Shiseido forest valley and Rain Vortex waterfall below. You'll also be able to bounce or walk along a 250-metre span of sky nets, which are suspended five storeys in the air. Or spend your time wandering through a slide-filled sculptural playground, a petal garden, a topiary walk filled with animal-shaped shrubs and a fog-covered, cloud-like play area to boot. A virtual reality lounge, dubbed Changi Experience Studio, has also just opened on level four. The 90-minute experience includes interactive games, projection storytelling, immersive shows and gallery exhibitions. An onsite IMAX theatre, the YOTELAIR Hotel and over 280 retailers and eateries (including Nike, Marks & Spencer, Muji, Zara and Uniqlo stores) can now be found within the airport as well. It's all part of the 137,000-square-metre Jewel Changi entertainment and retail complex, designed by famed architect Moshe Safdie. The ten-storey building, set under a glass-and-steel dome, is jam-packed with shops, dining options, greenery and activities — and is connected to the all-important airport, of course. Forget just killing time on a layover, searching for a phone charger or suffering in uncomfortable chairs while you're waiting for your flight home. Here, you might have to remind yourself that you're actually at an airport. For further details, visit the Jewel Changi Airport website. Entrance to the Canopy Park is set at the $5 SGD (around $5.30 AUD, $5.60 NZD), with selected attractions costing between $8—22.
The northern beaches has a bit of a reputation for being an area of Sydney that people never leave. But spend some time exploring this picturesque coastal strip, and you'll understand the appeal of the bubble. Avalon is the gem in the centre of Sydney's northside crown, filled with great local shops and a heartwarming community feel. A wander through these shops makes for the perfect end to a day on the beach, particularly when you have everyone guessing where you bought your new linen set or woven basket. Whether you are a local or a visitor, be sure to pack your swimmers and a towel, arm yourself with your American Express Card, and spend the afternoon exploring the unique clothing boutiques, handmade homewares stores, and artisanal food shops. In partnership with American Express, we've curated a selection of great local businesses to help you get the most out of a day of shopping small in this northern beaches suburb.
Fossix Coffee has been serving up artisanal eats and specialty coffee on Pitt Street since its opening in 2016. Run by owner Jeremy Glass and chef Sean Kiely, the cafe boasts house-made pastries, cakes and other sweet treats that are a far cry from your run-of-mill CBD cafeteria eats. Open from 7.30am every weekday, the foyer cafe is serving up espressos and iced coffees made on a rotating selection of coffee, including single-origin blends by Sample Coffee. Hungry visitors can check out the takeaway brekkie and lunch menu — think smoked salmon bagels, croissants and barbecue pulled pork wraps — or choose from a selection of vego and gluten-free options. Those with a sweet-tooth can tuck into the changing menu of cakes, with local favourites including the Golden Gaytime cheesecake, 'Mum's carrot cake' and a decadent red velvet cake. And if you head down on a Friday afternoon you can grab any remaining slices for just $5 a pop. With a cool, greenery-filled interior hidden from street view, Fossix offers an escape from the hubbub of the CBD. Plus, you can consider your next office soirée sorted with the extensive catering menu, offering everything from mini-bagels and canapés to a three-litre urn of batch brew filter.
At street level, it's just another office foyer. But gaze skyward, and you'll see some stunning architecture. The podium and tower, joined by an upside down pinhead, were constructed thirty years apart. The brutalist building is split into two sections: the Sydney Masonic Centre held within the lower half and the 35-floor Civic Tower above. Inside the clandestine Masonic Centre, you'll find the Museum of Freemasonry. Within the museum, you'll learn about the enigmatic history and heritage of the Freemasons. Plus, from Monday to Friday, you can tour the museum at 11am and 2pm and peek some areas not accessible otherwise.
Already boasting Yellowface author Rebecca F Kuang and Roman Empire scholar Mary Beard on its program, and tapping into two huge facets of 2023 in the process — one of the most-talked-about books of the year and one of TikTok's biggest memes — the 2024 All About Women festival has dropped its characteristically packed full lineup. Now in its 12th year, the Sydney Opera House event will span 24 sessions with 40-plus artists, and will again make its chats and panels available both in-person and online. All About Women explores gender, justice and equality, doing so as a concise one-day event on Sunday, March 10 after expanding to two days in 2022 and to three in 2023. Kuang heads to Sydney to chat about her satirical novel, which dives into cancel culture, cultural appropriation and diversity in the world of publishing — and Beard is coming to the Harbour City fresh off the release of her latest book The Emperor of Rome to explore misogyny, power, murder and gossip. From there, held as the week of International Women's Day wraps up, All About Women will see Grace Tame join a discussion about who controls women's bodies, which will also feature Indigenous social activist Tanya Hosch, tattoo artist Madison Griffiths and documentarian Tara Rae Moss. Miles Franklin-winning author Anna Funder will unpack the patriarchy, Glossy: Ambition, Beauty, and the Inside Story of Emily Weiss's Glossier's Marisa Meltzer will step through the beauty industry's changes, and Consent Laid Bare's Chanel Contos has porn and consent on the agenda. A Lonely Girl is a Dangerous Thing scribe Jessie Tu is part of a panel about "sad girl" novels, The Wren, The Wren's Anne Enright will talk about her latest book, and stylist Aja Barber will examine fast fashion. Or, there's Barkaa and Steph Tisdell unfurling who gets to be an anti-hero in pop culture, plus Osher Günsberg in a discussion about parenting gender roles. [caption id="attachment_936209" align="alignnone" width="1920"] Luke Currie-Richardson[/caption] Plus, life behind bars, influencer culture, storytelling as a way of creating social change, mothering on the margins and the role of gossip all feature in their own sessions. Among the workshops for folks attending physically: mindful journalling, candle-making, femininity through dance and supporting someone dealing with gender-based violence. Sydney Opera House Talks & Ideas's Chip Rolley has put together the 2024 program alongside Clementine Ford, Nakkiah Lui and Bri Lee, each of whom have co-curated specific sessions. [caption id="attachment_929572" align="alignnone" width="1920"] John Packman[/caption] All About Women 2024 takes place on Sunday, March 10 at the Sydney Opera House, and also stream online. Tickets for the full program go on sale at 9am on Thursday, January 18 with pre sales from 8am on Wednesday, January 17 — head to the event website for more details. All About Women images: Jaimi Joy / Cassandra Hannagan.
If you never got to live your Euro summer — or if you did make the trip and need to relive your adventures — there's a little slice of Southern Italy right here in Sydney. Enter Divino Osteria, an Elizabeth Bay eatery that transports the flavour and hospitality of southern Italy to the eastern suburbs. To get the lowdown on the family operation, its menu, and why you should pencil in a reservation ASAP, we spoke to chef Andrea Di Stefano and owner Anthony Alafaci. The address of Divino Osteria might call up some memories for veterans of Sydney nightlife, since 19-23 Elizabeth Bay Road was formerly home to The Sebel, a famous celebrity haunt that went back to 1963. Today, Divino Osteria and Alafaci have swapped A-list party secrecy for Italian hospitality. [caption id="attachment_1005500" align="aligncenter" width="1920"] Guy Davies[/caption] What Was the Vision for the Space When it Opened? "The vision for Divino Osteria was to establish a space that celebrates Italy's vibrant culinary heritage, offering a cozy yet refined casual dining experience that captivates the senses and fosters a sense of community among guests. The name 'Divino' in Italian means 'divine' or 'heavenly,' often used to describe something extraordinary, or of exceptional quality. It reflects the idea that the dining experience at our restaurant is not just about food but something sublime and memorable. 'Osteria' refers to a traditional Italian restaurant, typically more casual and focused on offering local, home-style dishes. Osterias were gathering places for friends and family to enjoy simple, hearty meals together, with an emphasis on community and warmth. Together, 'Divino Osteria' embodies the essence of what we offer — a heavenly, welcoming place where you can savour the rich, authentic flavours of Italy, rooted in tradition but presented with modern flair." Which Particular Niche Does Divino Osteria Fill in the Local Dining Scene? "We're a casual Italian eatery focused on local, home-style dishes, reflecting our commitment to genuine hospitality and creating a dining experience reminiscent of sharing a meal at a friend's home. We seek to bring people together with good food and wine. We distinguish ourselves in Sydney's dining landscape, appealing to those seeking a genuine and heartfelt Italian dining experience." Divino's head chef, Andrea Di Stefano, is Sicilian by birth and brings his own range of skills and love for the simple authenticity of Italian cooking, having crafted a menu that celebrates fresh, seasonal ingredients and authentic methods, including handmade pasta, stone-baked pizza from the venue's hand-built brick oven, slow-cooked sauces, and locally sourced produce. [caption id="attachment_1005497" align="aligncenter" width="1920"] Guy Davies[/caption] What Kitchen Experience Did You Have Before Joining the Divino Team? "I started cooking at 12 years old in our family bakery and pizzeria in Italy, one of three boys all in the food industry. I later trained up in a hotel kitchen in Catania, Sicily, where I cultivated a palate for the different yet specific flavours of Italian cuisine. This was refined at home in collaboration with my mother and grandmother, cooking familiar home-style dishes. I later had the opportunity to hone my skills in fine dining kitchens across Italy and London, learning from Michelin-starred chefs. Now, in Australia, I've combined those experiences to craft the menu at Divino Osteria." Of All the Dishes on the Menu, Which Is Your Favourite to Prepare? "The costoletta d'Agnello is my favourite dish to prepare on our current menu. Lamb chops are a cherished component of Italian cuisine for their tenderness and rich flavour. They offer the versatility to be prepared in various ways that highlight their natural flavour while adding your own refined touch, whether through technique, seasoning or presentation, allowing for creative culinary expressions." [caption id="attachment_1002655" align="aligncenter" width="1920"] Guy Davies[/caption] Can You Take us Through Divino's Drinks and Wine Offering? "Divino's wine list is a carefully curated journey through Italy's most celebrated wine regions. From Tuscany to Sicily, each bottle featured reflects the traditions and terroir of its origin. There are Italian classics like barolo, nerello mescalese, nero d'avola and amarone. We also have an array of Australian and New Zealand wines from the Barossa, McLaren Vale, Margaret River and Marlborough. Each bottle has been selected to complement and pair perfectly with the food and elevate the dining experience. We also have some specialty cocktails, some classics and bold Italian signatures too. Our cocktail list is a celebration of fresh citrus, fragrant herbs, and vibrant liqueurs. Whether you're in the mood for something bitter, sweet, sparkling, or spicy, there's a glass here with your name on it." What's Your Favourite Drink on the Menu? "One of the standout elements of our bar program is our curated Limoncello, which is made to reflect the flavours we love most from the south. It's a small touch, but it makes a huge difference in flavour. [caption id="attachment_1002652" align="aligncenter" width="1920"] Guy Davies[/caption] If Someone Is Making Their First Booking at Divino, What Would You Recommend They Order? Di Stefano: "The medaglioni is a personal favourite on our specials menu. Using a wagyu sirloin MBS9+ with brown butter and sage, we craft oversized ravioli and present it on a plate. It pairs really well with a due lune nero d'avola/Nerello Mascalese grape, which really enhances the flavour of the food." And for drinks? "You can't go past an Aperol Spritz or a Limoncello Spritz. Both are light, refreshing and perfect for daytime drinking — bitter, citrusy and just the right amount of effervescence. If you're after something a little stronger, a Tommy's Margarita is a great option, too — clean, fresh, and packed with flavour without being too heavy." To make a long lunch booking at Divino Osteria, or to find more information, visit the website.
Watching I Hate Suzie Too isn't easy. Watching I Hate Suzie, the show's first season, wasn't either back in 2020. A warts-and-all dance through the chaotic life, emotions and mind of a celebrity, both instalments of this compelling British series have spun as far away from the glitz and glamour of being famous as possible. Capturing carefully constructed social-media content to sell the fiction of stardom's perfection is part of the story, as it has to be three decades into the 21st century; however, consider this Stan- and Neon-streaming show from Succession writer Lucy Prebble and actor/singer/co-creator Billie Piper, and its blood pressure-raising tension and stress, the anti-Instagram. I Hate Suzie's unfiltered focus: teen pop sensation-turned-actor Suzie Pickles, as played with a canny sense of knowing by Piper given that the 'Honey to the Bee' and Penny Dreadful talent has charted the same course. That said, the show's IRL star hasn't been the subject of a traumatic phone hack that exposed sensitive photos from an extramarital affair to the public, turning her existence and career upside down, as Suzie was in season one. In episodes named after emotions — shock, denial, fear, shame, bargaining, guilt, anger and acceptance — the eight-part initial go-around stepped through the fallout, as unsurprisingly frenzied as it was. Suzie's professor husband Cob (Daniel Ings, Sex Education) reacted with fury and selfishness; their young son Frank (debutant Matthew Jordan-Caws), who is deaf, got swept up in the tumult; and manager and lifelong friend Naomi (Leila Farzad, Avenue 5) endeavoured to save Suzie's career. As I Hate Suzie's name makes plain, sentiment didn't often flow Suzie's way — from Cob, the media, everyone pulling the strings behind her professional opportunities, and also the world at large. In I Hate Suzie Too, she has a new manager Sian (Anastasia Hille, A Spy Among Friends) and a new chance to win back fans, returning to reality TV after it helped thrust her into the spotlight as a child star to begin with. Dance Crazee Xmas is exactly what it sounds like, and sees Suzie compete against soccer heroes, musicians and more. But when I Hate Suzie Too kicks off with a ferocious, clearly cathartic solo dance in sad-clown getup, the viewers aren't charmed. In fact, instantly damaging her already fragile self-esteem, Suzie is the first celebrity voted off. Although arriving a couple of years later, season two takes place six months after the first, which ended with Suzie all over the papers — again — and facing another life-changing development. Spanning three episodes, I Hate Suzie Too is a chronicle of a comeback that isn't quite allowed to be, because that's the relentlessness of being in the public eye when you're a woman who's deemed to have erred. Suzie herself simply wants to work to be able to share custody of Frank, the fight over which is cruel and demanding at the hands of the still-vicious Cob. She wants to dance, too, because that was always her first love. What she gets is the unceasing pressure to be flawless, as dictated by everyone else around her, but with zero interest in what'd truly make her content, safe, secure and fulfilled. Fearless, audacious, honest, dripping with anxiety, staggering in its intensity, absolutely heart-wrenching, always unflinching: with Prebble and Piper reteaming not just after season one, but also 2007–11 series Secret Diary of a Call Girl, all of these terms fit. This is a head-in-your-hands dark dramedy, a reaction incited by everything that comes Suzie's way as well as the choices she makes in response. The demands and decisions don't stop. Everyone always needs something, and needs Suzie to make a call. In this season, that still includes her mother (Lorraine Ashbourne, Bridgerton), father (Phil Daniels, House of the Dragon) and younger sister (Elle Piper), who are now joined by Suzie's first ex-husband Bailey Quinn (Douglas Hodge, The Great), plus former footballer-turned-streamer Danny Carno (Blake Harrison, The Inbetweeners) — both fellow Dance Crazee Xmas contestants, and reasons that the press' attention hones in again and again. With its claustrophobic cinematography constantly staring Piper's way — and, more than that, usually getting closer than anyone would feel comfortable with — I Hate Suzie Too apes what Suzie's fans and detractors are always doing: surveilling intently. No one performs well under such meticulous examination, with the series pondering the exacting standards placed upon well-known figures and the hypocritical reactions when they don't handle the scrutiny faultlessly. Steely eyed but empathetic, it's an exploration of mental health as well, and the fraying space that takes over when the world's wants take precedence over your own. "The team are choosing between you looking needy and you looking miserable,' Suzie is told about Dance Crazee Xmas' behind-the-scenes footage, to which she replies "well, those are my two states". I Hate Suzie Too shows how untrue that comment is, and how deeply it has been internalised. When she starred in a 2016 UK stage production of Yerma, Piper won six Best Actress awards for her performance — all six that she could — but, on-screen, she's never been better than she is in I Hate Suzie's two seasons. All that up-close peering at Suzie's face is revelatory, conveying every twitch of thought and emotion as she navigates the persistent onslaught of everything everywhere all at once, and attempts to package and repackage herself to be all things to all people. The focus and adaptability required on Piper's part is stunning, especially given I Hate Suzie Too's fondness for long, unbroken shots onstage and careening through backstage corridors. She's equally phenomenal whenever Suzie does snatch a quiet moment to herself, usually brimming with uncertainty, and she's heartbreaking when she's just trying to be a mum to her son. Like Suzie, Piper benefits from her own popstar background in I Hate Suzie Too, with Dance Crazee Xmas' dance numbers — for an audience and in rehearsals alike — proving the powerhouse centre of the series' latest run. Spectacularly choreographed and performed, and incisively paired to Suzie's inner state like a musical, they almost tell this season's tale without anything else needed around them. And, they help emphasise that this story isn't Suzie's alone. Too many women in the spotlight, and in general, have been held to unrealistic ideals, then pilloried for not meeting them. Much lingers when I Hate Suzie Too comes to an end in a whirlwind of distress, that fact included. Check out the trailer for I Hate Suzie Too below: I Hate Suzie Too streams via Stan in Australia and Neon in New Zealand.
If good things come to those who wait, then three-storey beachfront haunt Manly Greenhouse must be destined for greatness. The multi-faceted waterfront venue has space for a whopping 400, boasting a foliage-heavy coastal-style fit-out by award-winning studio Luchetti Krelle. It boasts a super lush setting befitting the name, including some pretty special collaborative efforts from illustrator Beci Orpin and the greenery experts at The Plant Room. Downstairs, The Greenhouse is your go-to for casual eats at any time of day. The menu's got a modern Italian bent, starring pizzas done in the woodfire oven, and pasta dishes like pappardelle with slow-cooked brisket. Other bites might include the likes of crab bruschetta, a bone-in grass-fed Riverina sirloin, and mushroom and provolone arancini served with garlic aioli. The cocktail lineup's another nod to Italy, starring classics like the negroni, an Aperol spritz and the Cafe Frizzante, a blend of sparkling water, cold brew, vermouth and Campari. A sprawling selection of Aussie wines sits alongside a few key Italian varietals, and two Hope Brewhouse collaborations headline a crafty list of beers. One level up, The Grill's food offering will be guided by the kitchen's charcoal grill, matched with a largely natural wine lineup curated by Lo-Fi Wines co-founder James Audas. And the icing on this cake is the rooftop, where panoramic ocean views and a healthy dose of greenery prove a breezy backdrop for signature cocktails, toasted sandwiches and an edit of bar snacks from the menu downstairs. Looks like the Steyne has some competition.
There are more than 200 seats in the Icebergs Club and every single one of them gives you cracking views of Bondi Beach, foregrounded by their iconic ocean pool. On the floor above, in the Icebergs Dining Room, diners pay top dollar for two-hatted cuisine, but here, in the laid-back bistro, you can tuck into a hearty burger, antipasto plate or steak sanga without mortgaging your house. Meanwhile, the mostly Aussie wine list is full of winners while all your favourite beers are pouring on tap. If you want to go all-out, indulge in a seafood platter, packed with king prawns, oysters, beer-battered flathead, salt and pepper squid, scallops, mussels and fries. They also do breakfast on the weekends. As a registered club, Icebergs requires people living within a 5km radius to sign up to gain entrance, but temporary visitors from further afield are welcome. To become a bona fide Iceberg, you'll need to steel up: every Sunday, throughout winter, you're expected to swim at least one lap of the 50-metre pool, regardless of plummeting temperatures — rain, hail or shine.
Dust off your sombreros, amigos. The latest international excuse for a good time to reach our shores is Cinco de Mayo — a celebration of all things Mexican (which, if we’re being nit-picky, is really more of an Americanisation than anything but shh, let us party). In celebration, the folks at Corona and Beach Burrito Company Fitzroy are putting together a fiesta, complete with face painting by local street artists and the first ever Taco Time Trials Eating Contest. For the less competitively inclined but equally taco-happy, Cinco de Mayo falls conveniently on a Tuesday, and Beach Burrito Co’s regular $3 taco deal applies, so your pesos’ll stretch further. With what you’ve got left, you can sip salt-rimmed margaritas, down trays of tequila shots (not recommended) or share a bucket of ice-cold Coronas. And, of course, come prepared to smash and whack your way to glory, because they wouldn’t be doing Mexico right without pinatas.
Thirty films, four weeks and more famous faces than you can dream of — that's what to expect from this year's MINI British Film Festival. Reading through the fest's lineup is like scrolling through a who's who of English talent, with Helen Mirren, Ian McKellen, Dev Patel, Tilda Swinton, Hugh Laurie, Kristin Scott Thomas, Bill Nighy, Keira Knightley, Timothy Spall, Peter Capaldi, Gwendoline Christie, Kate Beckinsale, Eddie Redmayne, Felicity Jones and even Liam Gallagher all set to grace Australian cinema screens between October 29–November 24. While Kristin Scott Thomas will lead the way in war-set opening night drama Military Wives, legends Mirren and McKellen will help close out the festival in thriller The Good Liar. Meanwhile, outspoken Oasis frontman gets the documentary treatment in Liam Gallagher: As It Was, and The Theory of Everything's Redmayne and Jones reunite for a high-flying adventure in The Aeronauts. The list goes on — and if you're already feeling spoiled for choice, we're here to help by picking out our five must-see highlights. https://www.youtube.com/watch?v=oHG7FnBDY0Q THE PERSONAL HISTORY OF DAVID COPPERFIELD It opened this year's prestigious London Film Festival, it's the latest film from The Thick of It and Veep's Armando Iannucci, and it stars Dev Patel, Tilda Swinton, Hugh Laurie, Peter Capaldi, Gwendoline Christie and Ben Whishaw. Add in the fact that it's an adaptation of one of Charles Dickens' best-known classics, and The Personal History of David Copperfield is easily one of the year's most anticipated movies. For newcomers to the tale, it mirrors the beats of Dickens' own experience, with the eponymous character journeying through a difficult upbringing to become a lawyer and then a writer. While the story naturally takes place in 19th-century England, you can expect Iannucci to find plenty of modern-day parallels in this version — if he can do it with Russian history in The Death of Stalin, he can do it here. https://www.youtube.com/watch?v=ysjwg-MnZao SORRY WE MISSED YOU When Ken Loach won the Cannes Film Festival's coveted Palme d'Or for 2016's I, Daniel Blake, he did so with a moving social-realist drama that exposed the cruelty underpinning a standard facet of British life. That's the veteran director's speciality, so it should come as no surprise that his latest film follows in the same footsteps — or that it's just as astute and stirring. Swapping government benefits for the gig economy, Sorry We Missed You follows ex-construction worker Ricky (Kris Hitchen) as he leaps into the courier business, thinking that'll provide security for his family's future. Instead, he discovers the gruelling reality of impossible targets, zero benefits, uncaring corporations, spiralling debts and working around the clock. Shot with Loach's usual naturalistic eye, this timely and topical movie proves as impassioned and infuriating as its stellar predecessor. https://www.youtube.com/watch?v=DbhAt1vLxXA A GUIDE TO SECOND DATE SEX George MacKay is one of Britain's rising acting talents, with standout roles in For Those In Peril, Pride, Captain Fantastic, and 11.22.63 to prove it. Soon, he'll be seen in the upcoming Australian drama True History of the Kelly Gang — playing Ned Kelly, no less — but before that, he's jumping into the romantic comedy realm. In A Guide to Second Date Sex, MacKay plays Ryan. On his second date with Laura (Alexandra Roach), he knows that they have plenty in common; however, they're both still feeling more than a little awkward. First-time director Rachel Hirons adapted this screenplay from her own hit Edinburgh Fringe Festival play. Embracing, unpacking and subverting all the usual dating and rom-com tropes, this is classic British comedy territory. https://www.youtube.com/watch?v=ZVwbeA4Ff9Y CITIZEN K From the collapse of enormous corporations to huge political sex scandals and CIA-sanctioned torture, Alex Gibney has chronicled the big stories of the past two decades. Sexual abuse in the Catholic Church, Julian Assange's Wikileaks, Lance Armstrong's doping ban and the Church of Scientology have all fallen into his purview as well, with the American documentarian amassing quite the hard-hitting resume. With Citizen K, he dives into a topic he was bound to cover: Vladimir Putin's Russia, the country's murky political realm and the fate awaiting anyone who speaks out against the powerful president. Focusing on Mikhail Khodorkovsky, Citizen K tracks the Russian businessman's journey from wealthy oligarch to prisoner to "the Kremlin's leading critic-in-exile". As the most fascinating tales are, it's the kind of story that has to be seen to be believed. https://www.youtube.com/watch?v=Gm17B-nOgZ8 FARMING How does a Briton with Nigerian ancestry end up in a white supremacist gang? That's the tale that Farming tells. The title refers to a practice common in the 60s, 70s and 80s when babies were fostered out to white parents in the hopes that they'd receive a better upbringing. In Enitan's (Damson Idris) case, growing up in Tilbury leaves him questioning his identity, feeling like an outcast with both his foster family and his natural family, and seeking approval from the hateful skinheads who openly taunt, bully, beat and condemn him. It's a confronting and compelling story, especially given that it's based on the life of actor-turned-writer and director Adewale Akinnuoye-Agbaje — who has featured in everything from Oz, Lost and Game of Thrones to The Bourne Identity, Thor: The Dark World and Suicide Squad over the past two decades. The MINI British Film Festival tours Australia from October 29, screening at Sydney's Palace Norton Street, Palace Verona, Palace Central and Palace Chauvel cinemas from October 29–November 24; Melbourne's Palace Balwyn, Palace Cinema Como, Palace Brighton Bay, Palace Westgarth, Kino Cinemas and The Astor Theatre from October 30–November 24; Brisbane's Palace Barracks and Palace James Street from October 30–November 24; and Perth's Palace Cinema Paradiso, Luna on SX and The Windsor Cinema from October 30–November 24. For more information, visit the festival website.
Some people won't leave the house without their reusable water bottle. And that's a good thing, considering the amount of single-use plastic saved from the waterways. With Frank Green long at the forefront of fashionable drinkware, the brand has a big announcement for Sydneysiders. For the first time ever, Frank Green is bringing their rare warehouse clearance sale to town, with nothing priced at over $40. So, now is the ideal chance to score that retired colourway or a limited-edition print you've been thirsting to get your hands on. Taking over The Venue Alexandria for three days only, this special event is happening from 8am–7pm on Friday, July 18, and from 8am–5pm on Saturday, July 19 and Sunday, July 20. Got other plans? Tell them your dream water bottle is calling. As you might expect, stock is strictly limited, so once your must-have item is gone, it's gone for good. However, you might just have the chance to level up your designer bottle collection without forking out for the full price.
Ever been at an outdoor cinema, and wished you could just jump into bed? Well, of course you have — bed is the one thing we can rely on to always be there for us, and we all wish it could follow us around for intermittent lie-downs. That's presumably why the geniuses at Sydney's new PicNic Cinema have decided to implement beds into their outdoor setup. Well, that, and they're probably aware of the struggles of keeping your head propped up on a packet of chips while lying on a picnic rug trying to drink wine. PicNic Cinema will take over Parramatta's Prince Alfred Square for 16 nights this April. Instead of just the usual picnic rug and bean bag sitcho, the cinema will bring in enough inflatable double mattresses for 100 people to literally lie back and relax on. You'll even get a blankie in case it gets chilly. The film program is surprisingly varied and international, with everything from Muriel's Wedding to Studio Ghibli's Castle in the Sky to Iranian Oscar winner, A Separation. The food lineup is similarly diverse, with Cuban, African, Brazilian and Lebanese dishes set to be on rotation. Let's just hope it doesn't rain. PicNic Cinema will run from April 8-23 at Prince Alfred Square, Parramatta, Sydney. For the full program and to book tickets, visit picniccinema.com.
Girl Asleep, by director Rosemary Myers, has been touted as an Australian version of Napoleon Dynamite. It's an obvious comparison, but while there are many similarities, Girl Asleep will leave you feeling something much deeper than mild amusement and confusion (sorry Napoleon, but it's true). For a start, it's a coming of age film starring actual teenagers, and that awkwardness translates beautifully to the screen. Greta (Bethany Whitmore) is 14, very shy and starting life at a new school. On her first day there she meets the geeky Elliot (Harrison Feldman) and they develop an unlikely friendship. Her life and all its inherent confusion stays private until her parents (played so very well by Amber McMahon and screenwriter Matthew Whittet) throw her a massive 15th birthday party and all her internal chaos spills over. The narrative is well-paced and comfortingly predictable, until the third act when Greta is plunged into a surreal, sexy world of Abject Men, Frozen Women, vaguely sinister forest creatures and lessons about sisterhood. It's a brusque transition but not unexpected, since the whole film has a touch of the surreal about it. There's an air of awkwardness that at times that goes beyond the script, although thankfully the two young leads are supported by a fluid and confident supporting cast, who lend the whole production a professional veneer that keeps your faith intact. Myers originally developed and executed the story as a stage play, and you can see fragments of the stage in the two-dimensional composition and the all-singing, all-dancing dramatics that give the film its signature look. And what a look! Girl Asleep is worth the ticket price alone just for the attention to detail in the props, costumes and sets. It's all so glamorous, so coordinated, so excessive and so 70s – a visual smorgasbord of big hair, tight shorts, flares and loud patterned wallpaper. And yet, behind the glamour and theatrics, viewers will find a remarkably relatable protagonist. Greta deals with her questions of identity, gender, sexuality and feminism in a way that will catch you by surprise, right in the feels. The writing hits a subtle emotional frequency that offsets and works well with the zany visual antics, helping to set Girl Asleep apart from the pack. https://www.youtube.com/watch?v=9lJSjVbTvDs
A few years ago I invented a drinking game for people wanting to give up booze. It was very simple: you only drank when Johnny Depp played an American. Almost overnight, global alcohol consumption dropped to near-prohibition levels, even when many of Depp's non-American roles were actually inclined to drive people to drink. So far down the zany Tim Burton/Jack Sparrow character hole had Depp descended that the very notion of him playing a serious role again seemed as ludicrous as his daily jewellery selections. Then, from out of nowhere, came the chilling Black Mass trailer, and it was as if all might suddenly be right in the world again. To hell with the drinking game, we wanted to see Depp actually act and it looked like that might just be what was happening. Yes, he was still in some intense makeup (complete with vampiric blue eyes and slicked back white hair), and yes, there was a thick Boston accent at play, but at its core this looked like gritty, dramatic Depp back to his legitimate best. Thankfully, the trailer wasn't lying. Black Mass is the true story of Boston’s infamous crime lord James ‘Whitey’ Bulger (Depp) and his astounding protected status as a secret tier-one informant for the FBI. The more you learn about Bulger, the more remarkable his tale becomes. For one, his brother William (played by Benedict Cumberbatch) was the longest-ever serving senator from Boston, and Bulger's childhood friend John Connolly (Joel Edgerton) became a key figure in the FBI’s anti-mafia division. The short of it was that Connolly convinced Bulger to rat on his competition (primarily the Italians) in exchange for what amounted to a free run from police and the FBI regarding his own illegal operations. That arrangement saw Connolly rise in the ranks, but also allowed Bulger to transform from small-time hood to a national player in organised crime, and for years there seemed to be nothing anyone could do to stop him. The strength of Black Mass is in its cast, which — along with its leads — boasts the likes of Kevin Bacon, Dakota Johnson, Adam Scott, Corey Stoll and Peter Sarsgaard. There’s no weak link on the acting front, and even the bit parts turn in solid performances (Juno Temple’s brief appearance as a naive hooker the standout). Instead, it’s the story where the film is found lacking. For such a remarkable tale of corruption and secret allegiances, the focus on Bulger’s crimes feels wasted and misdirected, if only because the 'Boston gangster saga' has already been done many times over, and — it should be said — better (The Departed topping that list). Arguably the most intriguing dimension to the entire Bulger story is the Bulger dimension — the brothers, one a gangster and the other a powerful politician — yet it barely rates a mention, and Cumberbatch’s screen time is among the smallest in the film. How, in the modern era, one brother's affairs did not bring down the other’s raises compelling yet frustratingly unanswered questions that would have given the story a meatier emotional narrative and greater momentum. Still, take nothing away from the performances and please, raise a glass to the long overdue return of Johnny ‘Dramatic' Depp.
Cities are living beasts. Swelling and humming and brimming with life, these places we live are subject to change at any moment. These changes can be slow, like that giant apartment complex they've been building forever by your house. Or they can be fast, like the way the skyline comes to life with lights after 8pm. New York photographer Richard Silver has taken it upon himself to explore the latter changes, and the results are pretty beautiful. With his camera pointed towards iconic skylines and landmarks from around the world, Silver has catalogued an entire day in each image. Different from regular timelapse photography that creates a fluid sense of movement, Silver's images are staccato and ornate. Like a collage, each photograph is composed of shots from 36 different times throughout the day. Looking from left to right, you get a glimpse into a full day, from dawn to dusk. Enamoured with the nature of time, Silver appropriately named the series Time Slice. "[It] started in New York when I would go out at sunset to photograph iconic NY buildings," the artist told The Huffington Post. "I can take a photograph a mere few seconds apart and the change in of blue in the sky at sunset just fascinates me." It seems that people around the world are fascinated by this idea as well. In the last week alone, hits to his website have increased from roughly 1,000 per day to upwards of 190,000. Digital sightseers have descended upon the series to view his take on Easter Island, Shanghai, Venice, Milan, London and the Colosseum among others. No longer do tourists have to bicker about whether it's better to see a landmark during the day or at night! Just stay at home and drink in the whole thing. See more of Richard Silver's work at his website. Via Huffington Post. Photos via Richard Silver.
