Things sure are looking up for Sydney's northern beaches these days, especially when it comes to wining and dining. Last year, Merivale opened its hugely popular venue, The Newport, and this year it snapped up The Collaroy Hotel with plans for a relaunch. Now, The Mona Vale Hotel delivers another win for the area, reimagined as a food and entertainment hot-spot called The Park House Food & Liquor. The first part of the site's hefty, two-year redevelopment is officially open to the public. It's called Park House Food Merchants, and is a multi-faceted venue, complete with restaurant, cocktail lounge and all-weather courtyard. In the kitchen, Head Chef David Clark (Jamie's Italian) is drawing inspiration from Southern California's food scene, for a vibrant, share-focused menu peppered with Mexican, Mediterranean and Middle Eastern flavours. On it, you'll find dishes like baked snapper fillet with tahini dressing, slow-cooked lamb forequarter with herb pilav, and a whole suckling pig that's carved right there at the table. Meanwhile, the bar's slinging an eclectic, well-traveled wine list, alongside a solid range of craft beers and barrel-aged cocktails. A craft beer bar called Front Yard Brews & Burgers also opened just before Christmas, with Parkside Truck Stop transforming the pub's car park into a food truck destination from early 2018. Park House Food & Liquor is now open at 2 Park Street, Mona Vale. For more info, visit parkhousefoodandliquor.com.au. Updated: January 30, 2018.
Rarely has a film more perfectly encapsulated the notion of so close, yet so far. Directed by Neil Marshall, whose previous credits include the impressive horror flick The Descent and some major episodes of Game Of Thrones, Hellboy is an absolute mess of a thing, despite boasting a terrific cast, memorable set pieces, impressive CGI and one of the more intriguing and inventive protagonists in recent comic book history. Hellboy, of course, already has two films in his honour, both of them written and directed by Mr Monster himself: Guillermo del Toro. The question that loomed large over this 2019 version, then, was whether it sought to be a rebooted origin story or a semi-continuation of the pre-existing franchise. The schizophrenic patchwork of a story we end up with suggests the studio simply couldn't decide. Timelines leap from the Arthurian legend to modern day to WWII to the 80s, usually for the purpose of dumping massive loads of exposition. The entire film feels rushed and discordant; a fever dream of fight scenes and plotlines that neither link to what came prior nor have much relevance to what follows. In the lead, Stranger Things star David Harbour does his darndest to breathe life into what little script there is, imbuing his Hellboy with an admirable level of angst, sarcasm and unwieldy brawn. Credit, too, to the movie's makeup team, who've managed to wholly transform Harbour into a hulking creature from the underworld despite little to no CGI at play. Opposite him, Milla Jovovich puts in the film's most understated yet compelling performance as Nimue the Blood Queen, whose equal rights for monsters mantra offers a tantalisingly defensible motivation for her murderous ways. Sadly, Hellboy gives little time to ideas, opting instead for as many gory deaths, clanger one-liners and f-bombs that it can squeeze in. And on the gore front, Hellboy certainly makes full use of its R-rating, particularly in the film's final stages when Hell's assortment of nightmarish demons begin crushing, skewering and skinning the hapless inhabitants of London. The demons themselves are spectacularly imagined, as is the infamous Baba Yaga, the Slavic witch with an appetite for small children. Her scene with Hellboy is beautifully designed, genuinely well-written, and appropriately grotesque. But even then, there's one major ingredient missing: terror. It's a phenomenon repeated multiple times throughout the film, and one that's not easily diagnosed. Scenes that should be scary simply aren't, just as jokes that should be funny don't even come close. If you imagine the film as a piece of music, the levels are all out — as if the sound mixer dialled everything up that should be down, and vice versa. Which brings us back to so close, yet so far. Whatever forces were at play to screw this up, the fact remains the pieces were there to produce something great. Hellboy could have been any number of films: a comic book horror movie with genuine scares, a comedy action flick or even a compelling Maleficent-esque drama about misunderstood heroes and villains vying for their right to a place on this earth. Instead, it's an embarrassment. https://www.youtube.com/watch?v=dt5g5_1cKVk
Put on your best Hawaiian shirt because the folks from Earls Juke Joint in Newtown have opened up a sneaky tiki bar in Enmore dubbed Jacoby's Tiki Bar — and they are both within walking distance of each other. The new bar takes its inspiration from tiki-obsessed psychiatrist Dr Lawrence Jacoby from cult TV series Twin Peaks. Diehard David Lynch fans should be able to uncover a few other nods to the famous director scattered throughout the venue (at least, that's what my log tells me). The one rule of tiki bars is that you need to go all out. Subtlety be damned. The intimate 60-seater venue has been tastefully decked out in banana leaf wallpaper, a rattan thatched ceiling and carved wooden Tiki figures. It manages to look actually cool rather than too kooky or creepy. The drinks menu centres around ten tiki cocktails, which are mostly rum-heavy concoctions illuminated with bright, tropical flavours. From the list, you can't go past James and the Giant, made from Bulliet bourbon, spiced peach ice tea syrup, apricot brandy, and, to top it all off, absinthe. And then there's the Voodoo Grog — a drinking bowl filled with two types of rum, allspice, passion fruit syrup, honey and lime. However, it's the tiki mugs that really steal the show. These ones are served in beautiful glazed vessels depicting shrunken heads and conch shells, while silly straws, swizzle sticks, and flaming fruit make for a highly memorable experience. As for the wine selection, in true Lynchian style, they're divided by colour — perfect for those in the mood for a straw yellow or garnet red. The bottled beer range includes Hawaiian Kona Big Wave Golden Ale and Sierra Nevada Tropical IPA, while the taps include Jamaican Red Stripe Pale Lager and Grifter Serpent's Kiss. All drinks come with a free bowl of banana chips, and if you're looking for a real meal, the bar offers pizza delivery from Manoosh — just order at the bar. Oh, before you go, no trip to Jacoby's is complete without a trip to the bathroom, although be careful lest you stumble into another dimension. The back hallway has been kitted out in red velvet curtains and black and white chevron tiles to perfectly recreate niwt s'kaep suomaf der moor — ahem — Twin Peaks' famous red room. Images: Katje Ford.
Even if politics isn't your favourite topic, there's been no avoiding a certain name since the mid 2010s, ever since Donald Trump announced that he was running for US President. Over that time, he's been voted into America's top office, then voted out. Saying that he didn't take the latter well is an understatement. He got kicked off Twitter, too, and announced another bid for the gig in 2024. Much, much, much more has happened, of course — and much, much, much more again — but everyone has seen the constant stream of headlines already. One person who's been forced to observe all of the above from a unique position is Mary Trump, the former US President's only niece, as well as an outspoken critic of him and their family. You might've heard of or read the trained clinical psychologist's 2020 book Too Much and Never Enough: How My Family Created the World's Most Dangerous Man, which explores the obvious. Now, in winter 2023, you can see Mary chat about her thoughts and clearly chaotic life live onstage in Australia. That tome sold almost a million copies in a single day. Plus, with the next US elections two years away, that T word — Trump — isn't fading from view anytime soon. Accordingly, Mary will head to Brisbane, Melbourne and Sydney to talk about it with Ray Martin, dishing the details from her firsthand experiences. [caption id="attachment_880176" align="alignnone" width="1920"] Matt Wade Photography via Wikimedia Commons[/caption] Attendees can expect to hear about her uncle's impact upon the world's health and economic security, plus society in general. And, about the ideas and American history — the American Civil War, slavery and the Founding Fathers all included — that've helped lead to his position of influence. Mary will also give an insider's view into how the US works, the rise of the MAGA movement and what a future with Donald Trump in power, or even out of it, could hold. Taking to the stage at the Brisbane Convention and Exhibition Centre, Melbourne's Hamer Hall and Sydney's State Theatre, she'll add insights into her childhood and family dynamic in detail as well. Clearly, this won't be the kind of in-conversation session that anyone gets to see everyday. And, if you're a US politics junkie, it'd make quite the double — albeit spaced out by a few months — with Barack Obama's 2023 Aussie speaking tour. MARY TRUMP: LIVE ON STAGE — AUSTRALIAN 2023 TOUR: Saturday, June 17: Great Hall, Brisbane Convention and Exhibition Centre, Brisbane Tuesday, June 20: Hamer Hall, Arts Centre Melbourne, Melbourne Thursday, June 22: State Theatre, Sydney Mary Trump's Australian speaking tour will take place in June 2023. To join the waitlist for tickets — which will go on sale in February — head to the tour's website.
When your first year featured Nelly, Ne-Yo, Ja Rule, Bow Wow and Xzibit, and your second had T-Pain, Ashanti, The Game and Bone Thugs-n-Harmony, what comes next? For Juicy Festival, it's now time for Ludacris, Keyshia Cole, SWV and Blackstreet. The nostalgic R&B and hip hop fest has locked in its return Down Under in January 2025, again starting in New Zealand with gigs in Christchurch, Wellington, Tauranga and Auckland. After that, it'll head across the ditch for its Australian shows in Perth, Melbourne, Sydney and Queensland. And, as always, it hasn't skimped on the lineup. After making an appearance at Usher's 2024 Super Bowl halftime show — and spending two decades as part of the Fast and Furious franchise — Ludacris leads the Juicy Festival bill. Expect to hear everything from 'What's Your Fantasy' and 'Area Codes' to 'Runaway Love' and 'Rollout'. Keyshia Cole's 'Love', girl group SWV's 'Right Here' and Blackstreet's 'No Diggity' are all set to be fest highlights, on a lineup that'll also see Akon, Tyga, Omarion, Fat Joe and Jacquees take to the stage. "This year's lineup is packed with artists responsible for some of R&B and hip hop's biggest hits of the 1990s, 2000s and 2010s, and we're excited to see the crowd respond to the high energy of our artists," said festival promoter Matthew Spratt. "Every year we are excited to bring another line-up to Australia, and we believe we've come up with a high-calibre group of artists that people will be excited to see," added his colleague Glenn Meikle. "We've locked in some of the biggest names in R&B and hip hop from the 1990s and 2000s era, and they're just as excited about coming to Australia as we are to be hosting them," finished Spratt. When Juicy Fest debuted in January 2023, it attracted more than 100,000 attendees. The event hasn't announced 2025 venues so far, or exactly where in Queensland it'll be heading to, but tickets go on sale from Thursday, May 2. Juicy Fest 2025 Dates: Wednesday, January 8 — Christchurch, venue TBC Friday, January 10 — Wellington, venue TBC Saturday, January 11 — Auckland, venue TBC Sunday, January 12 — Tauranga, venue TBC Wednesday, January 15 – Perth, venue TBC Friday, January 17 – Melbourne, venue TBC Saturday, January 18 – Sydney, venue TBC Sunday, January 19 - Queensland, venue TBC Juicy Fest 2025 Lineup: Ludacris Akon Tyga Keyshia Cole Omarion Fat Joe SWV Blackstreet Jacquees Juicy Fest will tour Australia and New Zealand in January 2025, with tickets pre-registrations available from 6pm local time on Wednesday, May 1 — and tickets on sale from 6pm local time on Thursday, May 2. Head to the festival's website to register for pre-sale access.
Mecca, aka the Melbourne-born beauty and cosmetics chain that has won fans the country over since it launched in the 90s, has been opening stores around Australia for the last 20 years. And it's currently hosting a huge online sale with 50 percent off a heap of products. That's good news for everyone, including your bank balance. If you haven't jumped on the Mecca bandwagon yet, then prepare to nab all those prestigious international brands you can't get elsewhere — as well as its own line of products. It's a makeup mecca, and more than a 100 different products are currently on sale. You can nab half-price Urban Decay highlighter, Nars eyeshadow, Too Faced concealer and Bare Minerals products — just to name a few of the items on sale. If this is the excuse you needed to boost your makeup bag, the sale runs online — on both Mecca Australia and Mecca NZ websites — from 7am on Tuesday, June 30 until 6.59am on Tuesday, July 14 (or till stocks last).
Wellington is best known for its creative and culinary prowess, but the city's outdoor environment deserves its own accolades. Nestled between the Cook Strait and bush-covered hills clad in the protected Town Belt, this wilder-than-you-think spot boasts idyllic vistas every way you look — and alluring natural spots in spades. Indeed, there's no shortage of native bush or beach in this harbour city, but you don't need to be a hardcore outdoors-type to get amongst it. Thanks to Wellington's stunning geography, all the greenery and fresh air you could ever want is super close to its CBD restaurants, nightlife and galleries. For those who like to balance their busy urban breaks with sojourns in the countryside, book your flights ASAP, as you can get the best of both worlds. Pack your finest activewear and prepare to embark on a holiday where it's easy to walk off the after-effects of all that strong local beer, those delicious cocktails and that six-course wine-matched degustation. BAYS AND BEACHES Wellington city was built teetering on a waterfront that's sheltered by the surrounding harbour. This means there are a lot of beaches to choose from — some rugged and some peaceful wee spots with pontoons within paddling distance. Oriental Bay is a perennial favourite with Wellington office workers, thanks to its location just ten minutes from the CBD and its golden sand that's ideal for enjoying a cheeky yuzu olive oil gelato from Gelissimo. If you fancy going a bit more rugged, Island Bay or Lyall Bay are not far from the city and ideal for surfing. Don't forget to bring your wetsuit. [caption id="attachment_636628" align="aligncenter" width="1920"] Kristina D.C. Hoeppner via Flickr[/caption] STREET ART AND SCULPTURE Get your exercise plus a dose of culture. Wellington's cosy city streets are freckled with beautiful street art and public sculpture, ranging from literary to graffiti and everything in between. Look out for Charlotte Hawley's cosy mural down Egmont Street, Xoe Hall's trio of Bowies in Hannahs Laneway and BMD's anti-shark finning wall opposite Te Papa. If you wander from one end of the waterfront to the other, you'll hit an array of ocean-inspired sculptures, as well as the official Wellington Writers Walk, where excerpts from works by the city's greatest writers and poets are immortalised in concrete and set against a marine backdrop. Dreamy. [caption id="attachment_636684" align="aligncenter" width="1920"] Capture Studios[/caption] TOWN BELT About 170 years ago, some savvy folk decided central Wellington ought to be surrounded by a band of wilderness, and the city's Town Belt was born. Arching around the CBD in a horseshoe shape, it's been miraculously preserved as Wellington has gone from a tiny colonial outpost to a bustling capital. The belt offers walking options spanning relaxed ambles to more lengthy day-walks, with plenty of brilliant views and spots for a picnic. There's also a 360-degree view of the town from the top of Mount Victoria, which only takes about half an hour to summit starting from the Courtenay Place nightlife district. [caption id="attachment_636635" align="aligncenter" width="1920"] Phillip Capper via Flickr[/caption] MATIU / SOMES ISLAND Encircled by Wellington's waterfront and a delightful 20-minute ferry trip from the city is Matiu / Somes Island, a nature reserve with a fascinating history. Originally named by legendary Maori explorer Kupe after his daughter, Matiu was a refuge in times of war. After a few stints as a quarantine zone, the area is now conservation land and pest free, which means plenty of NZ's beautiful and sometimes bizarre native birds can be spotted. Pack a picnic and make a day of it. [caption id="attachment_636638" align="aligncenter" width="1920"] Croc Bikes[/caption] BIKING Wellington is beginning to gain a bit of a rep as a mountain biking destination. With so many great tracks covering the bush-clad hills that surround the city, even office workers mountain bike to work. How's that for lifestyle? If the hundreds of kilometres of mountain biking tracks in the Wellington region don't tempt you, there are some lower-key biking experiences in the city. Hiring a Crocodile Bike is a classic Wellington activity: you can grab a two- or four-person bike and cycle around the bays for a few hours. Or head to Switched On Bikes a rent an e-bike; these babies have redefined pedal power, so you can cruise the city's hills without breaking a sweat. Maybe you've been to Auckland, maybe you've gone to the snow in Queensland, but now it's time to set your sights on Wellington. The harbourside city may be compact, but that only makes for excellent walkability from its excellent restaurants, cafes and bars to its cultural hot spots and around the great outdoors. Use our planning guide to book your trip, then sort out your Wellington hit list with our food and drink, culture and outdoor guides. Top image: Simeon W via Flickr.
Two years ago, the City of Sydney announced a program that would bring food trucks off the bitter Saturday morning soccer fields and into the nightlife of the inner city. The nine food trucks that patrol Sydney’s streets every weekend have become a very welcome fixture around town, with thousands of people every month rocking up to treat themselves to a vast array of dishes and cuisines from the varied vehicles parked around the place, and the locator app being downloaded 51,000 times. Now, since the two-year trial period has come to an end, the City of Sydney has decided to give a massive thumbs up to the scheme and have pledged to expand the number of mobile street food vendors around town. As the restaurant-on-the-run owners apply to ply their wares, what’s going to get Sydney into the street-food big leagues with cities like New York, Los Angeles and Paris? And, as the program progresses and expands, what does the future hold for our town and its mobile eateries? 50 NEW FOOD TRUCKS TO HIT THE STREETS The City of Sydney Council have been working with the feedback from the street-food obsessed public to find out what it is that will make the program better, and the response has been pretty straightforward, according to Lana Zegura, the brains behind the management of the project. “The only improvement they want is for more trucks,” she says. So more trucks are what we’ll get. The council plans to approve up to 50 more mobile canteens, with applications to open next month. However, a lot of people are jumping the gun, eager to claim their permit. “It’s looking very healthy,” says Zegura of the response to the news, “we’ve had over 600 enquiries so far.” Which is a lot. The owners and operators of the trucks couldn’t agree more, in terms of the public response to the initial trial period. Simon Lawson, chef and operator of the Agape Organic Food Truck, has loved every second of his time behind the wheel. “I’m a chef, so I enjoy talking to people,” he says. “The public love it so much … there’s only been positive feedback from where we’ve been.” PUTTING SYDNEY ON THAT GLOBAL MAP Street food thrives all over the world, with hundreds of food trucks cooking up a storm all over the biggest cities, like New York, London and Paris. The hope is that our own expanding program to get more trucks on the street and more options in the hands of the public will get Sydney on that list of worldwide hot spots. “Sydney doesn’t have that street food culture," says Lawson, "but in time, it’ll become more popular.” That's something that the council bears in mind, too. Zegura hopes that the trucks, by providing more variety to more people than ever before, will “make us a global city, like New York or San Francisco”. Given that the-late night options in Sydney don’t extend much past CBD bars and pubs, a continually expanding program of late-night alternatives to drinking can only help to cement Sydney as a truly global destination. According to Zegura, the program is "part of our over-arching OPEN Sydney strategy to make Sydney safer, more vibrant, and to provide more late-night food alternatives.” It’s this kind of policy that’s commonplace all over the world, and is becoming a bigger focus here at home. THE LUNCH LET-DOWN With more the number of trucks increasing more than five times, Sydney street food is set to become a whole lot more visible. But at the moment, the plan remains night-centric. It's the fight for city parking that's limiting the possibilities of trade. "It’d be nice to have more permanent lunch time spots,” says Lawson, but he recognises the issues behind this. More trucks need more parking spaces, and the large vehicles could cause heavy traffic issues in the more congestion-prone areas of the CBD. However, more open lunch time spot, such as parks, are being explored as options by the council. “The people managing the program are doing a great job,” he adds. BEYOND THE CITY LIMITS The City of Sydney only controls the food trucks in its own jurisdiction, but the good news is that councils all around the Greater Sydney region are looking into implementing their own, similar projects. Interest is growing all over. “We get people following our truck,” says Lawson, “even coming from way out west to eat.” Councils in Randwick, Liverpool and Parramatta are all exploring the possibility of hosting food trucks, which bodes well for the entire region, not just the CBD. The word is spreading, and we couldn’t be more pumped.
What happens when a bunch of Aussie celebs and personalities jump on the cocktail shakers and have a crack at playing bartender? You're about to find out when the Tiny Tails Bar pops up in Campbells Cove from Thursday, May 4–Saturday, May 6. The pint-sized bar and its adjoining cocktail lounge are here to shake up your after-work drinks game, serving sips made by a roster of unlikely guest bartenders. The bar itself has room for just one customer at a time — they'll get to chat one-on-one with whoever's on the tins that night while their free drink is being whipped up, and take a few happy snaps, too. [caption id="attachment_898587" align="alignnone" width="1920"] Millie Ford[/caption] The guest lineup includes the always iconic Courtney Act, TikTok star Millie Ford and actor Remy Hii (Wellmania, Spider-Man: Far From Home). And you needn't worry too much about their bar skills, since they'll be working with Tails' line of ready-to-shake batched cocktails, spanning classics like a whisky sour and a gimlet. You can jump online to reserve one of the limited spots at the bar, while the pop-up's Main Lounge will be open for walk-ins across all three nights, serving up plenty more free Tails cocktails to thirsty Sydneysiders.
Maru stuck in too-small cardboard boxes. Grumpy Cat being genuinely unable to help the shape of his own face. Lil Bub hangin' with Whoopi Goldberg. Sure, you could load all three of these superstars on your screen right now, but what if some know-your-freakin-audience genius decided they'd take things next level make an entire film festival of internet cat videos? Celebrating their love of cats and videos of cats doing stupid, stupid things, RSCPA NSW are hosting the first ever International Internet Cat Film Furstival in Australia. Presented in conjunction with Minneapolis's Walker Art Centre, this why-hasn't-this-already-happened-here event stems from the globally-toured Internet Cat Video Festival. "Cats are the second most searched topic on the internet and millions of cat internet videos are shared around the world every day — think Colonel Meow, Grumpy Cat and many, many more. We have gathered the best of the best together and we want to share them with you under the stars," say the straight-up legendary RSCPA team. Genius, I mean who doesn't want to watch a giant screen version of Maru screwing up again? And again. And again. From short films to six-second Vine videos, the screening will visit all your favourite feline celebrities and raise funds for the RSPCA. But the night won't just be sitting and pointing every time Grumpy Cat hates on life or Colonel Meow looks like the demon from the end of Fantasia. You can visit the 'Cattoo Parlour', nom on some tasty food truck treats or throw back some milk in the Cat's Meow Club (for a little extra kibble).
Some of the most wonderful sentences ever written include two glorious words: Nicolas Cage. Usually when the actor's name comes up, it's because he has a new film in the works — or sometimes a TV show — that makes another weird, wild and wonderful addition to an on-screen resume like no other. Already in 2023, he's added his first-ever western to the list. And, he's playing Dracula in Renfield, which might be the only time ever the iconic star has ever sucked. We could keep naming past highlights, such as stepping into his own shoes in 2022's The Unbearable Weight of Massive Talent and crooning Elvis songs for David Lynch's Wild at Heart, or we could jump straight into the next instant must-see project that might feature the one and only Cage: The Surfer. Just announced at this year's Cannes Film Festival, as reported by The Hollywood Reporter, this sadly isn't the only Point Break remake that needs to be made. Like that flick, however — the Keanu Reeves-starring 90s original, not the terrible 2015 do-over — The Surfer has an Aussie connection. Cage looks set to play an Australian expat returning home from America and getting in a beach battle with a local gang of wave riders. An Aussie-set surfing thriller starring Cage? Sold. [caption id="attachment_901586" align="alignnone" width="1920"] Moritz Barcelona via Wikimedia Commons[/caption] Cage's titular character makes the trip Down Under after years in the US, only to get humiliated by other surfers in front of his teenage son. Cue a turf war, plus Cage's protagonist refusing to leave the beach. Cue the stakes escalating and the movie's namesake having his sanity tested, too. The film is set to shoot in Australia from September 2023, with director Lorcan Finnegan (Vivarium) helming, working with a script by screenwriter Thomas Martin. There's no word yet who might co-star with Cage, but you'd expect every Australian actor ever to be lining up to be involved. [caption id="attachment_901587" align="alignnone" width="1920"] Guillaume Paumier via Wikimedia Commons[/caption] Fresh from directing The Dry, Blueback and the upcoming Force of Nature: The Dry 2, Robert Connolly is one of The Surfer's producers, boosting its Aussie ties. Given that Cage's character will have been in America for years, that might help the movie get around needing him to bust out an Aussie accent — but who doesn't want to see the man who has proven a comedic genius for the Coen brothers, dabbled with Marvel in two different ways despite never appearing in the Marvel Cinematic Universe, wordlessly fought demonic animatronics, swapped faces with John Travolta, gotten speedy before the Fast and Furious saga existed, taken to the skies with criminals and acted opposite himself in Adaptation give it a try anyway? There's no release date for The Surfer yet, either, or trailer obviously, but checking out Cage's exceptional work in Mandy is always recommended while you're waiting for his next films: The Surfer doesn't yet have a release date — we'll update you when more details are announced. Via The Hollywood Reporter. Top image: Gerald Geronimo via Wikimedia Commons.
Have you ever exchanged quips with Siri? Casually referred to your laptop by a gender-specific pronoun? If so, it's probably not a stretch for you to imagine the day when your devices become more than just your tools, they become your friends. It's not even that we need them to pass the Turing test and trick us into thinking they're human; we'll anthropomorphise at the drop of a hat. So with such a lovable bag of bolts as the robot in Robot and Frank, probably the first indie robot buddy heist movie, we stand no chance. The caretaker robot enters the life of retired cat burglar Frank (Frank Langella) when his high-flying son, Hunter (James Marsden), and humanitarian daughter, Madison (Liv Tyler), yield to the fact that they don't have time to visit their father in his wilderness home to give him the attention he now needs. Frank is showing signs of dementia, and although the curmudgeon resists this android imposition, he's stuck with it, as only Hunter knows the password to shut him off. However, Frank's opinion on the robot starts to shift when he realises it's been programmed to do just what's best for his health, with no limitations on the legality of those measures. He soon has the robot picking locks and sitting on stakeouts with him, spectacularly reviving his thieving career, all in the name of keeping his mind and body agile. As in any buddy movie, the banter between the two leads is key, and in Robot and Frank its magnificent. Grouchy Frank and the indefatigable robot, with the honey voice of Peter Sarsgaard, are a classic odd couple, with the twist that it's Frank's humanity that breathes 'life' into the strictly logical machine; his idiosyncrasies give it a constant puzzle to respond to. When Frank forces the robot into conversation with Mr Darcy, the robot assistant of librarian Jennifer (Susan Sarandon), the two enquire after each other's functioning and then go into stand-by mode. Along with its hijinks, Robot and Frank has marvellous subtlety and grace of a kind that's almost rare in film. There's a parallel there between the erasure of human and hard-drive memory, questions of when identity begins and ends in each, but these are washed gently over the film by the controlled hands of director Jake Schreier and writer Christopher Ford, for who this is their first feature. Likewise, the film may be among the first to look at the effects of technological change without judgement or hyperbole, and that ends up being an affecting thing to see. Its robots resembles the current humanoid models you see coming out of Japan, more chunky Lego minifig than sleek automaton, and the world around it still looks familiarly lo-fi. Change, however, is coming to the library, where books are being removed as the institution reorientates to being "a place for community". That's not good or bad, the film says, but it is what's happening. And it is sad. It's unexpected, but by not being reactionary about the moral consequences of technology, Robot and Frank allows true mourning for the world we're leaving behind. https://youtube.com/watch?v=EiFqT5-6JQg
Dorrigo National Park is home to waterfalls, 600-year-old trees, a shaded walking track, colourful flora and fauna and an elevated boardwalk with breathtaking views. The best way to explore this lush World Heritage-listed rainforest is via the popular Wonga Walk. It'll take you about two hours to complete the 6.6-kilometre loop, passing by the cascading Tristania Falls and Crystal Shower Falls. Take the Lyrebird link track from the Dorrigo Rainforest Centre that leads onto the Wonga walk. The walk is fairly easy but has some steeper sections and boulder crossings so be sure to wear sturdy shoes. Images: Destination NSW
Michelangelo's David means a whole lot of things to Western culture. He's a perfect specimen of the Renaissance man, all toned and taut and towering. He's a biblical hero; defeating Goliath in awe-inspiring fashion and becoming the original underdog. We've marvelled at his perfection for generations and now, he may be brought down by the fact he has weak ankles. It's poetic, really. Italian researchers have recently found a number of weak spots in the iconic statue's ankles they claim could be fatal — in as much as anything can be fatal to a statue — in the coming months. At a whopping 5,572kg, the BBC report David could collapse under his own weight if disturbed by as much as nearby roadworks. With microfractures also appearing in his legs and supporting tree stump, David's prognosis doesn't look great for a number of reasons. Firstly, the marble Michelangelo used is of a poor quality and fragile at the best of times. Secondly, his pose is naturally off-centre and La Gazetta del Sud reported that he was positioned on a dangerous angle in the city's main square for three centuries. Thirdly, he's 510 years old. You'd be showing some wear and tear at that age too. This isn't David's first time in the wars either. During a riot in 1529 he lost the lower half of his left arm and in 1991 he suffered a smashed toe at the hand of another artist. These injuries have all been restored and David regularly undergoes superficial restorations in the way of cleaning. But addressing these structural problems is a whole separate issue — is it our place to interfere or should we let David go out gracefully? Some historians have previously argued that David should go into hiding in order to retain his aura and if that is to happen, now seems like the opportune time. "I'd like to see [it] disappear for a couple of hundred years, so it's expunged from our consciousness and our popular references," said historical novelist Sarah Dunnant. "[Then] it can be found again — like the Statue of Liberty at the end of the Planet of the Apes — and seen again with a sense of awe." Maybe this is the answer. David's been on his feet for an awfully long time and perhaps he deserves a break. Surely any attempts to amend the structural integrity of his marble would end in some kind of humiliating amputation or plaster leg cast. At what point do we let history run its course? Picture it: the man who slew Goliath in one mighty blow taken down by his Achilles' heel. How appropriate. Via BBC and ABC.
RISING 2025 keeps inching closer, with the Melbourne music, art, culture and architecture festival set to take over the Victorian capital across Wednesday, June 4–Sunday, June 15 — and it isn't done adding to its lineup just yet. How do you close out 12 jam-packed winter days, not to mention an event where you could be playing mini-golf in Flinders Street Station Ballroom one moment, then enjoying Pakistani R&B and Punjabi rap the next? With a literally underground five-hour gig that's making Melbourne history. The fest has announced Track Work — Music From the Underground, which will take audiences to a brand-new location. Feel like you've seen live tunes at every venue in the Victorian capital there is? You haven't headed 20-plus metres below St Kilda Road to the yet-to-open Anzac Station for a gig before. First Nations label BAD APPLES MUSIC is behind the event, with Briggs, BARKAA, Birdz and Jayteehazard on the lineup. Headline sets, DJs, MCs: they're all on the bill at this daytime concert, which is running from 11am–4pm on Sunday, June 15. Also huge: the fact that admission is free. Alongside the entertainment, Track Work doubles as a chance to take a self-guided walk-through of the station — and to see Tracks, the new public artwork from Victorian First Nations artist Maree Clarke, which features the fur seal and fairy penguin among other animals that live in Bunurong / Boonwurrung Country's coastal climes. "Track Work is a uniquely Melbourne moment — a chance to experience two of the most important, original and charismatic voices in music in this country. Briggs, BARKAA and their BAD APPLES MUSIC family will reveal one of the city's most significant new spaces with a baptism of bass and beats in a free afternoon of DJs, MCs and celebration," said RISING Co-Artistic Director Hannah Fox, announcing the event. "As a powerful finale for RISING, we're thrilled to partner with Metro Tunnel Creative Program and BAD APPLES MUSIC to create something bold, fun, unexpected and unrepeatable." Also on the RISING lineup, as previously announced: a free installation by a teamLab alum, exclusive Suki Waterhouse gigs, Hedwig and the Angry Inch, Yasiin Bey with Talib Kweli, Portishead's Beth Gibbons, Aotearoa favourite Marlon Williams, Olivier-winning hip-hop dance work BLKDOG, Zoë Coombs Marr's new variety show, a film retrospective dedicated to Miranda July, Tropical Fuck Storm playing The Forum, Melbourne Art Trams' latest iteration and much, much more. [caption id="attachment_1005634" align="alignnone" width="1920"] Isaac Turier[/caption] Track Work — Music From the Underground takes place from 11am–4pm on Sunday, June 15, 2025 at Anzac Station, Melbourne, with entry via the Domain Road and Albert Road station entrances. Entry is free but booking is required via the festival's website. RISING 2025 runs from Wednesday, June 4–Sunday, June 15 across Melbourne. Head to the event's website for further information.
Add three more names to the hefty list of big music stars heading Australia's way in 2023: Ice Cube, Cypress Hill and The Game. In what's basically a 90s and 00s hip hop and rap fan's dream come true, the trio are teaming up on the same bill for an Aussie arena tour, hitting stages Down Under in autumn. This isn't just any old nostalgia-dripping tour, either. It'll also mark the 30th anniversary of two influential albums: Ice Cube's Lethal Injection and Cypress Hill's Black Sunday. The former was the N.W.A member's fourth solo release, and included singles 'Really Doe', 'You Know How We Do It' and 'Bop Gun (One Nation)', while the latter gave the world 'Insane in the Brain', 'Hits from the Bong', 'When the Shit Goes Down' and 'I Ain't Goin' Out Like That'. Expect to hear plenty of those songs get a whirl in late March — and plenty more — starting at Melbourne's Rod Laver Arena, then jumping to the Adelaide Entertainment Centre, Qudos Bank Arena in Sydney and the Brisbane Entertainment Centre. For Ice Cube, the tour marks his first visit to Australia since 2018, when he became the first-ever rap artist to headline at the Sydney Opera House. "I love performing in Australia. It's been four long years since my last visit and I can't wait to return for a couple of history-making shows in 2023," said the rapper, aka O'Shea Jackson Sr (and yes, his son O'Shea Jackson Jr did play him in N.W.A biopic Straight Outta Compton). Ice Cube and Cypress Hill will be joined by The Game, who came to fame in the 00s in the West Coast scene. The US talents will also feature Aussie talent in support, with exactly who else will take to the stage yet to be announced. ICE CUBE, CYPRESS HILL AND THE GAME 2023 AUSTRALIAN TOUR: Thursday, March 23 — Rod Laver Arena, Melbourne Saturday, March 25 — Adelaide Entertainment Centre Sunday, March 26 — Qudos Bank Arena, Sydney Tuesday, March 28 — Brisbane Entertainment Centre Ice Cube, Cypress Hill and The Game will tour Australia in March 2023. Ticket pre-sales start at 2pm local time on Tuesday, November 22, with general sales from 2pm on Wednesday, November 23. Head to the tour website for further details.
Those currently working from home have probably seen two major changes to their routine: less shoes and more snacks. To help with the latter, Australia's much-loved biscuit maker Arnott's is opening its vault and releasing some of its coveted recipes — for the first time in history. First up in the snack expert's Big Recipe Release is the second best bikkie in the assorted creams pack: the Monte Carlo. The Kingston is, undeniably, number one. But, arguments aside, the Monte Carlo definitely goes quickly, and is definitely a great cooking project to tackle during lockdown. As you'd expect, the recipe does call for flour, but we've rounded up some of the spots selling the essential ingredient across the country, which aren't supermarkets. Australia's oldest baker will continue to release a new recipe for one of its famous biscuits every week until social distancing regulations are lifted. Next up, will it be the Tim Tam? Mint Slice? Pizza Shapes? We'll have to wait and see. In the meantime, though, here's the Monte Carlo recipe: ARNOTT'S MONTE CARLO For the biscuit 125 grams butter, softened 125 grams caster sugar ½ teaspoon finely grated lemon rind 1 teaspoon vanilla essence 2 tablespoons golden syrup 1 egg 40 grams desiccated coconut 240 grams plain flour For the cream 60 grams butter 150g pure icing sugar 2 teaspoons milk Raspberry jam Method Preheat oven to 170°C. Line a baking sheet with baking paper. In a medium mixing bowl, place butter, sugar, lemon rind, vanilla and golden syrup. Beat for approximately one minute. Add egg and beat for a further minute. Do not overbeat. Stir in sifted flour and coconut until well combined. Place half the dough mixture on a piece of baking paper and wrap to form a log. Repeat with remaining dough mixture. Place in refrigerator for 15 minutes or until slightly firm. Using a serrated knife, cut into 8 millimetre slices. Place on baking sheet and bake for 14 minutes or until golden. Allow to cool on tray for five minutes then place on a cooling rack to cool. For the cream filling, place butter, sugar and milk in a medium bowl and beat until light and fluffy. Sandwich cooled biscuits with jam and cream.
A big-time game deserves a big-time stage — and for the Australian women's cricket team, it doesn't get much bigger than facing the might of India under the lights of the SCG. The growing rivalry between these two powerhouses is one of modern cricket's most thrilling storylines, with both sides playing at the top of their game right now. While Australia has long dominated the women's game, India has emerged as its fiercest challenger. From the 2020 T20 World Cup final — when more than 86,000 fans packed the MCG to watch Australia lift its fifth trophy — to India's maiden ODI World Cup triumph in November, which saw them knock out the top-ranked Aussies along the way, encounters between the two sides have become must-watch cricket. With India now boasting a new generation of match-winners and Australia fielding a lineup stacked with experience and homegrown stars, the stage is set for another unmissable chapter in this ongoing saga. Expect electric energy and world-class talent as Alyssa Healy and her side look to reclaim bragging rights over the Women in Blue in front of a full-voiced home crowd in a primetime slot.
Sculpture by the Sea is a landmark event in Sydney's cultural calendar each year, drawing huge crowds to the two-kilometre Bondi-Tamarama coastal walk every October to gaze at the larger-that-life artworks. Unfortunately, as with many events, 2020 wasn't the exhibition's year. Plans for the event were forced to be abandoned, although Sydneysiders were treated to Milan Kuzica's towering fluro sculpture Green Life on the Tamarama foreshore as a consolation. When organisers originally announced there would be no 2020 edition of Sculpture by the Sea, an early 2021 date was floated. Sadly, this date has been pushed back again and large-scale art fans will have to wait until spring for the event's latest iteration, with October 2021 being announced as the new, pandemic-pending date for the exhibition. Organisers were optimistic an early 2021 event could be achieved but failed to secure an exemption from NSW Health Department last October. The event will instead go ahead in October with the same lineup of artists originally planned for 2020, plus two or three new additions scheduled to join the roster. Sculpture Rocks, a collaboration between Sculpture by the Sea, Place Management NSW and the Ports Authority of NSW that was set to see Japanese sculpture take over Campbells Cove in The Rocks this January, has also been postponed. The smaller-scale sculpture event is now planned for mid-2021. It has been a turbulent couple of years for the team behind the beloved Sydney art exhibition. In 2019, organisers clashed with Waverley Council over the design of a new path, threatening to move the event out of the council area. The planned upgrades to the area were completed in October 2019 before Sculpture buy the Sea came to an agreement with Waverley Council to remain in Bondi until at least 2030. Sculpture by the Sea is currently aiming to take place in October 2021. Stay up to date with the latest announcements at sculpturebythesea.com. Images: Trent Van der Jagt
Prepare to exclaim "yeah, science!" like Jesse Pinkman — and to see a whole lot more of Aaron Paul's Breaking Bad character. The acclaimed series is making a comeback, cooking up a movie that'll serve as a sequel to the show's finale. In the spotlight: Walter White's former student and protege, who might just be in a spot of trouble. While this follow-up will span a single two-hour package, rather than span multiple episodes, it is still coming to a small screen near you. As revealed by The Hollywood Reporter, it's heading to Netflix before screening in the US on AMC, the network behind the original show. Just when it'll hit the platform hasn't been announced. First revealed last year, the film has a working title of Greenbriar, and begin shooting back in November. Plot details are scarce; however it'll reportedly focus on Pinkman and chart a kidnapped man's escape. It hasn't been confirmed if the former and the latter are one and the same, but it doesn't seem like much of a stretch to put them together. As Better Call Saul diehards are well aware, Breaking Bad has never completely gone away since the OG show wrapped up in 2013; however fans eager to look forward in the show's chronology, not backwards at the early life of Bob Odenkirk's shady lawyer Saul Goodman, have something to add to their must-watch list. There's no word yet on who else will feature in the film — and although Bryan Cranston confirmed the news of the movie, but whether he's in it or what it's about is still the subject of rumour. Via The Hollywood Reporter.
The glass facade of 20 Martin Place will be temporarily repurposed as a huge, vertical dance floor for the world's most kinetic (and vertigo-inducing) public space activation project, as part of Art & About Sydney. Bandaloop, under the guidance of choreographer and artistic director Amelia Rudolph, aims to honour nature, space and community by mesmerising unsuspecting crowds with jaw-dropping performances. Dancers will execute intricately-choreographed moves at heights that most performers would quickly decline. As a result, the message behind each performance is both graceful and provocative, challenging the way we would normally think about the space we occupy each day. The US-based performance group has toured the world extensively, re-defining the idea of dance by performing at places not generally thought of as dance floors: think museums, atriums, billboards and cliffs. Bandaloop combines new climbing technology, stunning costumes and dynamic physicality to bring performance art to new crowds. See the high-flying act at Martin Place on Friday, August 18 at 12.30pm, 1.30pm and 5pm; Saturday, August 19 at 12pm and 2pm and Sunday, August 20 at 12pm and 2pm.
Found inside an 1880s-built former chapel, Acadèmie Salon is a neighbourhood hairdresser that aims to bring out the best look for you, rather than give you an extreme TV-style makeover. The Annandale salon is run by Mikele Simone and Richi Grisillo, whose team of stylists makes you feel like a rockstar. Speaking of which, the salon has been known to cater to genuine celebs. But don't let that put you off, as whoever walks through the archway entrance is treated with the same premium haircare and expert advice as those with a public profile. Like many salons, pricing is a reflection of the stylist's level of skill and experience, but you can expect to pay between $100–120 for a hair cut (including wash, massage and blow dry) and between $90–200 for a colour treatment. Keratin treatments, balayage, bridal appointments and blow drys are all par for the course here, too. Images: Cassandra Hannagan
The monopoly supermarkets once held over us food eaters has waned in recent years. Market halls are becoming the logical response to people's renewed interest in small batch, bespoke, local, sustainable, organic produce, because who wants to spend hours traipsing all over the city looking for the good stuff? Not us. Luckily, Sydneysiders now have a providore marketplace which brings all the aforementioned things together in one location for you to pack into your roll-along nanna trolley. As well as housing Archie Rose Distillery, Black Star Pastry, Three Blue Ducks and Italian restaurant Da Mario, The Cannery also offers everything you need to live a wholesome, healthy life together in one place. The huge 4500-square-metre retrofitted warehouse in Rosebery has a greengrocer, a butcher, a baker, a coffee roaster, restaurants and a cooking school. It's been in development for some time. The first stage saw Grain Organic Bakery, Zeus Street Greek, 5th Earl and The Choc Pot open their doors, then came Vive Cooking School, organic grocer Wholefoods House, artisan butcher Kingsmore Meats and Welcome Dose Specialty Coffee. It also landed a sustainable bottle shop, The Drink Hive, which features refillable beer and wine stations, and regular market days on weekends.
We've been waiting for this one — Barangaroo's first rooftop venue has officially opened. It makes sense, really; with a direct view over Darling Harbour, it feels like a small crime for all the bars and restaurants to be relegated to ground level. And so it's with open arms that we're sure the people of Sydney will welcome Untied, the latest opening in the waterside foodie precinct. With a location on level four of 400 Barangaroo Avenue, Untied opened on Wednesday, January 25. Channelling the tropical northern Queensland rainforest, the indoor-outdoor bar features lots of lush greenery, vivid colours and room for 260 people all up. The menu follows the Australian theme with a combination of Australian-inspired dishes, including bar snacks, a selection of BBQ share plates and even a raw bar with all the oysters you can handle. After you've shucked and sucked, chase it with one of their cocktails — preferably the Flamin' Galah (with gin, ginger syrup, watermelon and lime) or the Hills Hoist, a mixture of rum, fresh kiwi puree, bitters and egg white. Untied comes from Dixon Hospitality, the group that owns The Norfolk, The Forresters, and, just recently, six of the now-defunct Keystone Group venues. It joins the likes of Belles Hot Chicken, vermouth bar Banksii, sushi fave Zushi, Bentley-run restaurant Cirrus and the new Ume Burger, along with a whole heap of others. Exterior images: Alana Dimou.
One of the enduring joys of staring at a screen, big or small, is the nifty knack that movies and TV shows can have for delivering treasures viewers didn't know they needed. We should've realised we had to see Michelle Yeoh hop across dimensions to save the world before Everything Everywhere All At Once arrived, for instance. We should've gleaned that Timothée Chalamet would make a compelling cannibal prior to Bones and All, too. And, it should've been obvious that Adam Scott plunging into an office nightmare would be instantly addictive viewing, but it took Severance to make it plain. Now, Shrinking joins the list by giving the world what we've truly been lacking: a delightfully gruff Harrison Ford co-starring in a kind-hearted sitcom. Creating this therapist-focused series for Apple TV+ — with its first two episodes hitting on Friday, January 27, and the remainder of the ten-episode first season dropping week by week afterwards — Bill Lawrence, Brett Goldstein and Jason Segel didn't miss Shrinking's immediate potential, though. Lawrence and Goldstein add the show to their roster alongside Ted Lasso, which the former also co-created, and the latter stars in as the also wonderfully gruff Roy Kent to Emmy- and Golden Globe-winning effect. It too bathes in warmth amid chaos, all while understanding, exploring and accepting its characters as the flawed folks we all are. As for Segel, he's no stranger to playing the type of super-enthusiastic and super-earnest figure he inhabits again here, as seen in Freaks and Geeks and How I Met Your Mother. If Ted Lasso downplayed the soccer, instead emphasising the psychologist chats that were a pivotal part of season two, Shrinking would be the end result. Also, if Scrubs, another of Lawrence's sitcoms, followed doctors specialising in mental health rather than working in a hospital, Shrinking would also be the outcome. It's worth remembering that Scrubs featured a very funny and clever nod to Ford, which likely makes his casting here a dream come true for Lawrence. Round up all of these familiar elements, details brought over from elsewhere and past references, and Shrinking turns them into a series that's thoughtful, supremely entertaining, well-cast and well-crafted — and an engaging and easy watch. Ford is the biggest name among Shrinking's many recognisable faces, because a career forever tied to the Blade Runner, Star Wars and Indiana Jones franchises will do that, but he's in supporting mode. Segel (Windfall) leads the show as Jimmy Laird, a therapist who is initially seen waking up his empty-nester neighbour Liz (Christa Miller, a Scrubs alum and also Lawrence's wife) in the deep of night while hanging out with sex workers and self-medicating around his backyard pool. She's not mad, however, because he's been like this for some time — and she's been helping keep his life running, primarily by being a surrogate parent for his teenage daughter Alice (Lukita Maxwell, Generation). A year back, Jimmy's wife Tia (Lilan Bowden, Murderville) passed away; saying that he's struggling to cope is an understatement. As overused and irritating as the dead-wife trope is — men can flounder all by themselves without a deceased spouse to blame — Shrinking thankfully unpacks the concept. It explores how Jimmy's all-or-nothing attitude has always been part of his persona, questions his idealised view of his marriage, and establishes that his faults weren't suddenly sparked by going through what nobody ever wants to. Co-scripting as well, Lawrence, Goldstein and Segel also ensure that Shrinking examines how loss affects more than just middle-aged white men unexpectedly without wives, courtesy of not just Alice but also Jimmy's colleague and Tia's best friend Gaby (Jessica Williams, Fantastic Beasts: The Secrets of Dumbledore). And, while never underplaying the existence-altering weight of grief, it spies how everyone is the sum of their best and worst experiences, including Jimmy and Gaby's boss Paul (Ford, The Call of the Wild), Liz, Jimmy's estranged pal Brian (Michael Urie, Younger) and Jimmy's patients. Shrinking isn't called Shrinking without capturing its therapists in action; add it to the pile of recent fare, such as The Patient and The Shrink Next Door, that jump on and off the couch. Shrinking's twist: after taking his Liz-interrupted evening as a wakeup call, and attempting to work through his mourning and be an attentive dad again, he decides to ignore ethics, get frank and shower his patients with tough truths. Tired of discussing their woes endlessly without seeing changes, and suffering from compassion fatigue, he makes drastic moves — threatening not to be Grace's (Heidi Gardner, Saturday Night Live) shrink any longer if she doesn't leave her abusive husband, for example, and taking new patient Sean (Luke Tennie, CSI: Vegas), a young war veteran with anger issues who'll soon be living in Jimmy's pool house, to box out his feelings in the ring. Both sweetness and melancholy linger in Shrinking as it finds as many ways as it can to layer in one of therapy's key takeaways: that working through everything that life throws your way, and also working on yourself in the process, is never simple. Talk reigns supreme, whether Jimmy is desperately trying to get back on Alice's good side, Alice is confiding in Paul instead, Paul makes what he says count, Gaby gets drawn deeper into Jimmy's dramas or Sean is endeavouring to move on from his military service while avoiding confronting its impact. An embracing, cosy, feel-good vibe radiates, too — in a series that's another hearty hug, as Ted Lasso is, but one that's sharper about the pain that everyone carries for their own multitude of reasons. Shrinking could've just gifted viewers Ford's second-ever regular small-screen role in his almost six-decade career — arriving swiftly after his first in Yellowstone prequel 1923, in fact — and been happy coasting on Ford's presence. He's unsurprisingly exceptional, and wanting more of his no-nonsense but soft-hearted veteran shrink if a second season eventuates springs exactly as expected going in. He's pitch-perfect as the show's resident grump, and at fleshing out the reasons why. He's fragile when diving into Paul's own troubles and regrets, warmly wise dispensing advice to Jimmy and Alice, and hilarious when he's getting blunt and also singing terrible tunes. And he's just one terrific component that makes Shrinking click, alongside knowing that being alive is constantly juggling an array of components and making the most of whatever you can. Check out the trailer for Shrinking below: Shrinking streams via Apple TV+ from Friday, January 27.
Kūrumac, the Japanese translation of Kirribilli sister cafe Cool Mac, has arrived in Marrickville serving up Japanese comfort food for breakfast and lunch. Business partners Eugene Leung and Dika Prianata have decorated their new inner west cafe with a colourful mural from local artist collective Ar-chive, which celebrates both old and new Japan by combining a traditional food stall with a vending machine selling gyoza, bonsai and sneakers. This melding of old and new is a carried throughout the rest of Kūrumac, too. "It's a modern space, but the food is home-cooking," explains Leung. Cooking the food is Cool Mac Chef Junichi Okamatsu, who's serving up twists on some of his favourite childhood dishes, such as the udon bowl, which was inspired by a dish from his home in Yatsushiro. The noodles sit in a hot tasty broth topped with wagyu beef and sesame, and are served with a side of crispy fried shrimp. It's not what you'd normally find on an inner west cafe's breakfast menu, but that's exactly what Kūrumac is all about. As Leung says, the team wants to make food that Japanese locals "would get served for breakfast by their parents". The spicy cod roe piped onto classic thick-cut Japanese white bread, topped with cheese and grilled, is another winner from the menu. For lunch, from 11am, you can grab something a little greener, such as the seared salmon, avocado and yuzu kosho — a spicy and citrusy condiment — salad. During Sydney's long hot days, the cafe has you sorted with loads of cooling Japanese drinks, including iced mugicha (a barley tea); green tea or hojicha (a roasted Japanese tea) milkshakes made with gelato from Newtown's MaPo; and Ume Burger's house-made sodas. Images: Kimberley Low
Few great things spring from being sent to boarding school, but Warwick Thornton's The New Boy is one of them. Decades have passed since the Kaytetye filmmaker was taught by Spanish monks at a remote missionary-style school after getting into trouble growing up in Alice Springs, but he now reflects upon the experience in the type of film that he's made his own within Australia's cinematic landscape: a deeply felt, stunningly shot, hauntingly acted and searingly impassioned tale of First Nations survival. When Thornton's feature debut Samson & Delilah arrived in 2009, it too pondered the subject. Winning the Cannes Film Festival's coveted Caméra d'Or for Best First Feature, it cemented Thornton as one of the country's best filmmakers working today. Sweet Country similarly wowed and blistered as it tackled the nation's long history of racial prejudice — and, premiering at the Venice International Film Festival, earned more international attention. With The New Boy, Cannes came calling again, then Sydney Film Festival's opening-night slot, and now a countrywide release during NAIDOC Week. "I'm Aboriginal — every day is survival for us," Thornton tells Concrete Playground. "Successions of governments have been trying to get rid of us for a very long time, through the last 200 years… So unpacking survival, and learning, and trying to work out what the fuck just happened, it's me. It's part of my life. It's what I do. And I've got a voice. I get money off the government to tell the government they're terrible. That's bizarre — that happens, and that's what I do." [caption id="attachment_908526" align="alignnone" width="1920"] Belinda Rolland © 2023/SFF.[/caption] The New Boy isn't autobiographical, but it always feels personal. Set in the 1940s as the Second World War rages abroad, it sees the film's namesake (newcomer Aswan Reid) get scooped up by outback law enforcement and delivered to a church-run orphanage, where his Indigenous culture and spirituality comes into conflict with Christianity. It's a story about forced conformity and assimilation, and fighting back however one can. It's history in a microcosm. It also teams Thornton with another Australian cinema icon: Cate Blanchett. "Rock 'n' roll! Aren't I very lucky! Isn't this amazing? Shit, Cate Blanchett's just called me and wants to make a movie — life's too short" — that's how Thornton reacted when two-time Oscar-winner and 2023 nominee (for Tár) gave him a call. "It's good for the ego, obviously. Then you go 'god, I've got to do something. I've got to come up with some brilliant idea right now that we can go and make while I've got her on the phone'. And obviously that doesn't happen. You slow down, and you take your time, and you're thoughtful about it. You don't just pitch any shit to Cate Blanchett, because she might go 'oh no, he's an idiot, that's a terrible idea'. So you've got to think about things, and plan some kind of attack on making yourself seem like you're really cool and you have lots of great ideas." Thornton did have something up his sleeve: an 18-year-old script inspired by those boarding school days, but featuring a priest. In the project's past life, French The Big Blue and The Professional actor Jean Reno had been in talks to star. Swapping the character to a nun gave Blanchett a part — which Thorton tells us about, alongside drawing from his own life, finding the next David Gulpilil in Reid, sharing tales of Indigenous survival with the world, balancing tragedy and hope, Adam Sandler movies and the full cinema experience. ON REWORKING AN OLD SCRIPT FOR CATE BLANCHETT "I hate writing. I think it's incredibly painful, and it takes me years. So if you do want to go down that process, well, we wouldn't be here having this conversation — I'd still be writing something. It takes a long time, and it's horrible. Writing is full of pain and angst — and you would rather go to the pub than actually write any words, because there's so much fear in a blank page, so much danger in it. And, so much you happiness as well, but I'm so scared of the blank page — I write with pen and paper, I don't own a computer, I don't know how to type. So you just stare at a blank page and go 'ohh this it's going to hurt'. Then, three years later, you come out of it and you've got something. Then it takes maybe another year to redraft it and get people's opinions. So remembering that I had that script kind of saved my arse, in a strange way, because I didn't want to go down another three-year process. I've got other scripts, but they just they they wouldn't be right for Cate, that I have been writing. So it was either that script or I write something new — and we wouldn't be here talking, I'd still be writing, if I was actually going to write something." ON SPARKING THE NEW BOY FROM EXPERIENCE "You use your experience in life to to get the foundations of what you think might be a good idea for a movie. I'm 52 years of age. I've lived, I've loved, I've died, I've cried, I've divorced, I've married. So you dwell on your own shit. I don't know if I'd be very good at writing a movie about a gecko because I've never been a gecko or goanna. So you just dwell on your existence, and that's where your foundations come from. I think all writers do that — nothing special to me. The reason why it took so long for it to be made, or to get to this point, was because it was actually a really bad script. [It was] pretty clear it wasn't working. Protagonist, antagonist, the arcs are all arse up — and it took someone like Cate to come along to empower me to fix it. But is there any writer who doesn't dwell on their own existence, and how they felt when someone said 'I don't love you anymore'? All that kind of shit? I'm sure every writer does that — it's kind of part and parcel of writing." ON SWAPPING A PRIEST FOR A NUN, BUT LEAVING THE OTHER CHARACTER DETAILS "That was very clear from Cate, because I thought 'well, we will have to do some some serious drafting to rebuild it to do it with the nun'. And she was very adamant — and, really, she's so bloody smart. I didn't see it. But she's seen it straight away: 'don't change the arc of of the character and what the character actually does'. So it's a nun having to do a priest's job and, obviously in that world, nuns can't do priest jobs. They're not allowed to actually do priest jobs. That created such such a great dynamic for for the character, and she was very clear about that. 'Don't go mucking, don't go fucking it up now Warwick! — because that stuff really, really works well for Sister Eileen'. It's like 'of course it does'. It it easier for me — I didn't have to write as much." ON CASTING DEBORAH MAILMAN AND WAYNE BLAIR "Deb and Wayne are really good friends. I shot The Sapphires for Wayne [which Blair directed] back in the day. And I shot Radiance for Rachel Perkins back in the mid 90s — crikey — one of Deb's first feature roles. So we've always been good friends, and I've always wanted to do something really focused, and I thought they were the best actors to be those characters. I told them that I was writing something and they're in it. And they were like 'bring it on, no worries'. So they knew. When it was the older draft, with the monk, I'd already cast them — I wanted them to play those roles even back then. So they were cast even before Cate." ON FINDING ASWAN REID "I was beguiled and freaked out. He looked perfect. He was exactly what the image in my head was of the New Boy. But with that comes a lot of fear because, first-time actors, children on set — they can do the first week, they do the first day, and then go 'I don't like this, I don't want do this anymore', and then just walk away. And you just can't make them do it. So it created more fear because he looked perfect. But that created a lot more fear about 'is the universe going to look after us, are we going to be okay?'. Because you're not casting just a child — you're casting the family. How's his mum and dad? Are they sensible human beings? Because they're going to be on set with us a lot as well. There's so many things come into play when you cast first-time actors, especially kids from communities where making a film is not necessarily that important to them. I think there's a lot of children in LA whose mothers tell them that this is the most important thing they're ever going to do, but for a kid from Kiwirrkurra — I don't know, is going and making a movie that important? I don't know. He had a great time. And he wants to make more movies now, which is fantastic. I think it was a year that we lost Gulpilil and we found Aswan. I think it's one of the most beautiful, strange worlds we live in." ON SHARING FILMS ABOUT INDIGENOUS SURVIVAL WITH THE WORLD "There's a hunger out there for Indigenous storytelling. We still run on a three-act structure — an arc of three acts, beginning, middle and end, which is, ironically, life: you're born, you live, you die. Everything works that way. So that we could transcend these kind of conversations, but from an Indigenous point of view — I think people are getting interested, because we used to make films, especially in Australia and actually in America as well, we made a lot of movies from the suburbs looking at the the mountains. And the fear and the darkness, and wild west and badlands, in a way. It was always from the veranda, from safety, that we would look out at that — and Australia did it a lot, and so did North America. Now people are interested in a different point of view — and that other point of view is from the mountains, from the forest, looking at the people sitting on the veranda. And from our point of view, which is from the badlands or the wild, but looking at and studying these people who are too afraid to come up to the veranda and meet us. [caption id="attachment_655044" align="alignnone" width="1920"] Sweet Country[/caption] That's the way Indigenous people make movies, in a way. That's our point of view. And I think people are interested in that, so that's why I think the films did quite well around the world. There's a duty of care — when we make stories, it's a very big duty of care about what we say and what we portray about who we are as Indigenous people. It's a big point, and there needs to be a lot of honesty from us about that. And I think people enjoy that and they feel that when they see our films." ON BALANCING TRAGEDY AND HOPE — AND MUSING ON FAITH Well, The New Boy does represent who we are and what happened to us being colonised — but, you know what, we're still here. So there's hope. We're still here. So, obviously, he is what happened to us. Christians came in. Colonisation came in. New laws came in, new rules, new regulations. We had to fit in. We lost a lot. But we're still here and we're gaining a lot now because our form of spirituality is evolving. It's not a bunch of commandments banged into a rock. We have to evolve, and we have to move with the times, and that's what we're doing. And so it is hope and it's survival. There's room for all, I guess is what I'm trying to say. I think the religions that actually believe that there's either their way or hell, and anybody who does not become part of conforming to what they think will burn — and there's only two two options, right or wrong — it's a very dangerous place. Actually, that kind of concept will die one day. That will actually kill itself because it won't move and ebb and flow, and it's not evolving properly." [caption id="attachment_861204" align="alignnone" width="1920"] Mark Rogers[/caption] ON WHAT MAKES A WARWICK THORNTON FILM — AND THE FULL CINEMA EXPERIENCE "All my films have Adam Sandler in it, and they go 'oh, it must be a Warwick Thornton film'. I reckon that'd be really good. It'd be really funny, and tragic. I like him. If you see Adam Sandler on the poster, or a film by Happy Madison Productions, you know what you're going to get — you know when you buy that ticket, you know what you're going to get, and so don't expect anything else and just enjoy it for how stupid it is. Life, cinema, has room for pure popcorn and milkshakes. And then it has room for red wine and biscuits. There's so much scope in the arts, and everyone has a right to have the most ridiculously stupid films to the most blinkered, depressing auteur crap — like what I make. There's room for it all. It's such a beautiful medium. You can go to a cinema and have a mindless laugh. Or you can go to the cinema and have, not go into a lecture, but be entertained but actually walk out with a lot more knowledge about humanity, and existence, and points of view from countries and cultures that you'd never have access to in real life — but you do, cinema gives you that access. So it's such a beautiful, special place." [caption id="attachment_861205" align="alignnone" width="1920"] Mark Rogers[/caption] ON JUMPING BETWEEN FICTION AND DOCUMENTARIES "Whatever it is, it's horses for courses — not all stories are documentaries, and not all stories are fiction and features. So you get to a point where you go 'I'm so over a crew of 200 and blowing ridiculous amounts of money, and having that minute frame-by-frame control'. And so I want to go with David Tranter, sound recordist, to just go into the bush and make a beautiful documentary about someone or something — and live around the campfire, and cook rice and curry on a campfire, and just really focus and become this nurturing little unit. Then, after I do that, I'm covered in mosquito bites and rashes, and probably about to lose a a toe because I stubbed it and then it got infected — and I go 'I want to go back to features, I want to go back to catering'. You get bored with one, and then the grass is always greener on the other side. At the moment, I'm obviously doing fiction and features — and the grass, the greener grass at the moment, is in documentary for me. And when I get there, I'll realise that the greener grass is in fiction." The New Boy opened in Australian cinemas on July 6. Read our review. The New Boy images: Ben King.
Sydney is filled with excellent live music venues, so standing out among the plethora of stellar spots can be tough. But the brains behind the city's latest large-scale music program have managed to make their mark by unlocking a completely underused cliffside venue for their venture: The Barracks Precinct in North Head. From Friday, September 9 till Sunday, October 9, you and your crew can experience incredible live shows just up the road from Manly CBD at Night at The Barracks. The music program is broad and includes much-loved artists such as Jessica Mauboy, Josh Pyke, Emma Donovan and The Putbacks, Something for Kate, Winston Surfshirt, The Rubens, parody tribute stars Björn Again and more. Plus, Sydney Dance Company will take to the stage in an impressive night of contemporary dance including a performance of its sell-out show Impermanence on Saturday, September 24. There'll be local food and beverage legends keeping you refreshed on site, as well as exclusive deals for Night at the Barracks guests at nearby restaurants. Make the most of your night in the north with a delicious dinner in Manly before a 20-minute walk to the venue. Or, take the shuttle bus direct to the digs from Manly Wharf and save your energy for grooving instead. Keen to catch a gig at this impressive venue? Night at The Barracks will take place from Friday, September 9 till Sunday, October 9. To see the full lineup and to book tickets, visit the website.
It's no secret that the last few years have seen the hospitality industry need make some swift changes to its modus operandi. Businesses had to adapt or run a very large risk of not making it through. Although this free fall-like state has surely been clear to all, Uber Eats has taken it a step further and surveyed hundreds of restaurant operators nationwide to co-produce Pulse Check: Restaurant Report 2022, a piece of analysis highlighting key areas of challenge and opportunity for the industry as it continues to manage the shockwaves brought upon by the pandemic. Interestingly, the data revealed a whopping 92% of restaurants remodelled their business in some way during lockdown. Of course, the industry took a lot of hits, but more than a few businesses have come out in better shape than they could've imagined. One such business is El Jannah, the widely loved — and continually expanding — charcoal chicken joint. Together with Uber Eats, we sat down to chat through the ins and outs of the hospitality industry with Brett Houldin, El Jannah's CEO. Our mission? To find out how he and his team work, what they focus on and why he thinks they've thrived during an obstacle-ridden time. Have a watch below, and read on for the low down. https://vimeo.com/756994014 AUTHENTICITY IS FRONT AND CENTRE Houldin puts authenticity front and centre — El Jannah does what it knows and does it well. (Some would even say it does it perfectly). Of course, some pivots were made — especially as orders via delivery services exploded — but the chicken aficionados held true to what customers love and expect in every visit, no reinvention in sight. How that was possible? Houldin reckons it's thanks to an unwillingness to compromise on "the food quality, the ingredients and the healthy attributes". THE EXPERIENCE Something else that relies on authenticity (and contributes greatly to a diner's experience) is an environment that's friendly and memorable. When expertly executed, this generates a deep loyalty in a customer base — an all too familiar situation where El Jannah's concerned. "[Our customers] treat it like an extension of their friends and family," Houldin shares. "They know people by name, they can tell you a lot about their last food occasion, their first experience. They want to tell their friends and family about what that looks like and how that felt. And I think that, in turn, brings a lot of people coming through." "CULT-LIKE BEHAVIOUR" What's certain is that El Jannah has created a dining experience (even when delivered to your home) that keeps people coming back. And without well-trained staff giving friendly, top-quality service, that probably wouldn't be achievable. "That cult-like behaviour is growing with us as we expand into more locations across Sydney and Melbourne," says Houldin. "That's what's made us stand out." All this chat put you in the mood for El Jannah chicken? Head to the website to find a location near you, or place your order via Uber Eats. Top image: Jarrad Shaw
Any frequent travellers will tell you that the friendships you develop on the road can be some of the most life altering. So imagine, as a budding painter venturing out into the world, you encountered and befriended some of the artists who were to become the most famous of their generation. That's the exact scenario Australian painter John Russell found himself in while living and studying in London and Paris in the 1880s and 90s. As well as developing a close friendship with Vincent van Gogh, Russell also taught Henri Matisse colour theory, dined with Claude Monet and — amazingly — was even temporarily stranded at sea with Auguste Rodin. It's quite the crew — and one in which Russell found his place as a French Impressionist. Now, the first major survey of Russell's work in 40 years is at the Art Gallery of NSW. Open now and on view until Sunday, November 11, John Russell: Australia's French Impressionist showcases more than 100 of the 'lost' impressionist's paintings, drawings and watercolours drawn from major international and Australian art institutions and private collections. Fittingly, these are accompanied by works of his contemporaries: Claude Monet, Auguste Rodin, Henri Matisse and Vincent van Gogh. It was within this creative circle that exhibition curator Wayne Tunnicliffe says Russell "found his artistic voice". Russell was one of our first truly international artists, but — compared to his contemporaries — largely flew under the art radar. So don't worry if you hadn't yet heard of him. This exhibition offers Sydneysiders an opportunity to engage directly with his time spent abroad, and his subsequent evolution as an artist, and they follow Russell's journey through impressionism and experimentation with pure colour, right through to his later vibrant watercolours. Highlights include Russell's 1886 portrait of Vincent van Gogh, as well as six of his blossom paintings from 1887, which are said to have inspired the famous Dutch painter. To accompany the exhibition, AGNSW will also host a number of guided tours and talks to further delve into Russell's works and the themes explored in them. John Russell: Australia's French Impressionist will be held at the AGNSW from July 21 to November 11, 2018. Tickets are $20 per person ($16 for members) and can be purchased via the AGNSW website. We're also giving away ten double passes to the exhibition. To enter, see details below. [competition]679817[/competition] Images: John Russell, Mrs Russell Among the Flowers in the Garden of Goulphar, Belle-Île, 1907; John Russell, Rough Sea, Morestil, c1900; John Russell, The Garden, Longpré-les-Corps-Saints, 1887.
Barangaroo's a'Mare has long sat at the polished end of Sydney's Italian dining scene, all tableside theatre, crisp linens and a price point to match. Now, the Pavonis are opening things up. From April 22, the lauded restaurant will expand into a three-part venue, adding a new upstairs pizzeria and aperitivo bar, offering a more accessible way into one of the city's most pedigree-backed kitchens. If you know the names behind it, the move tracks. Alessandro and Anna Pavoni, the duo responsible for Ormeggio at The Spit, Cibaria Manly and Postino Osteria, have built a reputation on detail-driven Italian dining. Since opening in 2020, a'Mare has been their flagship: refined, exacting and firmly in 'special-occasion' territory. Upstairs, Pizza'Mare is shifting the dial. It's the group's first pizzeria, taking over the mezzanine with a more relaxed, drop-in format. The same produce-led philosophy, just expressed through pizza, pasta and antipasti instead of full-scale dining. The pizzas are built on a pre-fermented biga dough for a lighter, more digestible base, cooked in a Modena-imported MAM oven. Pizzaiolo Paolo Lacarpia, who has spun pizzas across Puglia and Tuscany, leads the offering under executive chef Giuseppe Fuzio. The menu leans clean and classic, with rigatoni cacio e pepe, punchy pennette arrabbiata and antipasti like Sydney rock oysters and octopus alla Luciana, alongside a tight pizza list that moves from traditional to downright luxurious. That includes the a'Marinara, topped with yellowfin tuna crudo, stracciatella and lemon zest (with optional caviar if you want to really get down). It's this balance that defines the new offering; familiar, but still unmistakably a'Mare. Next door, Vista'Mare is all about aperitivo culture, with spritzes, negronis and Venetian-style cicchetti designed for grazing by the harbour. There's also a rare Campari Seltz machine, one of only a handful worldwide, adding a direct line to Milanese drinking culture by way of frothy, ice-cold sippers. Don't fret though, none of this replaces the original experience. Downstairs, the a'Mare dining room continues as is, with its signature tableside service and dishes like trofie al pesto and cotoletta Milanese firmly leading the menu. Instead, the expansion reframes the experience. While a'Mare still sits comfortably in the anniversary and birthday camp, it now stretches across multiple formats, from a quick midweek pizza upstairs to Friday arvo knock-offs, and the full dining room experience below. For diners, this a new way in: the same kitchen, the same attention to detail, just without committing to the full-scale affair. Pizza'Mare and Vista'Mare are open now, and reservations can be made at the website here.
Maybe it was a breakfast staple, sipped as a chaser after a couple of pieces of toast. Perhaps heading home from school, scooping as many spoonfuls as you could into a tall glass of milk and watching whatever was on the ABC was a dedicated part of your daily routine. Either way, if you grew up in Australia, odds are that Milo played a significant role in your childhood — cold, hot, stirred in, left sitting on top or however else you like. Milo makes everything better. Still indulging the odd glass, piled high with that delicious choc-malt powder, now you're an adult? Have a soft spot for a warm Milo on a freezing day? You're not alone. Come the end of July, here's another way to get your Milo fix: via the new, soon-to-release Milo KitKats. Yes, it's a case of one childhood fave joining forces with another — and trust KitKat, the brand known for oh-so-many wild and delightful flavours in Japan (cough drop KitKats, anyone?) to be behind it. The Milo KitKats will indeed combine the former's choc-malt goodness, via a fudge in fact, with the latter's wafers and chocolates. Three varieties are on their way, too: a regular four-finger KitKat filled with Milo, a KitKat Chunky filled with Milo (both retailing at $2 each), and a big KitKat block also packed with Milo ($5). If you can remember the old Milo chocolates that were sold up until the early 2000s — which were basically condensed bars of Milo covered in chocolate — then your tastebuds are probably already watering. For Milo and KitKat lovers that simply can't wait, you can pre-order the new collaboration online now, too. Obviously, you know what to drink with them: a regular ol' Milo, of course, with as much or as little of the good stuff as you prefer. KitKat's Milo bars will hit store shelves from late July, retailing at $2 per bar and $5 per block — or you can pre-order them online in advance.
Joining the slate of hidden or underground speakeasies that are becoming a staple of Sydney's casual drinking scene is Circular Quay's new wine bar paying homage to its Italian heritage. Bar Messenger is an elegant establishment celebrating the history of Australian drops in an art deco-inspired venue. Hidden underneath a sculpture created by Australian artist Raynor Hoff that depicts Mercury — the Roman messenger god — is where you'll find the entrance (or just below Transport House for those who do not fancy undertaking a scavenger hunt to locate the artwork). In order to gain entry you'll have to follow the instructions printed beside the doorway-sized painting bearing the venue's name. Inside, you'll be met with stylish interiors designed by DAARC's Simone Barr, Brisbane-based architect and interior designer. Seating 120, the sophisticated wine bar features a warm earthy colour palette with splashes of green throughout, paired with eclectic light fixtures. Bar Messenger is home to an extensive wine list starring some recent bangers and a selection dedicated to 'Mercury's Marvels', featuring 2018 Rockford Basket Press Shiraz and 2022 Grosset Polish Hill Reisling which the bar's team deem to be worthy of the gods. The list extends beyond Australian wines, featuring international drops like the Italian Bianca Vigna Prosecco and Veuve Yellow Label Brut Reserve from France, alongside a selection of spirits, classic cocktails and various non-alcoholic beverages. For bites, the toasties will immediately draw your attention — take your pick from the grilled cheese, the mortadella or the black forest ham. You'll also find a variety of share plates to choose from. Head over to 10 Phillip St 3pm-11pm on Wednesday, Thursday and Saturday, or 12pm-11pm on Friday, to check out the hidden gem for yourself.
In A Complete Unknown, Timothée Chalamet stepped into Bob Dylan's shoes in the 60s and charted his rise to fame. A trip to the past and aspiring to greatness is also on the actor's agenda in his next film. Instead of folk music, Marty Supreme's eponymous figure is passionate about ping-pong — and he's certain that it's going to be the next big thing. "I know it's hard to believe, but I'm telling you: this game, it fills stadiums overseas. And it's only a matter of time before I'm staring at you from the cover of a Wheaties box," Marty advises in the A24 movie's just-dropped teaser trailer. Welcome to your first sneak peek at the second of two features that are filling a very specific niche: 2025 releases (in the US, at least) directed by a Safdie brother solo and focusing on sports. Josh Safdie helms Marty Supreme. His Daddy Longlegs, Lenny Cooke, Heaven Knows What, Good Time and Uncut Gems co-directing sibling Bennie has The Smashing Machine on the way, starring Dwayne Johnson's (Red One) as IRL MMA fighter Mark Kerr. Could 2025 nominee Chalamet and Johnson find themselves going head to head come awards season for different Safdie films? That's firmly a possibility. As Marty Supreme's Marty Mauser, Chalamet's task (or obligation, as his character puts it) is chasing the dream that is ping-pong success — for himself and for the game his loves, which no one else seems convinced of in the 50s-set flick's first sneak peek. Gwyneth Paltrow (The Politician) pops up in the Marty Supreme trailer as a famous movie star, while the eclectic cast also includes fellow actors Fran Drescher (A Tooth Fairy Tale) and Odessa A'zion (Until Dawn), rap star Tyler, The Creator, filmmaker Abel Ferrara (Turn in the Wound) and magician Penn Jillette. In America, Chalamet's latest film is a Christmas treat, releasing on Thursday, December 25. That's two years in a row that the merriest day of the year and Chalamet have gone hand in hand in the US, as A Complete Unknown also dropped on the same date. When Marty Supreme will hit cinemas Down Under hasn't yet been revealed. Josh Safdie co-wrote the movie with Heaven Knows What, Good Time and Uncut Gems co-screenwriter Ronald Bronstein, and helms a feature on his lonesome for the first time since 2008's The Pleasure of Being Robbed. Check out the first teaser trailer for Marty Supreme below: Marty Supreme releases in US cinemas on Thursday, December 25, 2025 — we'll update you on Down Under release details when they're announced.
Manning Cartell is one of Sydney's best boutiques for shopping ethically made, contemporary womenswear. Founded in 2005 by three sisters, the label is well-loved for its sculptural silhouettes, playful construction and collections that shake things up every season. Their signature cocktail dresses typically cost a pretty penny, but savvy shoppers can score a bargain at the annual warehouse sale this November. The annual warehouse sale will be held from 20 November 2025 – 23 November 2025 at Manning Cartell's Marrickville HQ, which will be converted into a treasure trove of rare samples, never-before-seen styles and past season grails. Expect price slashes of up to 80%, with tops and bottoms starting at $40. Dresses kick off at $90 — a steal compared to the usual $300–800 price tag. Racks are restocked daily, so there'll be plenty of gems to browse anytime. It's worth an after-work trip with the girls on the 20th and 21st, when the sale runs until 8pm. Weekend shoppers should get in early: closing time is 5pm on Saturday and 4pm on Sunday. Image supplied
Combining the holy trinity of music, performance and film together under one roof, Jumpboard Productions presents Live Live Cinema, a showcase of talent paired with a screening of Francis Ford Coppola’s 1963 horror film Dementia 13 and Herk Harvey’s 1962 cult classic, Carnival of Souls. Brought to life by New Zealand composer Leon Radojkovic, with multiple instrumentalists, actors and a foley artist, the films will be reinterpreted and a new, live soundtrack developed. To give some background, these films are usually produced with an ensemble performing the soundtrack; however, Live Live Cinema is producing all audio, dialogue and sound effects live. The result? An all immersive audiovisual environment that celebrates film, music and live performance all at once.
Cronulla may not have many cosy, dimly lit bars suited to wintry nights — but it really only needs one. This cosy hole-in-the-wall is famous for its whisky apple cocktail: fresh-squeezed granny smiths with a shot of single malt. Also behind the bar are locally sourced wines and a generous selection of craft brews. Then there's the hearty food offering, which pairs nicely with the extensive menu of dark spirits — think loaded fries, crispy pork belly burgers and popcorn shrimp. The Blind Bear has smoky, under-the-table mafia vibes, with red leather booths made from old palettes and hazy lighting. Plus, there's always some variety of mountain folk music playing. Image: Chris Jamieson
The Upside Down has arrived in Australia, specifically Sydney, again. When season four of Stranger Things dropped in 2022, a rift to the show's netherworld popped up in Bondi. Three years later, as everyone waits for the Netflix favourite's fifth and final season to stream sometime before 2025 is out, Stranger Things: The Experience has brought a whole host of Stranger Things nods this way — and entering its eerie realm is indeed one of them. Stranger Things: The Experience is making its Aussie debut at Luna Park Sydney courtesy of Vivid Sydney's 2025 program. Between Friday, May 23–Saturday, June 14, wandering into the venue's Crystal Palace means visiting 1986 — and also Hawkins, Indiana, of course — in an interactive stint of Stranger Things-loving fun. Locations from the show are part of the setup, as is a supernatural mystery. And yes, you can expect to feel nostalgic, even if you don't have your own memories of the 80s because you hadn't been born yet. Stranger Things: The Experience isn't just about exploring recreations of settings that you've seen while watching Eleven (Millie Bobby Brown, The Electric State) and the gang, however. The installation features its own storyline, where playing along means trying to save Hawkins from yet another threat, alongside making a date with the Upside Down. Christmas lights in the Byers' living room? Tick. Vecna? Tick again. Scoops Ahoy serving up banana splits and Surfer Boy Pizza offering slices? Keep ticking. The latter pair are found at Mix-Tape, an 80s-themed mall experience — as is the Palace Arcade, where MADMAX's high score begs to be bested, plus the themed cocktail-slinging Upside Bar. It's also where you can grab limited-edition merchandise. This trip into the TV series created by the Duffer Brothers was designed and developed with the duo. In its first-ever journey to Australia — after initially opening in New York in 2022, then enjoying stops in Los Angeles, San Francisco, Atlanta, Seattle, Toronto, London, Paris and São Paulo since — it falls into the Ideas portion of Vivid's lineup. Luna Park Sydney and immersive experiences based on Netflix shows keep going hand in hand of late; since the end of 2024, the Harbour City tourist attraction has been hosting Squid Game: The Experience, letting small-screen fans dive into another streaming smash. At the time of writing, playing Red Light, Green Light with Young-hee in Luna Park's big top is on the agenda until late June, which is also when the South Korean show's third and final season premieres. Stranger Things: The Experience runs at Luna Park Sydney, 1 Olympic Drive, Milsons Point, Sydney from Friday, May 23–Saturday, June 14,2025. For more information, head to the Luna Park Sydney website. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
If you want or need anything even vaguely connected to tea, there's a pretty strong chance this place will have it. From tea leaves and tea cups to strainers and vintage-style tea storage tins, it's all here. After starting as a small shop in Paddington in Sydney's east over 20 years ago, The Tea Centre brand has grown to have 12 stores across Australia's eastern states, however staff here have remained attentive, knowledgeable and super friendly. All tea is ethically sourced and, once you've found the blend you like, their online store is a dream to use to buy more from the comfort of home.
Having launched in 1992, Simon Johnson has been selling quality ingredients sourced from the world's best artisan producers to chefs and home cooks for nigh on thirty years. But this old dog still has a new trick or two up its sleeve. Forced to adapt during the COVID-19 pandemic, after seeing its usual restaurant and hotel customers drop off because of the closures, Simon Johnson is opening a warehouse clearance store — which is great news for you. The providore market is transforming its Alexandria shop into the SJ Outlet Store, which will be a permanent direct-to-the-public clearance shop with discounted bulk and wholesale items, as well as its usual retail offering. And the discounts it's offering are, frankly, wild. When the Ralph Street store relaunches this Friday, May 8, it'll be offering 35–90 percent off everything from caviar and fancy condiments to cheese. Ninety percent off cheese, folks. Cheese. As well as cheese, the store will have its usual array of chocolates, honey, coffee, crackers, cooking equipment and so much more. While the hefty discounts do only apply in-store, Simon Johnson is also offering a delivery service to homes across Sydney metro. Find the SJ Outlet Store at 24A Ralph Street, Alexandria from 9am–5pm Monday–Saturday. Updated June 16, 2020.
So many movies, so little time. That's film festival life, including right now in Sydney. The 2023 Sydney Film Festival is happening at the moment, showcasing hundreds of movies in cinemas across the city — and, if you haven't been able to fit all your viewing into its 12-day run, you'll now have four extra days to help. As it usually does, SFF is hosting a Back By Popular Demand program in the days after the fest's official close. In 2023, those bonus screenings will hit Dendy Newtown and Palace Norton Street between Monday, June 19–Thursday, June 22. No, you're not done spending your nights in darkened rooms just yet. There's 13 films to pick from and, as the name makes plain, they're all flicks that've been proving a hit with crowds so far. That includes straight-from-Cannes titles May December, starring Natalie Portman (Thor: Love and Thunder) and Julianne Moore (Sharper); Perfect Days, with German filmmaker Wim Wenders (Submergence) heading to Japan; and Anatomy of a Fall, a drama about an author (Sandra Hüller, Toni Erdmann) accused of her husband's murder, which just won French director Justine Triet (Sibyl) the Palme d'Or. Also on the list: whistleblower docudrama Reality, starring Euphoria and The White Lotus' Sydney Sweeney; the obviously film-loving I Like Movies; environmentalist tale How to Blow Up a Pipeline; and kaijus via Shin Ultraman, which springs from the creators of Shin Godzilla and Neon Genesis Evangelion. Or, there's Smoke Sauna Sisterhood, a documentary about an Estonian log-cabin sauna; fellow doco A Storm Foretold, focusing on Donald Trump's former adviser Roger Stone; and Beyond Utopia, about a family of five trying to escape from North Korea. Plus, Scrapper won the Sundance Grand Jury Prize (World Cinema Dramatic), Riceboy Sleeps follows a Korean single mother and her son as they start a new life in Canada in the 90s, and Sunflower spins a coming-of-age tale in the Melbourne suburbs. Some films have multiple sessions, while others are returning for just one — but, either way, your time at SFF for this year definitely isn't over yet. Sydney Film Festival's 2023 Back By Popular Demand bonus screenings hit Dendy Newtown and Palace Norton Street between Monday, June 19–Thursday, June 22. Sydney Film Festival 2023 runs from Wednesday, June 7–Sunday, June 18 at various Sydney cinemas — head to the festival website for further information and tickets.
Throw us Sydneysiders a bit of sunshine and we'll take just about any inside activity to the great outdoors. Open-air moviegoing, however, is a clear favourite. Each year we inevitably see our favourite outdoor cinemas return for the summer and a couple of newbies pop up too. From films overlooking Sydney Harbour to movies nestled in the Hills, these cinemas showcase the best new releases and cult favourites under the stars. So pack a snack basket of wine and cheese mandatory, some Aeroguard and get your butt on a picnic rug for the evening. It's a perfect date idea or a great way to spend an evening with mates. MOONLIGHT CINEMA, CENTENNIAL PARK Cinephiles, picnic-lovers and everyone in between, rejoice — Moonlight Cinema is back for another round. Kicking off on the first day of summer (how fitting) in Sydney's Centennial Park, this year's setup boasts all the regular features that make this one of the country's most popular summer events. Big screen shimmering beneath the stars? Check. Food trucks serving the ultimate movie munchies? Check. Letting super-organised patrons BYO their own snacks? Check. A huge lineup of new releases and cult classics? You betcha. Expect all the big summer releases, like sci-fi thriller Passengers, the much-anticipated La La Land with Emma Stone and Ryan Gosling, and Lion, based on the true story of Saroo Brierley who found his birth mother in India via Google Earth after 25 years of separation. Naturally, they'll also be playing Fantastic Beasts and Where to Find Them (which was released today) as well as the yet-to-be-released Star Wars: Rogue One and game-turned-film Assassins Creed. As always, they'll also throw in a few cult favourites — this year it's Grease and Back to the Future — and some Doggie Nights, which will kick off with The Secret Life of Pets. When? December 1, 2016 – April 2, 2017. SYDNEY HILLS OUTDOOR CINEMA, CASTLE HILL Running for a month from January 12 to February 12 at the Castle Hill Showground, this al fresco event promises summertime cinema at its best. The 20-strong film program — which will show on Thursday, Friday, Saturday and Sunday nights — will cover both new releases and classics, across all kinds of genres. The season will kick off with the Michael Keaton-starring The Founder followed by a screening of Fantastic Beasts and Where to Find Them the next night, and finish up with WWII film Allied, which stars Brad Pitt and Marion Cotillard. But, really, the big screen stuff is just a tiny part of what this pop-up event has in store. Most importantly, Bilpin Cider is on drinks duty, with their fully licensed Garden Bar set to serve an assortment of summer-inspired cocktails, local wine, French bubbly, and the label's own collection of ciders. Meanwhile, a pop-up by local Dural café Wolfe & Co. will be taking care of those movie snacks, stepping beyond your usual popcorn selection to offer the likes of prawn cocktail rolls and beef brisket burgers. There's even a range of cheese and antipasto boards, for anyone wanting to really ace that date night situation. When? January 12 – February 12, 2017. ST GEORGE OPENAIR CINEMA, MRS MACQUARIES POINT The St George Openair Cinema is one of Sydney's favourite (and most dramatically panoramic) outdoor movie events. This year's a 39-night season, running between January 7 and February 17, and featuring 20 premieres and preview screenings and a selection of 2017 Oscar contenders. After kicking off with Lion, the cinema will screen Jackie, Manchester by the Sea, Loving, Gold, Hidden Figures and the long-awaited sequel T2 Trainspotting. This summer's anticipated new releases are on the bill too, including La La Land, Why Him?, A United Kingdom and Passengers, as well as 2016 highlights like Nocturnal Animals, Arrival, The Founder, Allied, Fantastic Beasts and Where to Find Them and Rogue One: A Star Wars Story. Plus, on Australia Day, you can catch a preview of David Stratton's Stories of Australian Cinema. More than 1500 patrons per evening are expected to flock to Mrs Macquaries Point adjacent to Royal Botanic Gardens, so get your tickets locked down ASAP. When? January 7 – February 17, 2017. BEN & JERRY'S OPENAIR CINEMA, UNIVERSITY OF SYDNEY Last year, Sydney's inner west got in on the openair cinema action, with Ben & Jerry's Openair Cinema opening their very first inner west cinema, adding another location to their free ice cream-loving lineup of Bondi, Brisbane, Gold Coast, Melbourne, Canberra, Adelaide and Perth. And they're back for 2016. Setting up on the lawns of Cadigal Green at the University of Sydney, Ben & Jerry's Openair Cinema shows new releases and cult classics including Hollywood blockbusters Inferno, Doctor Strange, Hacksaw Ridge, The Accountant and Arrival, comedies Bad Santa 2 and War on Everyone, Oscar contenders The Light Between Oceans and Nocturnal Animals, and controversial Cannes feature The Neon Demon. The team are keeping their tried and true formula intact — live music and free ice cream nights. Local artists will hit the stage before the film for cruisy sets, including Nic Cassey, The Runaway Horses and Naomi Sequeira. There'll also be a fully-licensed bar and gourmet food stands. You can also hire deckchairs, beanbags and blankets, or go all in for a VIP Star Lounge ticket with lounger, a blanket, seat side service and a glass of wine. When? November 25 – December 12, 2016. SUNSET CINEMA, NORTH SYDNEY Returning to North Sydney Oval, Sunset Cinema kicks off on Thursday, January 19, before running Wednesdays through Saturdays until March 18. The program skews towards more recent films including Captain Fantastic, The Magnificent Seven, Bridget Jones's Baby and The Girl on the Train, although they have squeezed one retro title in there: Dirty Dancing. They've also put together a top-notch food and beverage offering, in order to keep your stomach from grumbling during the film. They'll set up a snack bar and the site will have a fully licensed bar, serving 4 Pines craft beers and MadFish wines. When? January 19 – March 18, 2017. [caption id="attachment_603915" align="alignnone" width="1280"] Huw Lambert/Luchetti Krelle.[/caption] SKYLINE DRIVE-IN CINEMA, BLACKTOWN Dress in your best '60s get-up and step back in time at one of the only drive-ins left in Sydney. With a recently refurbished Happy Days-esque diner (designed by Luchetti Krelle) offering classic snacks like hot chips, ice creams and frozen cokes, and a pub down the road, you better not do anything more than hold hands with your sweetheart otherwise you'll ruin the schmaltz of the experience. There are two opposing screens which show double features nightly. When? All year-round.
In our own ways, we all fill our homes with interesting items. That's what galleries and museums obviously do, too. Imagine what must sit in their collections — the things they can't always display, and often don't, but are worth holding onto for an array of reasons. Actually, hit up Sydney's Powerhouse Museum until Sunday, February 4, 2024 and you'll no longer simply have to wonder. The Ultimo venue's latest huge exhibition is 1001 Remarkable Objects. That title is indeed descriptive, with the site's curators, led by curatorium chair Leo Schofield AM, diving into its vast store of pieces. Showcasing 1001 items might sound hefty, but there's a whopping 500,000 in the full collection, making those selections tricky work. Free to attend, this exhibition spans a wide variety of objects — celebrity-worn outfits, mousetrap-making machines, ceramic peacock and more. Four highlights were all once donned by someone, well-known names and samurais alike. Kylie Minogue's Sydney 2000 Olympics 'showgirl' costume is on display, as is Nicole Kidman's 'pink diamonds' Moulin Rouge! dress and, still on Baz Luhrmann, the 'fruity mambo' costumes from Strictly Ballroom the Musical. Or, you can peer at an Edo-period samurai warrior's armour. Featuring pieces that've never been shown before, and filling 25 rooms, Schofield's selections also cover the only surviving fragment of the Lockheed Altair aircraft Lady Southern Cross that Sir Charles Kingsford Smith flew in 1935 on his final flight, that 1.5-metre-tall peacock from 1870s, a Detroit Electric car made in 1917 and part of the original transatlantic cable from 1858. And, there's more than 100 pieces of jewellery, including mourning pieces crafted from human hair — plus a focus on glass, as gleaming through French and Venetian examples from the 1800 and 1900s, plus Australian and international glass artworks. Images: Zan Wimberley.
If you've ever wondered how Nicole Kidman would handle a PR scandal, Optics has the answer. Actors crossing boundaries, sports stars behaving badly, wellness entrepreneurs with little regard for their employees' wellbeing: the ABC's new satirical comedy is filled with crises across its six-episode first season, and they all require a woman sporting one of Australia's most-famous names to help smooth things over. Of course, the Nicole Kidman, star of Babygirl, Expats, The Perfect Couple, A Family Affair, Spellbound and Special Ops: Lioness in the past year alone — and plenty more since her BMX Bandits and Bush Christmas days in the early 80s — isn't at the heart of the series. Rather, Optics co-creator, co-writer and co-lead Jenna Owen plays another Nicole Kidman. Alongside Vic Zerbst's Greta Goldman, the show's Nic has big dreams and ambition to burn; however, the Gen Z duo aren't being given their shot at PR firm Fritz & Randell when Optics begins. By the time that the series' first episode is over, though, the office's youngest employees are running the place — after a death in the business, plus oblivious veteran Ian Randell (The Chaser's Charles Firth), son of one of the company's founders, being passed over for fresh faces. With his leadership choice, owner Bobby Bahl (Claude Jabbour, Last King of the Cross) is responsible for a bit of spin himself, but Nicole and Greta are determined to make their mark in the gig. That's the Optics setup, as Fritz & Randell's two new head honchos also navigate airlines chaos, a major telco outage and a publicity stunt gone wrong. Friends for over a decade, and creative partners as Freudian Nip, Owen and Zerbst's shared resume boasts content for Comedy Central and The Feed, collaborating with Firth on The Chaser's War on 2020, popping up as Asgardians in Thor: Love and Thunder, and penning and leading 2024 festive flick Nugget Is Dead: A Christmas Story — alongside Owen's acting credits in Puberty Blues, Squinters, Eden, Joe vs Carole, Wellmania, Queen of Oz and Mother and Son, and Zerbst's voice work on 100% Wolf: The Book of Hath. A show like Optics was always the dream, they tell Concrete Playground. Various stops along their path helped inspire the series, which Firth is also behind, including the trio's intergenerational banter when parodying a year no one wants to remember, plus taking cues for Nicole and Greta from characters from Owen and Zerbst's time at SBS. "They're very much inspired by characters we had been working on at The Feed at SBS," explains Zerbst. "They were more government kind of girls who try to rebrand strategies around different crises — how to rebrand a company after there's been the destruction of a sacred site or how to rebrand Australia as a nation after there's bad publicity. So we always had interests in characters who are commentating on the media circuit and the news stories, and finding creative ways to resell that back to the audience." And Nicole Kidman? "In terms of the names of the characters, I mean there was just a moment, I think it was Jen being like 'I want my character to be called Nicole Kidman' — and we laughed and laughed. And we're like 'we'll change it when it's no longer funny'. And it never stopped being funny, so we were like 'it stays, it absolutely stays'. Now it's here and it's iconic," Zerbst continues. "It stays. I think it's just the optics of being named Nicole Kidman when you're working in something media-facing. And also being someone that's desperately trying — we just kept laughing, we were like 'imagine being desperately trying to make a name for yourself, but your name is already a name of itself'. And we just thought that was a really hilarious foil to this girl that is so desperate, clearly, for attention and status," notes Owen. "So that is the story of that. It's just funny. And I would love to be friends with the real Nicole Kidman." "We're peppering it in for a Nicole Kidman cameo one day. We just need to get her to watch it and go 'that's funny'," says Zerbst. "Get her on board? Absolutely," adds Owen. The IRL Kidman mightn't make an appearance in Optics so far, but the guest cast is stacked: Grey's Anatomy's Kate Walsh ("all of her choices were just total improvisation — we learned so much from her in that capacity," advises Owen) and Furiosa: A Mad Max Saga's Josh Helman ("literally Charles Firth went to see Death of a Salesman and saw him play the son, and he was like 'this is the most-amazing actor'," Zerbst notes) for starters, plus also everyone from Nakkiah Lui (Preppers) and Nash Edgerton (Wolf Like Me) to Rhys Muldoon (Bay of Fires) and Craig Reucassel as well. The scandals faced by Owen, Zerbst, Firth and their impressive list of co-stars — Belinda Giblin (Home and Away) also plays the firm's Executive Assistant and Bali Padda (Over and Out) is Ian's loyal offsider — in Optics should all sound familiar. If they feel like they've been ripped from recent headlines, that's down to the cyclical nature of many of the crises covered, whether footballers are making regrettable decisions at the end of the season, the secrets of Hollywood stars are being exposed or big-name companies relied upon by many are stuffing up. It's also a testament to the show's spot-on satire and savvy choices. Optics is smart and astute — and very funny — about the PR strategies deployed as much as the scenarios its skewering, the publicity-literate nature of today's audiences, and changing workplace dynamics and intergenerational conflict, too. We also chatted with Owen and Zerbst about all of the above. On How Much Time Zerbst and Owen Have Spent Digging Into IRL PR Crises Vic: "It's been mostly when we were writing the show. We've been writing the show over a three-year period, and so we're always kind of across all the little scandals that rear their heads. What we've realised is a lot of patterns emerge in the types of scandals that come up. So we ended up writing an episode that was very much inspired by the Qantas Chairman's Lounge, and we wrote an episode about that, and it just so happened that there was all this news about the Qantas Chairman's Lounge after the episodes were already written. So there's certain things, certain bastions of power, that always have news filtering around them. So we realised that those were the best kind of scandals to dig into." Jenna: "It's truly amazing because, I would hope that people, on top of people loving it, they also go 'wow, geniuses, incredible, never been done before' — because it truly has been lucky, in the sense that this show was written three years ago or has been in the pipeline for a long time. And the resurgence of how many scandals that we were writing three years ago and the way in which they reemerged is actually so comical to us, because it feels like the best publicity for the show. But everything, everything in the show, has reared its head again — if it's not the same scandal re-emerging because someone's jumped on a PR circuit and is doing podcasts, like what's happening with Armie Hammer right now. He's coming out and telling his side, which is making all kinds of new content, which is hilarious." Vic: "Or even the Matilda Djerf scandal, with Djerf Avenue, that was very much of interest to us. The idea of the female CEO or female girlboss going down — there's just so many peaks and troughs of personal identity and branding. Even going back in time, and watching the Martha Stewart documentary and seeing anytime anyone has power, how there is a rise and fall, and scandals ensue when you're dealing with big money, big corporations and big personal branding." On the Timeliness of Some of Optics' Episodes Being Purely Coincidental — Such as Its AFL Scandal Jenna: "Absolutely. The amount of people that sent me, just because they knew it was of interest — we have a few friends that have been in and around the AFL machine — the amount of people that sent me the apology videos that footballers had done, that was just actually insane how much it mimicked what we had written. And I think it makes sense, because did do our research, we did speak to people who are on our side of the business in the show — as in people from crisis management — and we did speak to people who have been involved in the institutions that we're critiquing. So it makes sense, but I think we just never really understood just how cyclical this thing was going to be, and just how much it will re-emerge and re-form. And it's exhausting. I mean literally what's happening with Justin Baldoni and Blake Lively right now is incredible. If you said that we were going to have another metric of the Amber Heard and Johnny Depp situation in its new and evolved form …" Vic: "And even the conversation being tilted towards the idea of public relations or crisis management people, hiring those people. Public relations crisis management workers, what they do, that's become a conversation. It's been really insane timing for the show." On Writing the Show in Highly PR-Literate Times, for an Audience Familiar Not Just with the Type of Crises Featured But Also the Spin Used Jenna: "What I think we fought hard for in this show was arguing, in our rewrites and in our discussions with network, we really did say 'listen, this is how smart audiences are now'. And I think that really helped us. I think that it's a show that doesn't over-explain things, that moves very quickly. Our characters speak very quickly. We implore the audience to just absolutely, we drop them into the world, we don't give them any real setup and exposition. I, personally, love the literacy of the audience. I think Vic and I, in our whole careers, have always assumed that the audience has a pretty high literacy of how media works and deceives you. We have always operated like and written like that. I think with this show, what is amazing is that the This Ends with Us conversation is even a new level, where the entire conversation is almost about how these parties outside of the individuals are operating and manufacturing a story. That's a level above the Amber Heard–Johnny Depp stuff, where that was more of the deep dive of what was going on. This is now fully in the public domain, and upfront in the story. But yeah, we loved that. Because nobody, as a writer and as a performer, you don't want to over-explain things. You don't want to have to hold the audience by the hand. And I don't think that we've done that for one second in this show, and that makes it really enjoyable to write, really." Vic: "It's like all the information is background detail — if you know it already, that's even better for us, because you don't have to explain what that is. And we can just go into what is essentially an intergenerational office comedy, where it's about old school versus new school. And the scandal of the weeks are so interesting but so fun to satirise, because they're based on these true things that the more people know about them, I think the more they'll get out of the show — because they'll see and notice certain things, and then we can twist and make turns. We can invent the WANKA play, if you already have an understanding of what DARVO is. So I think it is helpful, and we love and embrace the media literacy of the audience 100 percent." On Optics' Intergenerational Conflict Springing From Zerbst and Owen's Experience Working with Charles Firth Vic: "It was exactly that. We were working on a webseries with Charles Firth, The War on 2020, and even while we were working on that show we would just have so many funny moments where we would have different media points of reference and different ways of …" Jenna: "Generational touchpoints. And honestly, every day was a delight, in that sort of dialogue that you do see between Greta and Nicole and Ian in the show. That is our entire relationship with Charles. He often will make a reference to something, just like how you see in the show. In the pilot where it's like 'oh, I understand now, it's exactly like the Children Overboard scandal or whatever' — and Vic and I'll go 'huh?'. Of course we understand what he's saying or we know what he's talking about, but we have a different generational touchpoint to him. And so that kind of mutual understanding, which in the show, they mutually understand what's going on but they have totally different touchpoints of how they understand it and frameworks. And I think that's such an exciting thing to have in a show, because it just makes for intergenerational viewing, and that's what we what we wanted with this show. I think when we were trying to get the show up, it really did help that it was the three of us in the pitches, because everyone just went 'oh yeah, I see how this is going to work. I see how this will work'." On Subverting the Usual Workplace Comedy Dynamic with the Younger, More Switched-On Employees Taking Charge Instead of an Oblivious Veteran Vic: "I love that — I love that that's an amazing insight into that flip. I don't even think it was even that conscious for us. I think it came from us navigating this world of this industry, where suddenly we had people listening to us and we felt empowered enough in our voice to talk to people — especially older people, especially older men, in meetings, in pitch meetings — where we felt that we had a lot to say, and we understood social media better than they did. And then it just became that natural dynamic. I think that there is a lot of that shift because a lot of new Gen Z and Millennial workers have a comparative advantage in understanding a lot of the new technologies. There is this shift now in the workplace where young people have certain expertise that is really needed. And it's also something I see watching my dad, who's unable to do any technology, and seeing how he struggles in his workplace. He's a teacher, but he just becomes so disempowered within that. And there's really funny moments of that, but there definitely has been this age switch in the workplace that I think we've wanted to represent." Jenna: "Exactly. There's this line that I never, never even realised was funny, but now I do realise it's funny, in like the last episode, that Vic says 'we deserve this. We've been working at this firm for eight months'. And I'm like 'that's such a dog whistle for the Gen X, for the Boomers to laugh at' — being like 'you entitled millennials'. But the point is, yes, we can understand how dismissive that is of the experience that someone has that they've been working in a job for 20 years. But the point is that the world is changing so fast, and it's extremely jarring for everybody. Vic and I are still trying to catch up — are we on TikTok? Are we on RedNote? We're still caught in that washing machine as well. So I think the point is, yeah, we have been working at the firm for eight months, but the knowledge that we have eclipses those people who have been working at the firm for 25 years because of the way the world shifts and changes. And the companies that make the money or the stories that get picked up are the ones that are adapted to this new media cycle and structure. So it's one of those things that I think people will watch the show and root for people in different ways, and have different opinions on that. I mean a lot of Millennials, I think, will feel like 'yeah, I am the one that got the video for our company's brand up to two-million views and that increased sales by whatever percentage' — but they're still going to be dismissed by their older bosses for being the TikTok girls. This is the kind of conversation that's really interesting. And I think what we always say about this show is we're two parties, Greta and Nicole, and Ian, who fundamentally will work together to make the world a worst place — that's our sort of catch cry for the show. But that's the kind of dynamic and the stuff we definitely wanted to explore." Vic: "And it's also about a fantasy. It's like 'what if you give that begrudging younger employee the ability to have that ultimate power?'. And I think the journey for us is realising 'oh, it's really fun to think, oh, I'd the boss, I'd be amazing'. Then you go 'oh, there's so much more pressure and disaster-level stress that comes with being a boss'. I'm sure a lot of older people will be like 'yeah, you want to be the boss? Well, let's show you how hard it is'. And that's our journey as well, being like 'this is really bad — this is hard'." On the Approach to Moral Ambiguity — and Ensuring That Greta and Nicole Aren't Always the White Knights Doing the Right Thing the Whole Time Vic: "We always knew that we wanted the show to be a critique of the structures, the structures of media, the structures of power, and it was about people struggling within that structure, and people who are trying to uphold the structure, and what happens to you as an individual when you are unable to both live your personal values while also succeeding within a structure. So I think that allowed us to really see that these people can be morally ambiguous, they can try to play, but there's always this internal conflict: 'I want to do the right thing, but I also know that the system will reward me for X behaviour, so you have to do X behaviour'. I think that's the kind of moral tracking we want to follow with the girls. And then you see a character who has maybe more internalised the inner workings of that structure, and then you see how they got there. And I think we always have endless, endless empathy for our characters and endless, endless critique for the structures that make people select for or against behaviours that make them feel uncomfortable with who they are as people." Jenna: "Absolutely. And also it is such a simplification to say that women enter the spaces of moral ambiguity and are the white knights or are the victims. I think that we do need to explore those nuances that exist. Greta and Nicole can both be manipulated and disempowered by the Bobby Bahls that be, but also be acting in a way that is unethical, that doesn't have that moral centre. And just because we're women doesn't necessarily mean that we are going to tap into that moral centre. It maybe means that we have more of a moral centre coming in, but that's how powerful these other external forces are. And this idea, ultimately they do want to succeed as well, and what does it mean to succeed under a system like this? I think Vic and I are both, just from a character point of view, from an acting point of view, there are so many women in this world that inhabit these spaces in a way that is super interesting and morally bankrupt. In PR crisis management, the people that do bury the story about the sexual assault or whatever, a lot of those people are women. A lot of the people in the Justin Baldoni case with Blake Lively, a lot of those people are women. And then if you want to go to the other extreme of that, you can look at someone like Ghislaine Maxwell. We do live in a society where women are trying to succeed under this system at the cost of their own moral integrity. I think it's really exciting to portray that in the space and time that we are now, where we've had so many conversations over here about how women are disempowered. But I think it's also important that we have conversations about how women enact that power, especially white women in this world as well, enact that power as well under these structures. We're excited by that and that's the best thing to act. What could be better?" On Whether Making a Series Like Optics Was Always the Dream When Zerbst and Owen First Met and Started Working Together Vic: "Yeah." Jenna: "Yeah." Vic: "Always. It was always the dream. It was always having a TV show where you come up with episodes, ideas, writing, acting. That was always it — I don't think there was anything else. And especially for the ABC, it means a lot to us to be on an Australian broadcaster — yeah, it means a lot." Jenna: "Absolutely. And it is a dream, and so many people within the industry and outside of the industry are truly amazed that it happened in there, and we have to say so are we. Because we aren't tried-and-true talent. We're not at that stage of our career where we have this guaranteed. We're not household names. And so it is a risk and it is exciting. And I think it's exactly — selfishly, I'm like 'it's exactly what the ABC should be doing'. But it is. It's exactly what the ABC should be doing, not just for us, but for so many more shows and talent and upcoming talent — which is also very funny to say when you've been working for ten years, but it's still true. This was always our dream — always, always our dream. And I do have to say, the level of autonomy that we've been given in this show from Easy Tiger, the production company that we're working with, from The Chaser with them as well, and with ABC, it's so, so rare — to yes, be an executive producer on this show at our age, with our experience, and to be in it and to be writing on it. That's an unheard of level of trust. I do think that you see it in the show. You do see that we've had that level of trust, because it does feel different and it does feel new." Vic: "It does feel very unique." Jenna: "And we've learned so much from this season, and we're just absolutely so excited to implement what we have learnt as well as first-timers into the next season — praise be. It's exciting. For us, we can't even believe the level of autonomy we've been granted, and that was always the dream, because Vic and I, that's how we started. We always had autonomy. We were operating on this small scale. We always wrote our own things. We were given complete freedom. And that's how we got a following, or that's how we had some success. So to be able to continue that on greater scale is what everyone in the world wants." Vic: "Absolutely." Optics streams via ABC iView.
Though the availability of good Mexican food in Sydney has increased over the years, the Latin cuisine still seems to hold the reputation that it's all about cheap tacos and a salty margarita or Corona topped with a lime. Most of us love a cheap night out on the tacos and margs, but it would be remiss not to try out the many more eats Mexican cuisine has to offer. Redefining expectations, Coogee's ROCA Mexican Cantina is the brain-child of three Mexican natives, including owner Gerardo Macip (responsible for Calaveras Mexican Cantina & Tequila Bar in Newtown) along with chefs Jonatan Romero and Daniel Gomez — a team passionate about serving authentic dishes showcasing traditional Mexican flavours and ingredients. Perhaps you've stuck with tacos for so long because you're not too sure what else you should be ordering. Well lucky for you, the trio behind this latest Coogee restaurant has curated a selection of dishes from their menu and paired them with cocktails to help expand your knowledge on Mexi-eats and take the guess work out of ordering. CEVICHE DE PESCADO AND A CLAMATO To get things rolling, start with the ceviche de pescado. This zesty cured fish is served on crispy corn tortillas, along with a cheeky side of chipotle salsa. The vibrant acidity of lime 'cooks' the fish, all while packing the dish with mouthwatering flavour. To top it all off, ROCA's homemade pico de gallo with Tajin chilli seasoning adds that final kick to really get your tastebuds singing. Wash this one down with the Clamato: a classic cocktail with fresh lime juice, tabasco, seasoning and Clamato juice, floated with a splash of Mexican beer. QUESO FUNDIDO AND A DEATH IN TIJUANA Up next is the cantina's queso fundido, aka the stuff dreams are made of. Baked and served in a traditional Mexican-style clay pot, this cheesy dip of dreams consists of a simmering bed of pinto beans covered with gooey mozzarella, topped with smokey chorizo and served alongside flour tortillas for good measure. The decadent starter definitely gives the classic fondue a serious run for its money. Help cut through all that cheese with the smokey mezcal-based Death in Tijuana. Mixing together tangy lime juice and bittersweet pink grapefruit with a dash of pomegranate, this is the drink to throw back amidst a cheese-induced coma. ENCHILADAS RANCHERAS ROJAS AND A PASSION SESIÓN A night at ROCA wouldn't be complete without a plate of their enchiladas rancheras rojas. This spicy number serves up corn tortillas filled with pulled marinated chicken, drenched in hot red ranchera salsa and finished with crumbled feta, coriander and Spanish onions. Pair this one with the killer Passion Sesión made up of Sesión Tequila Blanco, lime juice and passionfruit shaken together and served in a chilli-rimmed glass. A pairing for those who don't mind a whole lot of spice. FAJITA ASADAS AND A MEXICAN MELON SOUR Be warned: this one's gonna get messy. ROCA's fajitas asadas features spicy chipotle-marinated beef strips, sautéed Spanish onion and capsicum atop a bed of rice and finished with zesty guacamole. Meant to be put together by you, scoop this saucy goodness up with one of the provided flour tortillas, but first make sure you have some serviettes nearby. Soothe any burning from the spice with a Mexican Melon Sour — melon liquor mixed with lime juice and poured over a frozen lemon margarita. And yes, it comes served in a chilli salt-rimmed tiki glass. FLAUTAS DE POLLO AND AN EL DIABLO Coming to you all the way from Sinaloa in northern Mexico, these crispy hand-rolled taquitos, typically covered with cheese, cream and guacamole, are famous across the Central American country. ROCA delivers their own take on the Mexican favourite, filled with spicy pulled Guajillo chicken and topped with salsa ranchera, crumbled feta and coriander. Feeling brave? Have your flautas with the 'El Diablo', a cocktail created using Mexico's hottest chilli. Not for the faint hearted, house-infused habanero tequila is mixed with agave nectar and finished with pineapple juice for a sweet tipple with a definite kick. Dig into these iconic Mexican dishes and wash them down with some tequila and mezcal-based cocktails at ROCA Mexican Cantina & Tequila Bar.
There's an astonishing story at the heart of I, Daniel Blake, the latest film from veteran director Ken Loach, and the winner of the Palme d'Or at this year's Cannes Film Festival. After suffering a heart attack while standing on scaffolding on a building site, the titular character (Dave Johns) seeks government assistance. Alas, despite his doctor's advice that he needs rest to recover, a series of bureaucrats deem him fit to work, and refuse to listen to his pleas about his health. His situation isn't unique; at the local benefits office, he meets a single mother, Katie (Hayley Squires), similarly battling an uncaring system. Exposing the punitive barriers those in need are forced to face when they're looking for help, the movie has been garnering a strong reaction as it travels around the world. However, there's another incredible tale driving I, Daniel Blake. Lead actor Johns is a stand-up comedian who has appeared on British panel TV shows such as Never Mind the Buzzcocks and 8 Out of Ten Cats, and now makes the leap to film to star in his first feature at the age of 59. His is a devastatingly naturalistic performance in a heartbreaking piece of social realist cinema, and one that lingers long after viewing. With I, Daniel Blake releasing in Australian cinemas after playing at the British Film Festival, we chatted with Johns about making his first movie, receiving the script page-by-page as shooting progressed, and the responsibility of making a film that hits so close to home for so many people. ON MAKING THE JUMP FROM STAND-UP TO STARRING IN A KEN LOACH FILM "I was aware of Ken's work — and just to meet Ken, I said to people, friends of mine, 'If I could just get in and do the improv with him, that'd just be a great experience'. So I never dreamt that I would be offered the part. We shot it for ten weeks up in the northeast of England, around the area where I was brought up as a kid. And I remember the first day, I mean, I'd done plays and stuff like that, but I hadn't walked on set and seen the enormity of what I'd taken on. 'Oh my god, I'm the lead of this film,' I remember thinking. 'Oh, have I bitten off too much?' And now people say to me, 'You know, what's it like, your first film?' — and I go 'Well, if it's my first film and it's won the Palme d'Or, I think I've set my bar a little too high'. Now I'm up for best actor at the European Film Awards this year in Poland. I'm up for best actor and best newcomer and the British Independent Film Awards. Variety magazine in America have tipped me as number 20 to win an Oscar behind Jake Gyllenhaal and Colin Farrell, so it is pretty surreal. I think your career should be a bit of an adventure. And if you do one thing in your life that you can be proud of, to be in a Ken Loach film that has made such an impact and won the Palme d'Or, I'm very proud and very honoured to be in this position." ON DISCOVERING THE STORYLINE AS HE WENT "The thing with the way Ken works is he doesn't tell you much about the film. You don't get the full script, you only get a couple of pages each day — and he shoots chronologically, so basically you are thrown into this life where you're just living this life everyday. And you don't really know what's coming until you get the two or three pages of script in the evening that you go away and learn and bring in the next day. I think that's so you don't have that sort of [situation] where you and the other person you're doing the scene with, you can't look at page 26 of the script, and go, 'Oh look, this is our big scene'. Ken doesn't want you to pre-empt what's going to happen. He wants it all to be in the moment. A lot of people think there's a lot of improvisation in Ken's films — I mean all that script is all scripted, it's just that Paul Laverty [Loach's long-time screenwriter] and Ken, they give you the chance to own the words. That's how it comes across. And because he shoots chronologically, and because he has no closed sets — he puts you in real situations — it has that gritty, real feel about it." ON REACTING TRUTHFULLY RATHER THAN ACTING "I think you rely on truth. You rely on your true emotions, and you actually respond truthfully. You don't have any chance to pre-empt how you're going to feel. The first day, Ken said to me on set, 'When you're in scenes with Hayley, when you're in the scene together, if you just listen to each other and you find the truth, it will look like that on the screen'. So that's the notes I got, so I just took that on board. Just basically, like, he would say to me, 'You're getting a phone call today on set'. And I'd go, 'All right, who's it from?' And he'd go, 'You'll find out when you get the phone call'. It's a very fascinating process. It makes you rely more on your gut reaction rather than any technique you might have as an actor, I would imagine. In any of the scenes I had with the kids or the neighbours or with Hayley, I think I was reacting to and responding to how she was playing it to me, you know. I think it was just being honest if something touched you, and then you brought the honest emotion to it. I think that's the only way you can do it when it's like that." ON FORGETTING THAT HE'S MAKING A MOVIE "The way Ken shoots, he doesn't have loads of people on set. There's no makeup touching you up before the scene, there's no checking your costume before every take, it's basically, you leave the unit and that's it. And basically, if we were in my flat, it'd just be the camera in the corner of the room — he never tells you what lens he's got on the camera, so you don't know how close the shot is. And there were times when in scenes I forgot I was in a film, really. I was just reacting to what Katie, the character, was telling us. And that was a pretty amazing feeling, when there were times when you forgot you were making a film and you were just talking with this person." ON THE REALITY BEHIND THE FILM "The first thing Ken said to me when we did preparations — I had to learn how to carve the wooden fish, did a little woodwork course, just a couple of days — and then he said to me, 'Fill that 52 page assessment form in.' And I was like, 'What?' And I came back and went, 'I can't do this, this is insane'. And then it got me thinking, imagine if you were sick, and you had to fill that in, and if you filled it in wrong. And so it was revealed to me how unjust the system is. And I think it is because it is a system that is spread by this austerity which has been played around the world. I mean, every film festival — I took the summer off to go to film festivals with this — and at every film festival I went, at Locarno in Switzerland, in Spain, in Italy, in Slovakia, everywhere we went with this film, people came up afterwards and said 'This is happening in our country as well'. Because of the big banking crash and because of the finances, the way globalisation is going, you see the poorest and the less able are taking the biggest burden. And that's what's happening with the welfare system. I think they've lost sight of the person and they are just trying to save money, and it is bureaucracy, and it is outsourced to a company, and these questions are insane." ON THE RESPONSIBILITY OF PLAYING A PART THAT HITS SO CLOSE TO HOME FOR SO MANY PEOPLE "You can't just do this film and go, 'Well, that's it, I'm done.' You go on and you do other work, but you still come back to it because you do feel a responsibility to it. I mean, I spoke at the Labor party conference this year — I've never done that in my life before, you know. So I do feel a bit that we have to see this film through, you know, and I don't think it is the sort of film that is going to go away. I think it's going to change things, because people here are angry, and people in America. People have said it will speak to the working poor who're in America. And it has already been mentioned in the House of Commons here by the opposition to Theresa May, so it is having an effect. I'm very pleased for Ken and for Paul, who, you know, thank the heavens that we have people like Paul Laverty and Ken Loach who are still making films that give a voice to people who don't have one." I, Daniel Blake is now screening in Australian cinemas. You can read our review here.
If your ideal night out involves mates, harbour views and maybe a cheeky game of darts between rounds of drinks, King Street Wharf has just welcomed back an old favourite — and it's bigger and brighter than ever. The Sporting Globe has officially reopened its doors following a slick new renovation, bringing even more screens, games and good times to the waterfront precinct. Now open seven days a week, the revamped venue now boasts more than 50 high-definition screens, two massive jumbotrons and two augmented reality Game On dart lanes with multiple game modes. It's all part of a full-venue refresh that blends classic pub energy with thoroughly modern amenities, including touchscreen TVs in the booths that ensure you don't miss a second of the action. Plus, the venue now boasts a late-night licence that'll see the action roll on until 3am on Friday and Saturday nights. While you can head to The Sporting Globe to catch every second of the NRL, AFL, EPL and NBA (among other codes) throughout the week, the venue isn't exclusively geared towards sports fans. It's part of a growing number of after-dark venues popping up throughout Sydney that give you a space to do more than just sink beers — whether you're ducking in for post-work happy hour, settling in for a long Saturday session, or even looking for a buzzing spot to soak up those impressive harbour views. With capacity for 700 punters and three separate bars across its two expansive levels, the space is primed for both big group hangs and casual drop-ins. So whether you're there to catch your team in action or just want to kick back with a beer in hand and a round of wings, you'll have plenty of room to spread out. The Sporting Globe King Street Wharf is part of a growing national stable of venues that go big on sports and community, with the brand supporting more than 250 grassroots sports clubs Australia-wide. With this polished new fit-out, the venue is looking to claim the title of one of Sydney's top spots for laidback hangs, big game nights and everything in between. "The Sporting Globe King Street Wharf has always been a fan favourite," says CEO of Signature Hospitality Group, James Sinclair. "We're thrilled to welcome Sydneysiders and visitors back to enjoy world-class sport in a world-class location." The Sporting Globe King Street Wharf is now open at King Street Wharf, 22 The Promenade, Sydney. It's open 11am–10pm Sunday–Wednesday, 11–12am Thursday and 11–3am Friday–Saturday. For more info, head to the venue's website.
Whatever your artistic inclinations, there's a gallery in Australia worth a road trip. Architecturally, our wide open spaces have enabled the creation of spectacular buildings that take on dramatic relationships with surrounding landscapes, while the art scene is extraordinarily diverse. Visit Shepparton to see Australia's biggest ceramics collection, Albury for travelling blockbusters, Tweed Heads for a recreation of Margaret Olley's studio and Hobart for ancient, modern and contemporary art that meditates on sex and death. MITCHELTON GALLERY OF ABORIGINAL ART — NAGAMBIE, VICTORIA To take an artistic journey through more than 15 remote communities, head to The Mitchelton Gallery of Aboriginal Art. Hidden within Mitchelton Winery, this epic collection of Aboriginal painting, drawing and sculptures is one of the biggest in Australia. Among the standout pieces are the The Message Stick Vehicle, which transforms a Vietnam War ambulance into totemic symbol of peace, and monumental paintings by the late Yannima Tommy Watson, Gabriella Possum Nungurrayi and George Hairbrush Tjungurrayi. When you're done, sample a wine or two and maybe stay the night in Mitchelton's super-luxe new hotel. Where? 470 Mitchellstown Road, Nagambie. How far? About 90 minutes north of Melbourne. [caption id="attachment_692306" align="alignnone" width="1920"] Destination NSW[/caption] MURRAY ART MUSEUM — ALBURY, NSW After a $10.5 million revamp in 2010, the Murray Art Museum Albury (affectionately known as MAMA) has been attracting travellers off the Hume Highway with blockbuster exhibitions, parties, artist talks and workshops. The permanent collection features a growing number of works by prominent contemporary indigenous artists, more than 40 pieces by Russell Drysdale and the Nagel Bequest, which represents John Coburn, Margaret Olley, James Gleeson and numerous others. While you're there, tuck into parmesan scrambled eggs or fluffy hotcakes in the light-filled Canvas eatery. You'll find loads more Albury tips over here. Where? 546 Dean Street, Albury. How far? About 5.5 hours southwest of Sydney, or 3.5 hours northeast of Melbourne on the Victoria–NSW border. [caption id="attachment_692264" align="alignnone" width="1920"] John Gollings[/caption] NATIONAL GALLERY OF AUSTRALIA — CANBERRA, NSW We know Canberra isn't a regional town, but, nonetheless, the NGA is a destination gallery for Sydneysiders and Melburnians (any anyone driving between the two). And for good reason — the NGA hosts a steady stream of big name exhibitions. At the moment it's pulled works from American masters out of its collection, displaying Jackson Pollock's Blue poles (pictured above), along with pieces by Andy Warhol, James Turrell and Louise Bourgeois. In December, it will host a collection of Pre-Raphaelite paintings on loan from the Tate, which could make for a good Christmas or New Year stop-in if you're driving up or down the coast. Where? Parkes Place East, Canberra. How far? About three hours south of Sydney, or seven hours north of Melbourne. [caption id="attachment_692310" align="alignnone" width="1920"] Destination NSW[/caption] TWEED REGIONAL GALLERY — MURWILLUMBAH, NSW In this gallery, you can peek into Margaret Olley's studio — which was originally located miles away in Sydney, at 48 Duxford Street, Paddington — as it was when she passed in away in 2011. Following her death, more than 21,000 of her belongings and paintings, including windows and doors, were transported to the Tweed Regional Gallery, where they were set up in a re-creation. There are also numerous works by Olley and her contemporaries, including Margaret Cilento, David Strachan and Cressida Campbell, as well as a vast permanent collection of portraits. The $20,000 Olive Cotton Award For Photographic Portraiture also takes place biennially. Where? 2 Mistral Rd, South Murwillumbah. How far? About nine hours north of Sydney, or 90 minutes south of Brisbane. [caption id="attachment_692251" align="alignnone" width="1920"] Robert Blackburn/Visit Victoria[/caption] TARRAWARRA MUSEUM OF ART — HEALESVILLE, VICTORIA If you're in Melbourne and keen to get a country art (or architecture) fix, but don't want to travel too far, head to the Yarra Valley to visit the TarraWarra Museum of Art. Given to the public by philanthropists Eva Besen AO and Marc Besen AC, this beautiful building overlooks rolling vineyards and undulating hills. When you've feasted your eyes on the views, head inside to see works by Jeffrey Smart, Brett Whiteley, Arthur Boyd and James Morrison. Then, of course, there are the Yarra's many, many wineries. Where? 313 Healesville–Yarra Glen Road, Tarrawarra. How far? Only an hour northeast of Melbourne. [caption id="attachment_692184" align="alignnone" width="1920"] Tiwi_Designs_Website.jpg[/caption] TIWI DESIGN — BATHURST ISLAND, NT Of all the centres in Australia devoted to Aboriginal and Torres Strait Islander art, Tiwi Design is one of the oldest. It's on Bathurst Island, which is around 92 kilometres off Darwin. The collection is extraordinarily diverse, encompassing ochre paintings, ironwood carvings, screen painted fabrics, ceramics and sculptures of bronze and glass, as well as limited edition prints. What's more, Tiwi isn't just a gallery, but a living, working art centre, which means new artworks are in progress continually. To visit Tiwi, you'll need to book a tour, which includes return ferry rides from Darwin, a welcome ceremony, a walking tour with a local Tiwi guide, an art session, morning tea and lunch. Where? Puantulura Street, Nguiu, Bathurst Island. How far? About 2.5 hours by ferry from Darwin. MUSEUM OF OLD AND NEW ART — HOBART, TASMANIA Founded by Tassie millionaire and art collector David Walsh in 2001, the MONA is the biggest privately-owned museum in the entire Southern Hemisphere. Built into cliffs around the Berriedale Peninsula, the gallery is made up of three levels of subterranean, labyrinthine spaces, accessed via a spiral staircase. The 1900+ strong collection is famous for its preoccupation with sex and death, and every year, MONA hosts Dark Mofo, which marks the winter solstice. While you're in Tassie, add some foodie adventures to your road trip. Where? 655 Main Road, Berriedale. How far? About 25 minutes by car or ferry from Hobart city centre. BENDIGO ART GALLERY — BENDIGO, VICTORIA Established in 1887 and now sporting a highly Insta-worthy Karl Fender-designed extension, Bendigo Art Gallery regularly hosts blockbuster touring exhibitions. It's known for nabbing Australian exclusives for fashion and design exhibitions, including Marimekko earlier this year and Maticevski in 2016. Up next is an exciting exhibition of Frida Kahlo's personal photograph collection, including 257 images curated by Mexican photographer and photography historian Pablo Ortiz Monasterio. The gallery is part of a cluster of venues making up the View Street Arts Precinct, including the La Trobe Art Institute, so make sure to have a proper poke around the area. Where? 42 View Street, Bendigo. How far? About two hours northwest of Melbourne. GERALDTON REGIONAL ART GALLERY — GERALDTON, WA Geraldton Regional Art Gallery opened in the city's heritage-listed town hall building in 1984. Today, it acts as the centrepiece of Geraldton's art scene, through exhibitions, workshops, events and the annual Mid West Art Prize, a $45,000, non-acquisitive award for Western Australian artists. The 475-strong permanent collection includes works by Norman Lindsay, Robert Juniper, Tracey Moffatt, Howard Taylor, Julie Dowling, Hans Heysen and Elizabeth Durack. The City of Geraldton is on the coast, around 400 kilometres north of Perth. Where? 24 Chapman Road, Geraldton. How far? About 4.5 hours north of Perth. [caption id="attachment_692308" align="alignnone" width="1920"] Destination NSW[/caption] BROKEN HILL REGIONAL GALLERY — BROKEN HILL, NSW Founded way back in 1904, Broken Hill is the oldest regional gallery in New South Wales. You'll find it smack-bang in the middle of town, not far from The Palace Hotel — the one famous for appearing in Priscilla, Queen of the Desert — and the majestic Astra, built in the 1890s. The gallery's home is another impeccably restored, heritage-listed 19th century building, with stunning, high-ceilinged spaces. Look out for works by legendary Aboriginal artists, such as leading Aboriginal artists including Clifford Possum Tjapaltjarri, Emily Kame Kngwarre and Michael Nelson Tjackamarra, as well as classics by the likes of Arthur Streeton, Rupert Bunny and John Olsen. Explore Broken Hill further with our weekender's guide. Where? 404–408 Argent Street, Broken Hill. How far? Pretty far. About 13 hours west of Sydney, or nine hours north of Melbourne. [caption id="attachment_692211" align="alignnone" width="1920"] Wikimedia Commons[/caption] PERC TUCKER REGIONAL GALLERY — TOWNSVILLE, QUEENSLAND Step into the world of tropical-influenced art at Perc Tucker Regional Gallery, Townsville. Opened in 1981, in the heritage-listed former home of the Union Bank, this institution owns more than 2000 works. Focuses includes, not only on historical and contemporary art of tropical Queensland, but also Aboriginal and Torres Strait Islander art, Papua New Guinean contemporary art, pop art and ephemera. Every year, the Percival Portrait Painting Prize a $40,000 acquisitive award, adds a new face to the collection. Where? Corner of Flinders and Denham streets. How far? Real far. It's about a 15 hour drive north of Brisbane (or a two-hour flight). SHEPPARTON ART MUSEUM — SHEPPARTON, VICTORIA If you're a maker, Shepparton Art Museum (known simply as SAM) should definitely be on your itinerary. It's home to the biggest collection of ceramics in Australia, which is added to every year via two acquisitive prizes: the Indigenous Ceramic Award and the Sidney Myer Fund Australian Ceramic Award. There are also numerous Australian drawings and paintings, as well as a dynamic temporary exhibition program. And, by 2020, SAM will move into a brand new $34 million home, designed by Denton Corker Marshall architects. Where? 70 Welsford Street, Shepparton. How far? About two hours north of Melbourne.
If you're one of the first 50 people to walk through the door of Henry Deane on any Sunday in April after 2pm, you'll be greeted with a free G&T. And it's not any old concoction – it's made by The Rocks' very own distillery, Hickson House. The freebies are a celebration of Henry Deane's new party, Sips and Sounds. Every Sunday (except Easter Sunday), the bar will host six hours of special cocktails, delicious snacks and live music. On Sunday, April 13, catch multi-instrumentalist Dom Diaz, who layers singing, rapping and beatbox with guitar, piano and trumpet on reggae, soul and R&B tunes. Then, on Sunday, April 27, Brazilian-born Tiago de Lucca will be in the house with his soulful vocals, jazzy harmonies, funky guitar riffs and groovy beats. All of this comes, of course, with Henry Deane's spectacular views. It's perched atop the Hotel Palisade in The Rocks, and, whichever way you look, you're gazing over blue skies, sparkling harbour views and legendary landmarks. Entry to Sunday Sips and Sounds is free, but it's a good idea to RSVP to claim your spot.
About a 40-minute drive from Nelson Bay is Tilligerry Habitat, a nine-hectare reserve situated on the foreshore of Tanilba Bay. This area is open every day (except Christmas Day and Boxing Day) and free to visit — just grab a map from the Environment Office and set off exploring. Within the reserve, there are gravel tracks and boardwalks that'll lead you through swamp mahogany paperbark forest and woodland and over freshwater streams. If you want to know what to keep an eye out for, the habitat's website has a few guides to download on the birds and orchids that are often seen in the area — a reptile guide is coming soon, too, and there's a sensory guide that'll help you identify the native flora to see, touch, smell and, in some cases, taste. You may also get to see some native fauna — echidnas, bandicoots and koalas are regularly spotted in the habitat. This website, which tracks recent koala sightings, will point you in the right direction.
