About 40 minutes into the train ride from the city to Hornsby is the sleepy suburb of Turramurra, and across the platform, you'll spy the bright lights (and just as bright crowds) of Kipling's Garage Bar. If this isn't your stop, think again, you're looking at one of the best bars on the North Shore and the busiest spot between Gordon and Hornsby. The name speaks to the vision of the owners (who are locals of 20 years) but also the history of the site. The 'Kipling' is a tribute to well-known author Rudyard Kipling, who once said, "A man can never have too much red wine or too many books". The 'garage' refers to the fact that the site was once a mechanic garage, which also inspired the industrial-chic aesthetic of the interior. Now it's a classy wine and tapas bar, servicing stomachs instead of engines. There is no one theme to the menu, with interchanging lunch and dinner menus to suit all tastes and portion preferences. Lunch goers can enjoy hearty meals like classic fish and chips ($30) or a decadent mushroom spaghettini ($30). In contrast, dinner guests can enjoy a tapas-style menu of share plates featuring baked gnocchi ($15), salt-and-pepper calamari ($15) and three-cheese zucchini flowers ($16). The wine list is a local legend, but there are also plenty of beer choices, cocktails, mocktails and non-alcoholic picks to suit the dish in front of you. You'll find Kipling's Garage Bar at 2 Eastern Road, Turramurra, about a 60-second walk from the train station. It's open seven days a week, and walk-ins are available, but reservations are recommended – though unavailable for dinner on Fridays and Saturdays.
Glebe Point Road's Oh My Days is baking 'buttery' croissants and pastries along Glebe Point Road — and they're all vegan. Owner and fine-dining chef David Rigby (Bentley, Est. China Doll) opened the vegan bakery and cafe in mid-2019. Here, the pastries are baked daily in-house, with pastry chef Yosef Paulsen (Kitchen by Mike) overseeing the bulk of the baking. Apart from almond ($7), chocolate ($7) and plain croissants ($6) — which are made using wholewheat stone ground flour — you'll also find berry danishes ($7), tarts ($7) and banana bread ($4.5). Elsewhere on the menu, the French influence is swapped for Mexican flare (and the fit-out follows suit). All-day brekkie includes burritos ($17) and bowls ($19) filled with scrambled tofu, grilled corn, butternut squash and jalapeño salsa. There are also blueberry and blue corn pancakes ($18) topped with cashew coconut ice-cream and organic maple syrup. For lunch, there are mushroom and cauliflower adobo tacos ($13 for three), plus more burritos ($18–19) and a 'chilli sin carne' quesadilla ($18) for good measure. On the drinks side, coffee beans are roasted in-house by barista John Lee (Devon Cafe) — and made using nut milks, of course. Other options include hibiscus and tangerine kombucha ($5), and cacao and banana 'milkshakes' ($9), made with coconut ice cream. If you're after something boozy, it's also slinging natural wines, craft beers and a selection of cocktails — we suggest you enjoy these in the venue's outdoor courtyard.
Put it down to the ongoing Y2K revival. Or, put it down to açai war fatigue. Put it down to whatever you like — froyo is back. But even throwbacks aren't immune to reimagining, and Haymarket newcomer OH MY YO is taking things in an unexpected direction, bringing together the worlds of frozen yoghurt and fine dining. It's been brought to life by Howin Chui, who recently opened Master Cow Hot Pot in World Square. For this project, he's tapped Executive Chef Zac Ng (XOPP, Sepia, and the owner of hatted Darlinghurst fine diner Restaurant Ka) to oversee an ever-evolving menu of self-serve frozen yoghurt rooted in Cantonese flavours and Australian ingredients. Expect a tangy, textured and layered base, designed to hold up against a wide range of flavours, from the traditional to the surprising. At launch, the six-strong frozen yoghurt menu features core picks like original, strawberry and yuzu, passionfruit, matcha and vegan coconut, alongside a limited-time Moutai collab, which leads the series of the venue's rotating specials. It's a bold opener, but encapsulates the venue's playful-meets-nostalgic ethos — Ng is already working on upcoming flavours like soy sauce and Hong Kong french toast. There's also a DIY topping bar with 20 revolving options, from mochi to Nutella and seasonal fruit, as well as a menu of drinkable yoghurts with flavours like avocado, strawberry and purple rice. The venue itself — a slick, 56-square-metre fitout by Darren Kong — blends Hong Kong design cues with a vibrant street sensibility. The space can seat up to 40 across its indoor and outdoor areas, and a pet-friendly area will also be unveiled soon, complete with custom water bowls and pup-friendly frozen yoghurt.
2024 marks four years since Sydney and Melbourne welcomed a new film festival devoted to the weirder side of cinema. That event: Fantastic Film Festival Australia, which pops up in the first half of each year to showcase boundary-pushing flicks both new and old. It also features an annual nude screening, challenging what hitting the pictures means not just on the screen, but as an audience experience. For its fourth season, FFFA is going with an "if it ain't broke" approach. The festival's setup has worked a treat in 2021, 2022 and 2023 — and this is the type of event where a new batch of movies should always be the star of the show. In 2024, then, get ready for a Ryan Corr-starring monster movie, a 4K restoration of The Raid and a 15th-anniversary session of Enter the Void for starters. Sting, which is helmed by Australian director Kiah Roache-Turner (Wyrmwood: Apocalypse), and sees Corr (In Limbo) joined by Alyla Browne (The Lost Flowers of Alice Hart), Noni Hazelhurst (One Night), Penelope Mitchell (What You Wish For) and Silvia Colloca (Wellmania) — plus some eight-legged creatures — is opening Fantastic Film Festival Australia 2024 in both cities. The fest will run in Sydney from Wednesday, April 17–Friday, May 10 at the Ritz Cinemas in Randwick. In Melbourne, it'll span Thursday, April 18–Thursday, May 9 at Lido Cinemas in Hawthorn, plus from Thursday, April 25–Tuesday, April 30 at Thornbury Picture House. Fans of Gareth Evans' (Gangs of London) epic Indonesian action effort The Raid will scope out the shiny restoration for the first time in Australia during the festival. Also in the throwback category throughout the event: Australia's own Melbourne-set thriller Metal Skin from 1994. And Gaspar Noé's (Vortex) Enter the Void has the closing-night slot, with Sydney-based electronic artist Corin providing a new original live score. If catching a movie in the buff has been one of your big FFFA highlights previously, you'll be able to strip off again this year. If you haven't made it along in the past, you're getting another chance to redress that while undressing. The film you'll be watching: comedy classic The Naked Gun. Clearly it has the right title for it. From there, there's no shortage of other must-sees on a program that covers 24 features alongside 14 shorts. Luc Besson's (Anna) DogMan stars Caleb Landry Jones (Nitram), Steven Soderbergh (Full Circle)-produced thriller Divinity gets another Down Under run after playing SXSW Sydney 2023, and Cannibal Mukbang from first-time director Aimee Kuge combines romance and gore. Or, there's Krazy House with Shaun of the Dead favourite Nick Frost and Clueless great Alicia Silverstone — and also gothic horror The Vourdalak, which hails from the pages of AK Tolstoy's novel. From South Korea, The Childe follows an amateur boxer and an assassin. France's The Deep Dark gets trapped with cave miners a thousand metres below the earth's surface — and, also representing Gallic cinema, Hood Witch stars Golshifteh Farahani (Invasion) and Denis Lavant (Holy Motors), Mars Express heads into the future and off the planet in animation, Vincent Must Die sees random strangers attack its namesake and Pandemonium follows folks who suddenly find themselves on a remote mountain road. Or, there's Japan's One Percenter, which is a love letter to action cinema; a travelling knife salesman crossing paths with robbers in The Last Stop to Yuma County; and Mami Wata, which was Nigeria's Oscar entry — the nation's third ever. For those keen on shorts, some will play before the features, while Melbourne will also get a session focused on locally made efforts. 2024 Fantastic Film Festival Australia Dates: Melbourne: Thursday, April 18–Thursday, May 9 — Lido Cinemas, Hawthorn Thursday, April 25–Tuesday, April 30 — Thornbury Picture House, Thornbury Sydney: Wednesday, April 17–Friday, May 10 — Ritz Cinemas, Randwick Fantastic Film Festival Australia runs in April and May at Ritz Cinema, Randwick in Sydney, plus Lido Cinemas, Hawthorn and Thornbury Picture House, Thornbury in Melbourne. For more information or to buy tickets, head to the FFFA website.
Visit the largest seafood market in the Southern Hemisphere and hunt down freshly shucked oysters, grilled mornay lobster, sushi doughnuts and giant crabs. Approximately 55 tonnes of the freshest seafood is auctioned each day as this giant market. It's open seven days a week from 7am (except Christmas and New Year's Day) for you to choose the most delicious seafood to take home. If you can't wait to eat, there are plenty of stalls selling ready-to-eat dishes, sunlit tables out the front and a super affordable yum cha restaurant upstairs.
Fans of 'hard-to-kill' indoor plants should make tracks to Marrickville's newest nursery, Plant Girl. What started out as a same-day delivery service has now expanded to open a bricks-and-mortar store along Sydenham Road — and it's offering black thumb-proof gifts in brightly coloured ceramic pots. Plant Girl is run by inner west local Felicity Keep, who wanted to add a bit of quirk to your indoor plant game. Customers can mix-and-match any combo of plant and pot, with the goal of creating a highly styled, personalised gift or cute new green baby for yourself — with predominately easy-to-keep-alive plants on offer. The shop is open Wednesday through Sunday and offers a much wider range of plants, ceramics and giftware than had previously been available online. At the moment, the plants on offer include snake plants, zanzibar gems, dragon tails and boston ferns, all of which land in the 'low maintenance' and 'hard to kill' categories. That means you don't need to worry about you or your recipient's green thumb (or lack thereof). For more experienced gardeners, the bird of paradise is also up for grabs. As far as the packaging goes, the vibrant pots range from metallic to turquoise and bright pink. You can also nab neem oil leaf shine or a bottle of indoor plant food (in store and online), both of which will help keep your new babies happy and healthy. For those still after delivery, Plant Girl continues to offer door-to-door service within a ten-kilometre radius of their Marrickville shop, which includes all of the inner west and the CBD, plus a chunk of the eastern suburbs and a bit of North Sydney and the lower north shore, too. You can check out the map over here. And, if you order before 11am, you can opt for same-day delivery Monday through Friday. But, when the weekend rolls around, the only place you'll be able to get your hands on these goods is in store.
Australia's reigning gelato kings are back at it. Gelato Messina, which transformed from a single Sydney store in 2002 into a bona fide national empire, has just launched two Woolworths-exclusive flavours — and we are running, not walking, to get out hands on these ones, winter be damned. Landing now in freezers nationwide and online, the brand-new P.B. Peanut Butter Fudge & Praline and Super Flan sound exactly like the types of indulgent flavours that has seen Messina become a household name, stacked with in-house sauces and signature mix-ins. Channeling strong 'give the people what they want' energy, each of the new flavours is a riff on a beloved Messina signature. Long-time devotees might find the P.B. Peanut Butter Fudge & Praline familiar, and they wouldn't be mistaken — it's a supermarket-ready take on one of the brand's most in-demand scoop-shop specials. Each tub is a flavour bomb of creamy peanut butter gelato swirled with house-made peanut praline and rich peanut fudge. Meanwhile, Super Flan brings one of the brand's biggest fan faves to the masses: a creamy vanilla custard gelato rippled with Messina's in-house dulce de leche, made the proper Argentinian way. Each flavour comes in a 475ml pint, and joins the five Messina tub flavours lining Woolies shelves — namely, Pistachio Praline, Tiramisu, Dulce de Leche, Hazelnut Praline and Dulce de Leche, and Robert Brownie Jr. Since its October 2024 launch, the tub line has become one of the supermarket's best-selling frozen dessert lines, with over 500,000 pints already having flown off the shelves. While you're likely more concerned with what's going on inside the tub, the artwork on the front is worth a second look. The colourful characters that adorn each tub have been designed by Bondi-born, New York-based artist Jeremyville, who was also responsible for the vibrant murals in Messina's original Darlinghurst store. "Gelato Messina has always been about quality, creativity, and making people happy, and pushing the boundaries of flavour and quality," says Gelato Messina founder, Nick Palumbo. "Expanding into Woolworths has allowed us to share our passion with more Australians, while staying true to our roots." Messina's new P.B. Peanut Butter Fudge & Praline and Super Flan flavours are available now and exclusively at Woolworths, in the freezer aisle or online. For more info, head to the Messina website.
When Chris Sheldrick, Hannah Kim-Sheldrick, Josh Kim and Aileen Zhang started working on Banksia Bakehouse in 2018, they didn't think they'd be launching the CBD bakery in the middle of a pandemic. But, they have — and, despite the current lack of foot-traffic, the Grosvenor Place spot is creating a buzz. Open from 7.30am Monday–Friday, Banksia is located underneath Rosetta in eye-catching surrounds. Named after and inspired by native Australian flora, the bakery and cafe is all brown leather banquettes, white curves and hanging foliage. While the interior design is impressive, it's hard to tear your eyes away from the open kitchen, where pastry chefs are whipping up towering cakes, flaky pastries and fairy tale-like apple desserts. [caption id="attachment_779738" align="alignnone" width="1920"] Kitti Gould[/caption] For lunches and brunches, you'll find croissants, cruffins, Oreo meringues, croque monsieurs and savoury pies, currently available in mushroom stroganoff, Mexican chicken and beef brisket. To drink, there's coffee roasted by The Grounds. Cakes, while rotating often, include the likes of a tiramisu tarte, lemon meringue tear drop, piña colada mousse cake and the aforementioned apple delight. You can get those in single-serve portions and, for celebratory occasions, whole towering cakes such as caramel toffee, black forrest, cookies and cream cheesecake and strawberry sponge numbers. Each comes elegantly decorated and are available in a range of sizes. The big'uns can be pre-ordered online and start at a very reasonable $50. Images: Kitti Gould
Ever since 2025's Sydney Film Festival first started revealing its program back in March, the event was on track for a huge year. How big? By the numbers, the fest screened 242 films, and put on 448 screenings and events. Among that massive lineup of sessions, more than 150 sold out. So, it should come as no surprise that this year's SFF also made history thanks to its 150,000-plus attendees. That hefty number of folks who spent some or all of the festival's 12-day run from Wednesday, June 4–Sunday, June 15 in a Sydney cinema is an 11-percent increase on 2024's attendance figure. It also makes SFF 2205 the highest-selling festival in its history. As Sydney Film Festival CEO Frances Wallace described it, "this year has been extraordinary". "It's amazing that after 72 years, the Sydney Film Festival is stronger than ever. It's a tribute to the organisers and the tens of thousands of film fans who've turned out. This festival, its fans and its filmmakers have once again created an absolute highlight in Sydney's events calendar," said New South Wales Minister for the Arts John Graham about the fest's 2025 achievement. "As the curtain falls on another unforgettable Sydney Film Festival, we look back on and celebrate the bold storytelling, diverse voices and shared cinematic journeys that lit up our screens and sparked our imaginations," added Sydney Lord Mayor Clover Moore. "I look forward to our continued partnership with the Sydney Film Festival and all that it brings to our fine city." The fest came to an end for 2025 with a closing-night gala that gave relationship comedy Splitsville its Australian premiere — and first screening anywhere beyond its Cannes debut — and announced this year's prizewinners. Receiving the $60,000 Sydney Film Prize for the most "audacious, cutting edge and courageous" movie in the fest's Official Competition: Jafar Panahi's It Was Just an Accident, fresh from taking home the Palme d'Or at this year's Cannes Film Festival, too, and with the iconic Iranian filmmaker himself in attendance in the Harbour City. That said, the event that opened with body-horror Together, gave Ari Aster's Eddington its Aussie premiere and boasted DEATH STRANDING's Hideo Kojima among its guests isn't actually quite done for 2025 so far. The official festival itself has said goodbye until 2026, but it's also screening Back By Popular Demand encore sessions between Tuesday, June 17–Friday, June 20 at Dendy Newtown, Palace Cinemas Norton Street and Ritz Cinemas. Sydney Film Festival 2025 ran from Wednesday, June 4–Sunday, June 15 at various cinemas and venues around Sydney. The fest is screening four days of encores via Sydney Film Festival's 2025 Back By Popular Demand bonus screenings at Dendy Newtown, Palace Cinemas Norton Street and Ritz Cinemas Randwick between Tuesday, June 17–Friday, June 20. For more information and tickets, head to the festival's website. Jafar Panahi images: Tim Levy.
When King Kong swung into cinemas back in 1933, it reshaped movie history — and also had viewers everywhere thinking twice about great apes. Fast-forward almost nine decades, and now another giant gorilla is making an impact. You can see King Nyani IRL, however, and not just on the silver screen. Even better: you can now climb into the 30-foot-long creature's hands at Taronga Zoo. Created by public artists Gillie and Marc Schattner, King Nyani was inspired by King Kong. Consider the bronze statue — the world's largest bronze gorilla statue, in fact — a response to that pop-culture behemoth. "In the movie, Kong is seen as a ferocious beast. That was so far from our experience meeting the actual animals. We wanted to show the world that this great creature was really a pacifist who put family above all else," says Marc. Spreading a message of conservation, King Nyani first popped up in New York City — where else? — in August 2020, and understandably received a huge reaction. Now, the the first edition of the sizeable statue sits in the Brookfield Zoo in Chicago, with a second due to be installed at the Bruce Museum in Greenwich, Connecticut. Yes, that makes Sydney's version edition three. "We decided to create three editions after seeing the unbelievable response to the original Nyani in NYC. We knew that this was a cause that many people were willing to get behind," advises Gillie. "This was a chance to inspire three times as many people to protect gorillas to save them from extinction." King Nyani is definitely big — up to three people can sit inside the bronze silverback's hands, an act that serves multiple purposes. "We wanted to create a sculpture where the public could really get close to the silverback, both physically and emotionally. Being able to sit in his hand and look up into his gentle face, we hope they will fall in love and join the movement to save the gorillas," explains Gille. At Taronga, King Nyani now sits next to the Centenary Viewing Platform, underneath a giant fig tree — and mere metres away from the zoo's harbour view. You'll need an entry ticket to Taronga to check out its new addition, and to snap those pics you know are going to be all over social media, but those funds will go towards the zoo's efforts to support, care and protect wildlife, including gorillas. King Nyani is on display next to the Centenary Viewing Platform at Taronga Zoo, Bradleys Head Road, Mosman. For more information, head to the zoo's website.
Every year, one of the most unmissable events on the Mardi Gras calendar is the Sissy Ball. Taking over Sydney Town Hall on Saturday, February 24, the shindig will transport you to a dance floor inspired by NYC's legendary ballroom scenes. Spend the night making shapes to a 'disco-house-bounce-pop' soundtrack and watching an epic vogue championship, which will see entrants compete across nine categories, including Sex Siren, Hands, Face, Realness and Trans Man Best Dressed. Godmother of Australian Ballroom, Kilia, is returning this year as curator, with a lineup of beloved ballroom figures coming together to judge, alongside Jack Mizrahi and Jamaica Moana who will be delivering high voltage rapid-fire commentary. In charge of the tunes for the night will be MikeQ, a legendary producer and DJ within the ballroom community who was even sampled on Beyonce's Renaissance, plus Brisbane-based superstar Neesha Alexander. You can check out the full lineup Sissy Ball via the Mardi Gras Instagram. First and second release dance floor tickets are sold out, so act quick if you want to secure your spot.
We should all be well aware of the vast benefits that recycling brings to us individually, to our communities, and, of course, to the environment, and many of us make an effort to contribute as much as we can to this vital movement. Yet, some more than others have taken this dedication to reusing and recycling to an entirely new level. Artists and architects around the world have, over recent years, come up with ingenious creations made completely from recycled paper and cardboard. Buildings constructed using recycled paper are not only incredibly environmentally friendly but also cheap, lightweight, and easy to assemble. The structures can also be particularly distinguishable and aesthetically pleasing thanks to the creative methods needed to make use of the renewable materials. Here are seven of the most eco-friendly and remarkable structures made entirely from recycled paper. Dratz&Dratz Architekten's Office After passing by a recycling station and being inspired by the unexpected durability and functionality of recycled paper, Ben and Daniel Dratz of Berlin constructed this unique 2045 square foot workspace made from 550 bales of compressed recycled paper. The duo funded the project through a $200,000 grant from Essen's Zollverein School of Management and Design to build this pioneering 'paper house' on the grounds of a former mining complex and a UNESCO World Heritage Site. The duo stacked and designed the building so that it could withstand several days of rain and then dry in the sun. Not only is this a wondrous architectural feat but it is also a mysterious construction with countless scraps of information and hidden secrets embedded deep within its walls. Shigeru Ban's Takatori Catholic Church One of the most famous paper structures from one of the world's most famous paper architects, the Takatori Catholic Church is not only an unfathomable achievement in architectural design, but it is also an incredibly important construction, which helped rebuild the spirit and unity of the Takatori community following the devastating Great Hanshin Earthquake in 1995. Paper tubes were used as the structural elements of the rescue base and church — hence its nickname, 'Paper Dome' — and in 2005 these were then transferred to Taiwan to help the victims from the 921 Earthquake before being reused as a place of worship. Mode:lina Architekci's TRIWA Pop-up Store Nine hundred cardboard tubes were required to pull off this distinctive store for the up-market Swedish watch brand TRIWA. Aside from wanting to gain an alternative edge over their competitors, the company wanted low-cost, renewable materials that could quickly and easily be erected and which would increase their global brand awareness. The store is located in Poznan Plaza Shopping Mall in Poznan, Poland and consists of cabinets made from chunky chipboard panels, placed upon stacks of cardboard tubes made from OSB wood panels. Zouk Architect's Paper Tube Office Zouk Architects decided to adopt some eco-friendly methods for the construction of their very own open-plan office. Rather than simply discarding the unwanted moving waste when relocating their office, they decided to take full advantage of the cheap and highly structural materials to create an avant-garde office with a modern and renewable twist. Sumer Erek's Newspaper House In 2007, artist Sumer Erek made a call-out to the people of London to collate the newspapers lying inside their homes and scattered on the streets and add them to his creation, made entirely of 120,000 rolled newspapers. The transformative art- and think-piece is aimed to alter the perceptions of how Londonites, and everyone the world over, view rubbish and the mess we all contribute to. In an attempt to address the growing issue of free papers littering the streets of England, Erek wanted to reinforce the idea of 'reduce, reuse, recycle' and make the public realise that everyone is part of the problem, as well as the solution. Erek's expressive project was revealed in March 2008 and has since toured around England and various parts of Europe. Masahiro Chatani's Origamic Architecture On a slightly smaller scale, Masahiro Chatani's origamic architecture demonstrates the ways reused paper can be (re)used to create amazingly detailed and accurate depictions of famous buildings from around the world. Chatani invented the art of cutting paper simply using a knife to produce complex and beautiful paper structures in 1981 and since then many other artists have taken up the trend and added their own flair to it. Shigeru Ban's Tea House This tea house made entirely from recycled paper is another awe-inspiring creation from the hands of Japanese architect Shigeru Ban, yet with a slightly more commercial edge. Ban wants to send out a message to the world, as many of these architects do, to stress the importance of reusing and recycling in order to save our planet from the heavy burdens we place upon it through the never-ending mounds of waste we continually create. Following true Japanese tradition, this 5-metre-long construction is complete with a table and four chairs as well as a waiting area with a bench — the perfect environmentally friendly location to sit back and enjoy a rejuvenating green tea.
Hyde Park Barracks, built in 1819 to house male convicts and now a UNESCO World Heritage-listed museum, has reopened after undergoing an $18-million makeover. In the year since it closed, Sydney Living Museums has installed state-of-the-art interactive experiences. Prepare to step back into convict history and discover its impacts on First Nations peoples. Behind the revamp is Local Projects, a New York-based design studio, who has worked with Sydney Living Museums to breathe new life into the Barracks' 4000-strong collection, many of which are now on display for the first time. They've drawn on powerful stories, added interactive elements and created installations that surround you with visuals and sound over three storeys. [caption id="attachment_763829" align="alignnone" width="1920"] Brett Boardman[/caption] "The new design for Hyde Park Barracks places the personal narrative at the centre of the experience, creating a deeply moving journey for our visitors," said Sydney Living Museums Executive Director Adam Lindsay in a statement. For tens of thousands of years, the land on which the museum stands was home to Gadigal People, who remain the land's traditional custodians. The new Museum explores their connection to the area, as well as how their lives where impacted by the Barracks' construction and, more generally, colonisation. [caption id="attachment_763828" align="alignnone" width="1920"] James Horan[/caption] Commissioned by Governor Lachlan Macquarie and designed by convict-turned-architect Francis Greenway, the building served as a convict prison from 1819–1848, when it transformed into temporary accommodation for female immigrants, mainly Irish orphans escaping the Great Famine. More than 100,000 people lived in the building between 1819 and 1887. But it wasn't until the early 1980s that archaeologists dug up the 120,000 objects – from coins and soup bones to clothing and bottles – left behind. If you head to the new-look Hyde Park Barracks before Sunday, March 15, you'll get to see its (temporarily) transformed courtyard, too. For his site-specific art installation untitled (maraong manaóuwi), Wiradjuri/Kamilaroi artist Jonathan Jones has covered the building's 2500 square-metre courtyard with red and white stones from Wiradjuri Country. You'll spot a symbol on the rocks that can be interpreted in two ways (and conveys two very different historical perspectivies): the maraong manaóuwi (which means emu footprint in the local Gadigal language) and English broad arrow. You're invited to look at — and walk across — the artwork for free until it disappears mid-March. A heap of workshops are running alongside the installation, too, which you can check out over here. Hyde Park Barracks Museum is open daily from 10am–5pm at Macquarie Street, Sydney, and tickets are $20–24. Top images: Brett Boardman
Whether you love the olive garnish that comes with a classic martini, or opt for the dirty variety where brine goes straight in the drink, there's no doubt that olives play a big role in this enduring tipple's sharp, herbaceous appeal. To celebrate one of the world's most iconic cocktails, Four Pillars is bringing back its Martini Collective for the next month or so, teaming up with much-loved bars and restaurants across Sydney and Melbourne for an aperitif-style sip and snack pairing. Running until Sunday, June 22, at a host of stellar venues, the drink at each venue is the same wherever you decide to visit — a mini martini made with Four Pillars' bright and savoury Olive Leaf Gin. However, the snack that adorns your beverage changes up from place to place, ensuring you can explore the full spectrum of pairings to see which leaves the biggest impression on your palate. In Sydney, there are ten venues taking part in the third edition of the Martini Collective, with several returning favourites to explore. For instance, Shell House is serving up a cruller topped with whipped fish roe and white anchovy; The Charles is offering a white anchovy gilda; Le Foote is plating a tartine featuring smoked peppers, sheep's yogurt and sauce vert; and NOMAD is presenting a green olive and pumpkin seed tartlet. As for the Melbourne lineup, the series is back in town for its second year, with newcomers like Hazel, Society, Grill Americano and Bar Liberty joining previous hosts, including Bar Bellamy, LUI Bar and Reine. Head to Flinders Lane to see how Hazel's fish cake complements your mini martini, or wander up to Society on Collins Street to experience its smoked tomato sourdough crostini. Who knows — maybe this carefully balanced umami bomb will provide the dream pairing with your aperitif. With this first-class selection of venues getting in the mood for Four Pillars Martini Collective over the next month, there's plenty of time to sample each and every pairing. Plus, with the Martini Collective running through World Martini Day on Saturday, June 21, it's the perfect way to celebrate your love of this timeless cocktail. The Four Pillars Martini Collective is running now until Sunday, June 22 at various venues across Sydney and Melbourne. Head to the website for more information. Images: Declan Blackall / Chege Mbuthi.
Can we all agree that Thursday is an underrated day of the week? It's the Friday of Fridays — a day when you're over the hump of the work week and oh so close to the weekend. And because of this, it can be a real treat to catch up with friends or grab an after-work drink on a Thursday. Chin Chin knows this better than most, and is celebrating the magic of Thursdays with a deal-heavy happy hour running every week through September until October. As part of the new Cocktail Hour program that Lucus Restaurants is running, Chin Chin's Sydney outpost is rolling out a set of three $9.50 cocktails alongside discounted beer, wine and snacks every Thursday until October 5. The pick of the bunch is the Watermelon Margarita. The mix of Reposado Tequila, Aperol and fresh watermelon packs a real punch thanks to its chilli salt rim. If you prefer your cocktails on the sweeter side, opt for a $9.50 Elderflower Spritz made from vodka, elderflower, apricot, raspberry, lemon and prosecco. And, rounding out the happy hour cocktails is a vibrant purple Lychee Violet Daiquiri which combines white rum, yuzu-shu, lychee, peaflower and lime. Elsewhere on the drinks menu, there are $6.50 tap beers, plus discounted wines including a $10 glass of Marquis de Pennautier Rosé and a $22 glass of Piper-Heidsieck Champagne Cuvee Brut NV (usually $27 a glass). Then there are the happy hour snacks — all loaded with the typical big, bold Asian flavours of the Chin Chin menu. The must-try menu item is the jungle pork sliders featuring a spiced pork patty — setting you back $15.50 for two sliders. Round up your bestie and head to Chin Chin on a Thursday to nab a watermelon margarita and a pork slider for a grand total of $17.25 each. There's also citrus-forward kingfish sashimi on a rice cracker ($9.50 for two), $9.50 bowls of larb-spiced popcorn and puffy typhoon-style popcorn prawns, also for $9.50. The deals are on offer from 4–6pm every Thursday throughout the promotion — the perfect excuse to knock off work a little early.
Opened in 2015, the six-hectare, harbourside park is one of the newest public spaces built in Sydney's CBD. It was constructed on the land of a former container terminal, built to mimic the shape of the shoreline as it would have existed before colonisation. And the park is named for the leader of the Cammeraygal people, Barangaroo. When you're visiting Barangaroo, it's likely you're here to walk or cycle along the promenade, Wulugul Walk, which snakes around the harbour with distinctive sandstone blocks that you can climb over and sit on. There's also a large, elevated grassy area called Stargazer Lawn, which is where you can lay out a picnic blanket and watch the harbour boats sail by. And underneath that grassy lawn there's an expansive events space called The Cutaway, which houses markets, public art exhibitions and photoshoots, depending on the events calendar. It's one of the few city parks where you're permitted to bring booze for your picnic. You can also purchase food and drink from nearby restaurants, bars and shops in Barangaroo. You don't need to book a spot in advance, however, if you are looking to invite more than 50 people you need to enquire with Barangaroo Reserve's Events team. Note, there's limited shade in the park and no barbecues. However, there are drinking fountains and public toilets, plus parking. Image: Destination NSW.
In what was once a bit of a no-go zone for serious foodies, in the cross-section between Alexandria, Redfern and Erksineville, now stands a cafe that is worth the venture. Meet Gerard is born from the experience of Mariella Traina (formerly of Petersham eatery The Counter) and Sarah MacWilliam (who previously ran the kitchen at West Juliett). Here the duo is exploring a fresh take on local cafe culture. The menu might have a few familiar mentions — scrambled eggs, smashed avo and French toast — but on closer inspection, these aren't standard dishes you know. The scrambled eggs are topped with broccolini, sumac and goat's curd. The french toast is jazzed up with baked apple, salted caramel, ricotta and a spice crumble. It isn't the biggest space so it fills up quick. If you can't stick around, it is still worth grabbing a cuppa — made with a special blend from local brewers Coffee Alchemy — and a house-made sweet treat before you head on your merry way.
At the tail-end of a year that's seen an unprecedented amount of hotels open across the country, one of Sydney's older establishments has scored a good-as-new refurbishment. Sheraton Grand Sydney Hyde Park, previously known as Sheraton on the Park, has undergone a mammoth $50 million refurbishment. As well as joining the brand's prestigious 'grand' series, the hotel has scored some modern new features after 25 years of operation. Catapulting it to luxury status, the five-star hotel on Elizabeth Street has had all 17 of its event spaces refurbished, as well as the 558 rooms transformed into more refined and deluxe residential experiences — think walk-in-robes, private floor access and complimentary cocktails. This doesn't come cheap, however — rooms start at around $270 a night and suites surpass the $1k mark. The hotel doesn't run shy of lavish experiences. Guests — or just anyone wishing to be spoilt for a few hours — can make a beeline for the Health Club for a massage, body or skincare treatment. And those after some fun in the sun (without having to hike it to Bondi) can escape to the rooftop pool or jacuzzi. The exclusive Sheraton Club Lounge on level 21 — reserved only for guests staying in Grand Executive suites — is another drawcard for cashed-up travellers. It's decked out with stylish furnishings and has uninterrupted views from the outdoor terrace, right across St Mary's Cathedral and out to Sydney Harbour. The hotel has its fair sharing of dining options, too. Choose from a seafood buffet at the hotel's restaurant Feast, high tea at the Gallery, or light eats and a cocktail from the Conservatory Bar, which was refurbed late last year. This latest renovation will help the Sheraton compete with newer hotels, like the Sofitel in Darling Harbour and the futuristic new Skye Suites. It could be a good excuse to lower your carbon footprint and be a tourist in our own city this summer — or at least drop in for a drink and peek inside. The Sheraton Grand Sydney Hyde Park is now open at 161 Elizabeth Street, Sydney.
In the kind of punishment Cersei Lannister might dream up, the eighth and final season of Game of Thrones isn't due until mid-2018 at the earliest — and sometime in 2019 at the latest. However, one London cinema is offering fans an immersive way to pass at least some of that period. Taking the movie marathon idea to the extreme, they're showing the entire series' seven-season run to date in one massive sitting. Fans of Westerosi dramas, resilient Stark siblings, formidable dragons and more can expect to get comfy in The Prince Charles Cinema for four days, as they screen all 67 episodes between November 27 and 30. It all kicks off at 7pm on Monday and runs until just after 6pm on Thursday. And while that might seem like quite the commitment — in hours, in the willingness to sit in cinema seats for that long, and in sacrificing your normal life for your favourite show — if there's one thing that GoT fans love more than shipping Jon Snow and Daenerys, it's spending as much time in the Seven Kingdoms as possible. The event is designed to promote the DVD release of the seventh season, which just finished airing in August. For anyone who happens to have a spare week, it's free to attend. There'll also be a pop-up pizza bar onsite for sustenance. If you're in London, the Game of Thrones Marathon Screening runs from November 27 to 30. Visit the event Facebook page for further details, or to register for tickets.
Australia's best interiors for 2025 have been revealed — and a theatrical Brisbane restaurant has nabbed top honours. Central, the subterranean restaurant by J.AR Office, claimed the prestigious Premier Award for Australian Interior Design at this year's Australian Interior Design Awards. Celebrated for its moody, immersive atmosphere and inventive use of constraints, the venue also won the Hospitality Design Award and Best of State Commercial for Queensland. The annual awards, now in their 22nd year, recognise excellence across residential, hospitality, retail, installation, public and workplace design, as well as achievements in sustainability and emerging practice. The program is a collaboration between the Design Institute of Australia and Architecture Media's InteriorsAu, with this year's entries honouring aesthetic impact and user-centred thinking. [caption id="attachment_1010109" align="alignnone" width="1920"] Central by J.AR Office[/caption] The jury praised Central as a "highly inventive project" that's "executed with a level of cleverness that uses constraints to its advantage". In a year defined by refined aesthetics and clear design narratives, the 80-seat, Hong Kong-inspired Central stood out for its emotive interiors, with low lighting and cleverly juxtaposed accents of granite, timber and exposed rock, which all set the stage for a singular experience. Elsewhere, southern states swept the residential awards — Montage Apartments by Studio Prineas in Sydney's Double Bay received both the Residential Design and Best of State Residential for New South Wales accolades, commended for its "strong and nuanced colour palette and detailing", while the "joyful, sophisticated and colourful" Panorama House by Sally Caroline won the Residential Decoration Award and Best of State Residential for Victoria. Design Office claimed Retail Design honours for Vic's Meats in Chatswood Chase, Sydney — the project was also awarded Best of State Commercial in NSW for its "bold and highly distinctive design" that "honour[s] the tradition of the butcher's craft through a contemporary expression". [caption id="attachment_1010110" align="alignnone" width="1920"] Coopers Brand Home by studio gram[/caption] In the Public Design category, Studio SC was recognised for its moving and detailed interior at the new Australian War Memorial entrance in Canberra, which also took home Best of State Commercial in the ACT. The jury was split down the middle for the Workplace Design award, with top honours shared by both Cox Architecture's Adelaide Studio (which also won Best of State Commercial for South Australia) and the Arup Workplace Perth/Boorloo by Hames Sharley with Arup and Peter Farmer Designs — the latter also received the Sustainability Advancement Award for its conscious use of resources and sensitivity to human interaction. The jury noted that this year's awards represented "an opportunity for our industry to stand back, take it all in and genuinely celebrate the quality of interior design being produced in Australia today". And they're confident that the future is in good hands, too: "We can give ourselves a collective pat on the back as we continue to produce work that is inventive and sophisticated." [caption id="attachment_1010111" align="alignnone" width="1920"] Good Luck Restaurant Bar by Akin Atelier[/caption] [caption id="attachment_1010112" align="alignnone" width="1920"] Good Luck Restaurant Bar by Akin Atelier[/caption] [caption id="attachment_1010113" align="alignnone" width="1920"] Melbourne Place by Kennedy Nolan[/caption] [caption id="attachment_1010114" align="alignnone" width="1920"] Melbourne Place by Kennedy Nolan[/caption] [caption id="attachment_1010115" align="alignnone" width="1920"] Melbourne Place by Kennedy Nolan[/caption] [caption id="attachment_1010116" align="alignnone" width="1920"] Palace Coffee by Kerry Kounnapis Architecture Practice[/caption] For more information on the Australian Interior Design Awards 2025 and the full list of winners, head to the awards' website.
Spending quality time outdoors and with your pals after work is a solid way to improve your mental health. But achieving this and getting into bed at a reasonable hour can feel like an impossible task. We've found a solution. Head over to Petersham Bowling Club for a couple of rounds of after-work bowls followed by a couple of rounds of trivia. Make a night of it by hitting up the bistro, which serves some tasty bites (including a number of vegetarian options). You can be further satisfied by knowing that all seasonal produce is sourced from local sustainable vendors.
It was 35 years ago in the original 1977 Star Wars film that Princess Leia called for the help of Ben Obi-Wan Kenobi through holographic messaging. At the time we thought anyone would be out of their mind to think such a thing would be possible. We were wrong about a lot of things back in 1977. Educated as an industrial design engineer but always fascinated by lights, Japanese artist Makoto Tojiki turned his head to creating art in 2003 and for five years has worked on his life sized light sculptures. Through the medium of thousands of LED lights and optical fibres, the futuristic celestial like sculptures approach the idea of 'physical presence' in an illuminating way. Tojiki explains his stunning 'No Shadow' light installation sculptures: "An object is seen when our eyes capture light that is reflected from the object. If we extract just the light that is reflected from ‘something,’ are we still in the presence of that 'something?' Using contours of light, I try to express this 'something.' Playing with perception and space, Tojiki encourages the audience to interact with his sculptures from different angles and distances, in turn altering viewer experience. Despite the international success of Tojiki's artworks, his talents are not limited to LED sculptures. Dabbling in interior design and jewellery, Tojiki hopes to see his artworks integrated with fashion brands and featured at events, stores or showrooms. For all you Harry Potter fans, check out Tojiki's 'Horse with No Shadow' installation. Created for Hermes, and probably with no connection to the wizarding world whatsoever, I can't help but see a comparison to Harry Potter's Petronus charm. [Via The Cool Hunter]
It's summertime, which means plenty of days hanging at the beach, or in the park, and relaxing in the sun. And while summer reads are an essential part of any good trip outside, some days we're left either squinting against the glare or fighting that inevitable sunglasses tan. On those days, reach for your headphones and check out one of these podcasts instead. From true tales of murderous doctors to mind-boggling stories of viral Reddit threads, these podcasts will keep you entertained and informed this summer — whether you're relaxing at the beach or commuting on a train. SERIAL SEASON THREE The cult-favourite podcast Serial returned for its third season in September 2018, having been silent since season two aired back in 2015. Season three focuses on the entire criminal justice system in the US — and, more specifically, on the inconsistencies and failures of the courts in Cleveland, Ohio. Host Sarah Koenig (This American Life) and her crew spent one year in the Cleveland courts, where they recorded not only in courtrooms but also in judge's chambers, prosecutors' offices and back hallways, plus outside the courthouse in family members' houses, streets and prisons. Koenig witnessed an onslaught of court offences, including extra charges, pressure to plead guilty, shabby police work, "eleventh hour" evidence and dozing jurors and a judge — all ending with outsized prison sentences. Again, the story unfolds week-by-week, but this time follows different cases each time in the nine-episode season. Listen to Serial Season Three here. SLOW BURN SEASON TWO A Slate Plus production, Slow Burn explores "subplots, strange details, and forgotten characters" of contemporary political history in the United States. While season one focused on Nixon's Watergate scandal of the 1970s, season two (released in August 2018) investigates the 1998 impeachment of President Bill Clinton — during which Clinton was accused of having sexual relations with his intern Monica Lewinksy, and was charged with perjury and obstruction of justice for lying about it under oath. Host Leon Neyfakh explores this story of political and sexual scandal in depth, finding modern-day parallels, including similarities to the #MeToo movement. Whether you remember the scandal or not, the podcast explores it in a new, 2019-appropriate, light. Listen to Slow Burn here. DR. DEATH Dr. Death follows the deeply disturbing true story of Christopher Duntsch, a Texas neurosurgeon who was convicted of gross malpractice and sentenced to life in prison in 2017. A whopping 33 of his patients were left seriously injured from his operations — two of which died on the operating table. Created by Wondery — the network behind another wildly popular podcast, Dirty John — and hosted by the award-winning health and science reporter Laura Beil, the ten-episode season finished this December. It explores a medical system that fails to protect patients and the horrors that can await in the operating room because of it. Listen to Dr. Death here. NO MAN'S LAND No Man's Land dives into stories of some of the most trailblazing and game-changing, yet lesser known, women of history. The first season aired in November, with five episodes out so far. Some of the women featured include mid-1900s poet Sylvia Plath; investigative journalist and civil rights activist from the late 1800s, Ida B Wells; and Cuban-American artist Ana Mendieta. The latest episode examines the originators of women's social clubs, and the resulting groups' power and influence. Host Alexis Coe is also the in-house historian for the podcast's creators, The Wing — a networking company that runs community spaces for women. Listen to No Man's Land here. THE TEACHER'S PET A must-listen for fans of murder-mystery, The Australian-created podcast The Teacher's Pet looks into the 1982 disappearance of Lynette Dawson — the wife of rugby league player and teacher Chris Dawson. The podcast unveils large amounts of evidence that had not been previously collected or examined by police, including details of the couple's marriage, Lynette's disappearance and Chris Dawson's affair with a 16-year-old student. Late last year, the podcast was awarded the 2018 Gold Walkley Award, one of Australia's most prestigious journalism awards. Hosted by award-winning Australian journalist Hedley Thomas, the 14-episode podcast aired in May, with two additional episodes added at the end of December following Chris's arrest and release after being granted bail. More episodes are also expected to air as new leads are unearthed, so this is the ideal time to get into this podcast. Listen to Teacher's Pet here. THE WITCH HUNT SEASON TWO As the title indicates, The Witch Hunt investigates famous witch hunts in history, both "literal and metaphorical" — starting, of course, with Salem, Massachusetts in season one. In season two, which aired back in April 2017, the focus is on the 'satanic panic' of the late-1900s, when the imagined existence of satanic ritual abuse in the States led to a pandemic of fear and paranoia. The eight episodes feature interviews with the likes of award-winning investigative journalist Jordan Smith (The Intercept) and Historical Blindness podcast host Nathan Lloyd. The Witch Hunt explores scapegoating of all kinds, too, including topics like child abuse allegations and Dungeons and Dragons (yes, the board game). Listen to The Witch Hunt here. CALIPHATE The New York Times' podcast Caliphate follows reporter Rukmini Callimachi, whose career focuses on Islamic extremism. The investigative podcast centres around the fall of Mosul — when the Iraqi Army was defeated by the Islamic State in 2014. The ten-chapter season asks questions like "who is it that ISIS appeals to, and how?" and "who are we really fighting"? Callimachi speaks with recruits, former and returned ISIS members, and detainees, as well as enslaved victims of the Islamic State. Released in April 2018, the powerful series unveils the reality of being a terrorism reporter on the front line and sheds light on the nature of ISIS violence. Listen to Caliphate here. ENDLESS THREAD While some people like to focus on internet's ability to isolate, WBUR and Reddit have combined forces to explore the ways in which it creates shared experiences and connections between people — on all sides of the globe. Endless Thread digs through Reddit communities to uncover stories that reveal the true potential of the internet, and some of them are fascinating, hilarious and horrifying. The podcast is hosted by Ben Brock Johnson (Marketplace Tech, Codebreaker) and WBUR's producer Amory Sivertson (Modern Love: The Podcast). It launched in January 2018 and continues to air every Friday. It promises to be more than cat videos, but also full of cat videos, and covers everything from miraculous near-misses (including a pilot landing a plane sans windshield) to a viral flyer selling a Soylent sculpture. Whether you love or hate Reddit, this one is worth the listen. Listen to Endless Thread here. LADIES, WE NEED TO TALK Exploring topics of work, health and sexuality, Ladies, We Need To Talk is created by women for women. It's an ABC Radio Podcasts production and was the winner of the 2018 Australian Podcast Awards for Best Lifestyle and Heath Podcast. Hosted by Australian TV presenter Yumi Stynes, the ongoing episodes delve into topics like anxiety, hormones, being judged by looks instead of intelligence and society's obsession with youth. Styne — who's joined on the show by a lineup of influential female Aussies — shares personal stories and discusses the struggle for women to balance work and private life. Ladies, We Need To Talk also encourages listeners to call in and share their own stories. Listen to Ladies We Need To Talk here. HEAVYWEIGHT The award-winning podcast Heavyweight just completed it's third season in December and continues to be a firm favourite amongst audiences and critics alike. It's hosted by comedian and author Jonathan Goldstein (This American Life, WireTap), who considers himself something of a "therapist with a time machine". He presents an usual podcast that tells the stories of ordinary people who have a major regret in life. In each episode, Goldstein guides a different person back to a pivotal crossroad in their life and helps them confront and, hopefully, overcome it. For example, in the first episode, Goldstein attempts to reunite his 80-year-old dad, Buzz, with his older brother. Heavyweight also encourages email submissions for the show. So, if you have a moment in time you want to get back or change, might as well try your luck — who knows, we might be hearing you in a future episode. Listen to Heavyweight here.
Go on, get feasting in one of Sydney's newest tunnels. Nigella Lawson wants you to. Either part of the Vivid Sydney Dinners series setup — the unique location or the famous chef curating the menu — is reason enough to head along. Combine the two and you have one of the key events of Vivid 2025. The setting: Martin Place's Muru Giligu pedestrian tunnel. The spread: whatever takes Lawson's fancy. And to make a great event, or three, even better, a light and sound experience will work its magic on the tunnel while you dine. "Visitors cram themselves into Sydney in summer, but for me the magical time is in winter, during Vivid Sydney," said Lawson about her collaboration with the Harbour City's annual midyear arts, lights, ideas and food festival. "And having loved it for years, it is the hugest thrill to be part of the Vivid Food program this year. I'll be curating an exclusive menu for the three Vivid Sydney Dinners, and it is simply a dream come true. I mean, you know me: there can never be too many fairy lights! See you there!" As announced in 2024, Vivid 2025 runs from Friday, May 23–Saturday, June 14, celebrating its 15th year with all things dreams its theme. A bucket list-type meal overseen by Lawson? Well that's a dream inclusion. So are Tangerine Dream and Anohni and the Johnsons on the music lineup, an immersive Stranger Things experience at Luna Park, and the fact that the entire Vivid Light Walk is free. In fact, more than 75 percent of the entire just-dropped program won't cost you a cent to enjoy. On the Vivid Light Walk, that includes installations and 3D projections spanning across new backdrops, such as the Museum of Sydney, The Bond in Barangaroo and Challis House in Martin Place. At those locations and beyond — at the Argyle Cut in The Rocks and the CTA Building in Martin Place, too, to name just a couple of other spots — this lit-up reason for scenic stroll will feature swings, seesaws, animation activated via voice, a tennis match made out of light and 150 pieces a week designed by patrons. Still on the broader Vivid Light strand, Sydney Opera House's sails will boast work by the late David McDiarmid, Vincent Namatjira will take over the Museum of Contemporary Art Australia's facade and House of Romance, hailing from fashion label Romance Was Born, has a date with Customs House. Alongside German electronic-music icons Tangerine Dream at City Recital Hall and Anohni and the Johnsons at the Opera House, the Vivid Music bill includes Sigur Rós performing with the Sydney Symphony Orchestra, Portishead's Beth Gibbons , Japanese Breakfast, Marlon Williams, Soccer Mommy, RONA, Ravyn Lenae and Pete & Bas. On the lineup as well: Heartbreak High star Ayesha Madon, Prince's former bass player MonoNeon, V-pop via Mỹ Anh and Chi Xê, Winston Surfshirt, Grammy-winner Dobet Gnahoré, Mall Grab, Ngaiire, Skegss and more. The Upside Down has come to Sydney before, but Stranger Things: The Experience will make its first trip — and add a must-attend event to the Vivid Ideas portion of the program. Get ready to visit 1986, and Hawkins, of course, in what promises to be an immersive and interactive stint of Stranger Things-loving fun. Locations from the show are part of the event, as is a supernatural mystery. Vivid Ideas is also bringing TIME Magazine Creative Director DW Pine this way to deliver the keynote 'Where Do Ideas Come From?', tasking scientist Professor Matthew Walker with diving into why we sleep, amassing First Nations storytellers at Barangaroo Reserve each week and getting Sydney's Legs on the Wall performing new theatre work Endling. And, it's why Haus of Horror screenings of Poltergeist and Edward Scissorhands are on offer, too. At Vivid Food, Vivid Fire Kitchen will be back at The Goods Line; Vivid Chef Series will enlist Jean-Philippe Blondet, James Lowe and Brent Savage teaming up with Sydney eateries; Maryanne Street is becoming the festival's Spice Lounge; and Golden Age Cinema, Hollywood Hotel and The Soda Factory will feature in food and gig trails in the Hollywood Quarter in Surry Hills. The Carriageworks Night Market returns, and so does eating on the Sydney Harbour Bridge's southeast pylon thanks to Luke Mangan. This year's Vivid is focused on five zones, spanning Circular Quay and The Rocks, Barangaroo, Martin Place and CBD, Darling Harbour, and The Goods Line and the inner city, with each hosting Light, Music, Ideas and Food events. "Dreaming is as old as time and as universal as life itself. Dreams can be prophetic, life changing and inspirational, as well as trivial, hilarious or terrifying. These interactions are evident in every aspect of Vivid Sydney's program this year," said Vivid Sydney Festival Director Gill Minervini, announcing the lineup. "Captivating light installations and 3D projections for everyone, thought-provoking and enlightening experiences, awe-inspiring performances from the world's best musicians, along with cutting-edge culinary collaborations and dinners in unexpected places: it can all be found at Vivid Sydney. In 2025, the festival celebrates creativity, innovation and connection in one of the best cities in the world." [caption id="attachment_994734" align="alignnone" width="1920"] Anna Pollack[/caption] [caption id="attachment_994726" align="alignnone" width="1920"] Jacquie Manning[/caption] Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
When the COVID-19 pandemic began, life as we once knew it changed suddenly, and everything started to feel like something out of a horror or sci-fi movie set in a post-apocalyptic future, films about contagions, outbreaks and infections all became go-to comfort viewing. We flocked to visions of situations similar to our own, even if only slightly, to help us cope with the existence-shattering shift we were all going through. Accordingly, Contagion proved eerily prescient, while I Am Legend and 28 Days Later mirrored the empty streets — and, yes, everyone was watching them. Next came the spate of flicks that were shot during the pandemic and responded to it. Think: opportunistic fare such as Locked Down and Songbird, neither of which proved memorable. Movies and TV shows will be ruminating upon life in the time of COVID-19 for years and decades to come, obviously; however, the highlights so far have rare. Add Station Eleven to the certain-to-keep-growing pile, but thankfully as one of the very best examples. Indeed, it's unfair to clump this haunting end-of-the-world miniseries in the same group as almost anything else that's emerged since the pandemic began, other than Bo Burnham's exceptional comedy special Inside. As also proved the case with Y: The Last Man when it reached streaming queues in 2021, Station Eleven's narrative actually predates our current predicament. Its nine-episode run now sits on Stan in Australia and Neon in New Zealand, available to watch in full, after its story first garnered a devoted following on the page. And, it taps into something far deeper than obvious observations about being stuck at home with your significant other for longer than either of you had ever considered, and having to scramble to buy toilet paper when the supermarket shelves are bare. The focus of this excellent show, and of Emily St. John Mandel's 2014 book before it: how art and community all play immeasurable parts in helping humanity process and navigate existence-shattering traumas, and to find a path out the other side. That's a sentiment that might sound mawkish and self-evident when described in a mere sentence, but nothing about Station Eleven ever earns such terms. [caption id="attachment_841063" align="alignnone" width="1920"] Parrish Lewis/HBO Max[/caption] Here, it all starts with a flu that swiftly proves more than just the usual sniffles, coughs, aches and pains. This one spreads lightning fast, too, and strikes down its unlucky victims heartbreakingly quickly. For eight-year-old Shakespearean actor Kirsten (Matilda Lawler, Evil), the chaos descends during a tumultuous opening-night performance of King Lear led by Arthur Leander (Gael García Bernal, Old). In the aftermath, she's stuck traipsing around snowy Chicago with Jeevan (Himesh Patel, Don't Look Up), who she has just met — and then sheltering in his brother Frank's (Nabhaan Rizwa, Mogul Mowgli) high-rise apartment. That's really just the beginning of this multi-layered narrative, which also jumps forward 20 years to survey Kirsten's (Mackenzie Davis, Happiest Season) adult life. There, she's a key part of a travelling theatre troupe who performs Shakespeare to the outposts of survivors it passes on its annual route — and she's spent almost her entire existence adjusting, like the rest of the planet, to this new normality. Still, while two decades might've passed and little may now resemble all that passed for routine before the flu, the earth remains an anxious and fraught place. So when a mysterious man, known as The Prophet (Daniel Zovatto, Penny Dreadful: City of Angels) to his army of child followers, shows up at one of the Travelling Symphony's stops, Kirsten is immediately and understandably suspicious. [caption id="attachment_841060" align="alignnone" width="1920"] Ian Watson/HBO Max[/caption] Station Eleven's narrative isn't just about one woman, the men who help her as a child and the other that threatens her status quo as an adult. As well as continually fluttering backwards and forwards between Kirsten's younger and older exploits, it dives into the experiences of others connected to her story in various ways. Before the flu, Miranda Carroll (Danielle Deadwyler, The Harder They Fall) devoted her spare time to writing and illustrating a graphic novel about feeling lost and adrift in space, for instance — and that text, which shares the show's name, is part of the series' broader contemplation of art, tragedy, trauma and dealing with our feelings in general. Premiering late in 2021, just as Omicron started sweeping the world, Station Eleven might've seemed blighted by unfortunate timing. Nonetheless, it's the ideal show for right now. Shot with a soft grey-blue sheen like it's unearthing watery memories, it cuts close to home but always plays like a beacon of hope — and an ode to endeavouring to make it through, come together and make a difference however one can. It's impeccably acted, with the broader cast also spanning Orange Is the New Black's Lori Petty, Veronica Mars' Enrico Colantoni, Arrested Development's David Cross, Veep's Timothy Simons, Succession's Caitlin FitzGerald and Little Joe's David Wilmot. It's meticulous and expressive with every shot, and perfects the feeling of simultaneously trying to get by and daring to dream about something other than weathering a pandemic. Rich and layered and cathartic, this is a dystopian disaster tale not just about merely surviving, but about truly enduring. In a sea of pandemic tales — those made before COVID-19 and since — Station Eleven is a lyrical, heartfelt and character-driven apocalyptic musing with an immediate difference. Check out the trailer below: Station Eleven is available to stream via Stan in Australia and Neon in New Zealand. Top images: Ian Watson/HBO Max.
Inviting everyone over to enjoy your sun-drenched courtyard on a Friday evening seemed like a brilliant idea at the time — it's certainly more relaxed than cramming into a busy city rooftop bar and more summery than sipping cocktails in a dark, underground basement bar. But now that your friends are due round any moment, do you have your drinks repertoire ready? Here to help you, we've got five easy-to-make cocktail recipes that'll upgrade your home bar and hosting skills — and you won't have to spend all your time in the kitchen making them, either. Spruce up your evening get-together with the world's finest French vodka, Grey Goose, which we've partnered with to showcase three vodka cocktails and two non-alcoholic options that your friends and workmates will love. GREY GOOSE ESPRESSO MARTINI In 1983 a model sauntered into a London bar and uttered the phrase "I want something to wake me up and fuck me up", and the espresso martini was born. Thirty-six years later and the caffeinated cocktail has risen to cult status. To make things easier on you, this recipe uses cold drip coffee so you don't have to worry about making a fresh espresso for each round. — 30ml Grey Goose Original — 30ml De Kuyper Crème de Café coffee liqueur — 30ml cold drip coffee — 1 pinch of salt (serves one) Shake all the ingredients, hard, in Boston tins with lots of ice till the outside is frosty. Double strain into a martini glass. Garnish with coffee beans or chocolate dust. Everyone'll be pepped for the night ahead in no time. [caption id="attachment_750115" align="alignnone" width="1920"] Camille Vidal, La Maison Wellness[/caption] HEALTH YEAH Not everyone drinks alcohol — and having a non-boozy option makes you a considerate host. This refreshingly light iced tea needs a little pre-planning, so you'll have to batch-make the tea and syrup the night before. Then, come Friday afternoon, you can to knock one of these together in no time. — 120ml roobois tea — 80ml kombucha — 20ml turmeric honey syrup — 2 dashes of lemon essential oil (serves one) Use cold water to infuse the tea as it'll avoid bitterness and tannins; add ten grams of roobois tea for every one litre of mineral water and leave to infuse overnight. Strain and keep it in the fridge. To make the syrup, use three tablespoons of turmeric honey and one tablespoon of golden unrefined sugar with 350ml of water. Add all ingredients in a saucepan, bring to boiling point and stir for one-to-two minutes until dissolved. Remove from heat and allow syrup to cool. Build the cocktail over ice in a highball, give a gentle stir to mix ingredients and garnish with a lemon wedge. SPIKED ICE TEA Thought that last one sounded good? How about having an iced tea with an extra kick? Forget woeful Long Islands and upgrade to this delicious and balanced Grey Goose version which includes a fruity twist of apricot brandy. — 30ml Grey Goose Original — 20ml apricot brandy — 20ml lemon juice — 90ml cold earl grey tea — 10ml sugar syrup Just like the boozeless option above, prep the tea overnight and brew with cold water to avoid any bitter tannin taste. Build the cocktail over ice in a highball, give a gentle stir to mix ingredients and garnish with a lemon wedge. Easy peasy! BOOZELESS GINGER MOJITO Who said drinkers had to have all the fun and flavour? When you want to take time off the sauce, or cater for guests who do, opt for this gently spiced but super-fresh non-alcoholic mojito. As a bonus you can show off your muddling skills to impress your mates. — 22ml fresh lime juice — 15ml sugar syrup — 3 wedges of fresh lime — 2cm of fresh peeled ginger — 12 fresh mint leaves — top with soda water (serves one) Muddle lime wedges, mint leaves and ginger with the sugar syrup and lime juice. Add crushed ice and churn before topping with soda water. Look at you go! ROSE SPRITZ Make like you're in the south of France with this gently fizzy, and oh-so pink cocktail that practically begs to be sipped outdoors on a terrace surrounded by your besties. — 30ml Grey Goose Original — 20ml Martini Bianco — 10ml Monin watermelon syrup — 15ml lemon juice — 45ml soda (serves one) Build all the ingredients over ice in a collins glass and top with soda water. Garnish with a lemon wedge. Then upload a pic to Instagram to make sure everyone knows you can make such a fine looking drink. Upgrade your Friday night at home by choosing premium vodka Grey Goose. Each bottle is distilled in France, and the high quality vodka has a 100 percent traceable production process, from crop to cork.
Next time that you're heading or the ICC for an event, consider popping into the neighbouring multimillion-dollar pub Darling Pavilion for a beer. The venue comes from the hospitality group the team behind Universal, Newtown Hotel and The Imperial, dishing up a dose of casual luxury on Harbour Street. Head in and you'll discover an elegant design from Dreamtime's interior designer Michael McCann (Mr Wong, China Diner and Felix) partnered with a relaxed atmosphere. Seating over 350 guests, Darling Pavilion's interiors consist of timber-covered ceilings, textured feature walls and copious amounts of natural light with spots of greenery littered throughout. Residing in the centre is an eye-catching 20-metre stone and marble bar — the focal point of the indoor space. Opt to unwind in the huge outdoor terrace and you'll find the perfect spot to soak up some rays: the cosy lounges. Plus, there are custom-built DJ decks offering up live tunes to accompany you throughout the day and well into the night. When it comes to a pub lunch, expect familiar favourites like the beloved schnitty and Neapolitan-style pizzas alongside dishes pulling inspiration from the Mediterranean. A few stellar options include the braised lamb shank, and the mushroom and truffle pizza. Plus, there are tempting lunch specials that are sure to draw you in for a midweek feed. The venue's signature artisanal cocktails — ranging from classics like the spicy margarita and a stiff negroni to seasonal sips like the fruity Oh Darling martini — reside alongside an array of beers and wines, catering to any sip you find yourself in the mood for. Images: Chad Konik.
The Lord Gladstone has been sold. But locals and lovers of the Chippendale stalwart can rest assured that it won't be changing — too much. Owner Paddy Coughlan has sold the business to his long-time business partner Benny Johnson and the bar's second-in-command Mitchell Crum. While The Forresters owner George Kazzi has bought the physical building, Johnson and Crum now own the Lord Gladstone name. Which means, according to Johnson, "you now have the two head guys at Lord Gladstone actually running the business". The duo isn't planning to veer too far from the pub's relaxed, good-times-for-all ethos, just expand on it. "I've been there since inception and nothing will dramatically change." says Johnson. "We just plan on activating all the spaces a lot more often." They include the upstairs art gallery Goodspace, which will host more regular events and intimate live music gigs going forward. Expect hip hop and punk garage acts to take to the stage in the upcoming months. First off the bat is an after party for Indigenous Australian rapper Briggs this Thursday, May 30, from 11pm, after his Vivid show at the Sydney Opera House. There are also plans to amp up the venue's party vibes, with Johnson currently in talks with local promoters. A full lineup is slated for June — though, exact party details are being kept under wraps for now. Crum will also bring his experience from the Oxford Art Factory and Redfern Surf Club into the mix, aiming to turn The Gladdy into more of a late-night destination. [caption id="attachment_723825" align="alignnone" width="1920"] Goodspace Gallery[/caption] In the kitchen, Head Chef Joseph Luamanu (The Carter, Pub Life Kitchen) will be turning out a menu inspired by the American South. While it's still being finalised, and won't be rolled out until early June, expect the likes of sriracha and maple-glazed chicken wings, chorizo and prawn jambalaya and a vegan roasted cauliflower in coconut curry. Existing pub classics like the cheeseburger and schnitty won't be going anywhere, either. As far as drinks go, the Gladdy will continue to cater to a wide ranging crowd. "We're a pretty traditional-style pub in that sense," says Johnson. "We're not trying to specifically target natural wine or craft beer drinkers." Johnson has been working closely with the Gladstone's former owner Coughlan for the past four years, with the duo also opening The Lady Hampshire (which Coughlan sold last year) and the Botany View Hotel together. Coughlan will now focus on his remaining pub — which earned an impressive revamp in 2017 — and his alcoholic lemonade business, Frank Strongs. As for the Gladstone, it will (mostly) be business as usual. "We want locals to know that The Gladdy is in good hands and it will continue to kick on with the same vibe," says Johnson. "Just expect a breath of fresh air from the guys who have been here from the start." Find The Lord Gladstone at 115 Regent Street, Chippendale. It's open from 11am–11pm Monday–Tuesday, 11am–midnight Wednesday, 11am–3am Thursday–Saturday and midday–10pm Sunday. Keep an eye on its Facebook page for upcoming events. Images: Chris Loutfy.
When Pharrell Williams first made contact with Morgan Neville, the Oscar-winning documentarian behind 20 Feet From Stardom, their conversation could've started like this: "it might seem crazy what I'm 'bout to say". The famed producer, N.E.R.D. co-founder, 'Happy' singer, and Daft Punk and Snoop Dogg collaborator's proposal to the filmmaker also behind the Mr Rogers-focused Won't You Be My Neighbour?, then Roadrunner: A Film About Anthony Bourdain and STEVE! (martin): a Documentary in 2 Pieces, was for Neville to tell Williams' life story — a request that doesn't seem out of the ordinary. But Pharrell wanted this journey through his upbringing in Virginia Beach in Virginia, his music dreams as a kid and a teenager, and then the ups and downs of his career to solely be relayed using Lego animation. How do you explore anyone's existence, let alone someone so influential in music for decades, while rendering them, other interviewees and everything else that's seen on-screen only in the style of The Lego Movie, The Lego Batman Movie, The Lego Ninjago Movie and The Lego Movie 2: The Second Part? Just as importantly, why would you? Piece by Piece, the film that results, sits alongside Brett Morgen's David Bowie-adoring Moonage Daydream as recent music docos that know how to expertly takes their cues for their approach, aesthetic and vibe from their subject. In both cases, it's instantly apparent that any other method wouldn't have done the folks at their centre justice. Piece by Piece boasts the childhood details, the stories shared by loved ones and colleagues, the glimpses into the studio and the examples of Pharrell's work, his music and the videos that go with them alike. As the movie's title states so clearly, however, they have all been built piece by piece in Lego animation. This effectively meant making the film twice, first featuring the raw materials, including chats with Williams, his N.E.R.D. bandmates Shae Haley and Chad Hugo, his distant cousin Timbaland, fellow Virginia Beach residents Pusha T and Missy Elliott, and then everyone from Daft Punk and Snoop to Gwen Stefani and Kendrick Lamar — and secondly with that initial cut, which Neville dubs the "radio edit", animated frame by frame in the Lego fashion. Spliced into the initial version were storyboards for scenes that simply wouldn't have been possible to realise without Piece by Piece's unconventional biodoc technique, many of which bring Pharrell's synesthesia to the screen. Music appears to him as colours, and shapes as well. The film not only recreates that sensation for the audience, but does so with exacting detail: when the beats that Pharrell creates appear as pulsating bricks, be it for N.E.R.D's 'Rock Star' or No Doubt's 'Hella Good', or for Snoop Dogg's 'Drop It Like It's Hot' or Williams' own mega hit from the Despicable Me 2 soundtrack — and much more — the forms and hues depicted are exactly what Pharrell sees. In every piece, frame and moment, this is a documentary that's intimately in tune with its subject, then. It celebrates a dreamer by crafting those dreams out of bricks. Yes, it all clicks. It's an ode to creativity and imagination, too, right down to deploying one of the first formats that almost every child uses to make new worlds, because that's what Lego lets us do. While there are tie-in kits available for sale, as happens with Lego-based movies, the medium matches the man perfectly. Indeed, that's so accurate that the feature wouldn't have happened otherwise, including if Lego hadn't be on board with the idea, Neville told Concrete Playground. "We'd thought about it, whether there were other ways of doing it if Lego said no. And I think we all agreed if Lego said no, there was going to be no film," the director shares. "It just felt like Lego itself was actually an important piece, as it were, of what the film was — that it wasn't just a gimmick, that it actually felt part of who Pharrell is in his story and how he sees the world." We also chatted with Neville about how you respond when Pharrell asks you to make a movie about him using Lego — a version of which is seen in the film — plus creating a type of music documentary that hasn't been made before, the added possibilities that come with examining someone's life and career in Lego, heroing creativity, his starting point whether he's making docos about Williams or Bourdain or Martin, and more. On How You React When Pharrell Suggests That Lego Would Be the Perfect Medium to Tell His Story "What happens in the film is a version of what happened in real life. But that was the one moment that I didn't actually record, because the first time I met Pharrell, he pitched me on this idea where he said 'I want you to make a movie about me, and then I want you to throw away all the visuals and do it again in Lego'. And honestly, when he said that I was totally hooked. So that's the difference. I think in the movie I'm a little unsure, but I think in real life I jumped right into it. That was the thing that got me incredibly excited, because I didn't know what it was going to mean. It was a crazy idea, but I love crazy ideas." On Making a Type a Music Documentary That Hasn't Been Made Before — and Whether It Feels Daunting, Freeing or a Bit of Both "I feel like being a film director, there's a kind of wilful amnesia that you have, where you intentionally forget how difficult it is to make films. Because if you remembered, you wouldn't make them. So I vaguely knew that this was going to be climbing a mountain, but I really just looked at this path in front of me and said 'well, this is interesting. What if I do this, and what if I think about this? And, well, let's talk to Lego. They could kill it. It might go away'. We talked to Lego and they said 'we love it'. And then we just kept trying things. And so step by step it came together, but it was five years of work to get there." On How Using Lego Allowed the Film to Explore and Expand Areas and Details That Wouldn't Have Been Possible Otherwise — or in Such an Evocative Way "That was the amazing realisation I came to early on, was that because of the Lego, we could do things you can't normally do — you certainly couldn't do in a documentary and you couldn't do in a lot of films — which is visualise imagination, or visualise things in somebody's head. And so the synesthesia was an important thing because Pharrell sees colour when he hears sound. We wanted to get that right. We actually brought in Michel Gagné, who's a famous animator, who had done the synesthesia in Ratatouille, to work on this — to think 'how do you do synesthesia, but in Lego?'. But then also the idea that we can visualise beats — the beats that Pharrell has made are physical Lego objects. And every beat in the film is actually reflective of how Pharrell sees that song. So the colours and the shapes of the beats in the film are accurate to what Pharrell sees in his head, even though nobody else knows what that is. Every song, we're like 'Pharrell, okay what are the colours? How does this look?'. Because it's interesting, he has a library in his head of every song you mention, he'll tell you what the colours are of that. So things like that you could do in Lego, which I don't know how else you would do that." On the Importance of Connecting Celebrating Creativity and Imagination with One of the First Gateways to Unlocking Both for Children "I think many people, most people, probably grew up with some connection to Lego toys. I did. I was of the era where when I bought a set of Lego, you would just get a big box of pieces. There were no instructions, it was just 'okay, make whatever you want'. I always ended up with a big tub of random pieces and you would just make stuff. I think Pharrell, also Lego he said was a really important toy his parents would give him when he was young. And it's interesting how much it comes up in the creative community. I've talked to architects and artists and designers, and Lego actually is kind of a building block of creativity. It's this thing that I think is just pure imagination in that way. And so imagination is a huge theme of the film. I love making films about creative people and how they think, and Lego just felt like this perfect way of exploring that. And the idea that it was Pharrell's conceit makes it even more organic to why it works in this film." On Neville's Starting Point When He's Making a Documentary, No Matter Who or What His Subject Is "My starting point on every project, I do a couple of things. I start a playlist of music. So for every film, I have a playlist of music, even if it's not about music. I'm a musician and I've made a lot of films about music, and it helps me get a feel for the tone of what a film could be. In this case I had like ten playlists, because Pharrell had done so much music. So I had solo work and produced by, and with the bands he had done and influenced music. And I spent months listening to all of it, waiting for songs to pop out and for me to hear them and say 'oh, I could see this, it feels like this song belongs in a scene' or 'this song has a theme that could work to the story'. So that's a big part of it. Then I gather visuals and references, and all that kind of stuff. So all that just goes into a pod as I start to conceive of what this film might be. But I think all that other stuff, tone and aesthetic, are all things I'm thinking about in the beginning. And then I just talk as much as I can to the subject or other people. I just am trying to take in as much input as I can get. Then it starts to form in my head and little things start coming together." On the Difficult Task of Knowing What to Include and Leave Out When You're Making a Film About Someone with Such a Wide-Ranging Career "It always is. This was difficult because Pharrell has done so much, but I always think about it more like 'what are the things that influenced his life?'. I mean, a big part of this movie is his childhood, which was a huge part of what made him who he is. But it's not his career. So in that way, the career stuff, he had so many more hits that aren't even in the film. He's done so much. But to me it's about the moments where things turn. It's where maybe a failure — failures are as interesting as successes when it comes to looking at a narrative of a person's life, because that's where we learn. So I think it was really identifying the moments where something felt different, or where he learned something, or where something clicked or didn't click. I always try to avoid what I think of as 'the Wikipedia version' of a person's life, because it's not that interesting to just go through everything they accomplished. But to hit the moments that actually meant something to them, that were part of their personal growth or their creative growth, that's what I try to zero in on, and so that helps me cut stuff out unfortunately." Piece by Piece opened in Australian cinemas on Thursday, December 5, 2024. Images: courtesy of Focus Features / © 2024 FOCUS FEATURES LLC.
Beers or cocktails? There's no need to go without thanks to a new drinks and dining hub on the Lower North Shore. Centred around two impressive venues – Depot Brewery and Buckle Cafe & Distillery – both share a stunning glass-domed space. Perfect for making the most of summer, this sprawling operation has a massive beer garden to boot alongside family-friendly features, so no one has to miss out on the fun. Starting with Depot Brewery, this industrial-chic venue offers 250 seats for beer-drinking goodness with all your pals. With large-screen TVs spread throughout the space, it's a stellar choice for catching the big game. Plus, there's a vibrant beer garden where you can soak up the sunshine while downing a refreshing pint. Speaking of pints, Depot has 12 rotating taps of house-brewed craft beers, from bold IPAs to fruity pale ales. There's also a great food menu bursting with gastronomic pleasures. A selection of signature pizzas spans classic flavours like margherita, pepperoni and meat lovers, while mains hit the spot with fish & chips, a 250g rump steak and the Depot double cheeseburger. If you're keen to mix things up, there's also a quality line-up of Australian wines and punchy cocktails, including espresso martinis and negronis. Next door, Buckle Cafe & Distillery is a day-to-night cafe and restaurant. When the sun is shining, quality coffee is the main event. But as the evening kicks off, expect cocktails crafted with house-distilled gin and vodka. Spanning brunch, lunch and dinner, this place is just as good for avocado on toast as beer-battered barramundi or the Buckle wagyu cheeseburger. Pair with an Aperol spritz or a glass of pinot gris to make your get-together even better. If you're heading along with the kids, a dedicated play zone surrounded by lush plants makes it a little easier for adults to kick back. Buckle also has a pet-friendly outdoor area, so you can bring the pooch too. Find a cosy outdoor lounge beneath the festoon lights for your group, then relish the last moments of daylight with a refreshing drink in hand. Depot Brewery and Buckle Cafe & Distillery are open at 1 Frederick St, Artarmon. Head to their websites for more information.
There's no putting a happy face on this news: Joker: Folie à Deux has been named one of the worst movies of 2024 by the 45th Golden Raspberry Awards. While the first Joker film earned Joaquin Phoenix (Napoleon) an Oscar, now he's up for Worst Actor instead. Lady Gaga (House of Gucci) is included in the Worst Actress field for her performance as Harleen Quinzel, and the picture's two leads share a nod in the Worst Screen Combo category. The flick also popped up in the Worst Screenplay, Worst Director (for Todd Phillips, War Dogs) and Worst Remake, Ripoff or Sequel camps. 2025's Razzies, which will announce its winners on Sunday, March 2, 2025 Australian and New Zealand time, weren't fond of comic-book characters making the leap to the screen. Madame Web also collected a heap of nominations — six in total, including for Worst Picture and in three of the acting fields. Cinema's least-coveted gongs didn't have any love for video game-to-film adaptation Borderlands, either, another flick with a big showing, including in the top field. Also up for Worst Picture: Francis Ford Coppola's Megalopolis and political biopic Reagan. The five-film group covers all of the most-nominated titles for 2025's awards, with Joker: Folie à Deux up for seven, then Madame Web, Borderlands, Megalopolis and Reagan each up for six. From there, although they weren't featured in the Worst Picture field, the Jerry Seinfeld-directed Unfrosted picked up four nods, Kraven the Hunter scored three and the remake of The Crow starring Bill Skarsgård (Nosferatu) nabbed two. Everything from Argylle (for two of its performances) to Mufasa: The Lion King (for Worst Remake, Ripoff or Sequel) are now Razzie nominees. Among the big-name stars recognised this year, Seinfeld earned two (for Worst Actor and Worst Director), while Jack Black received three (for Worst Actor for Dear Santa, Worst Supporting Actor for Borderlands and for the latter again for Worst Screen Combo — for any two obnoxious characters, but especially Jack Black). Whichever films emerge victorious in March, they'll follow on from 2024's winners, with Winnie-the-Pooh: Blood and Honey nominated in five categories and winning all five — and Expend4bles collecting two awards. The year before, Morbius, Blonde and Elvis tied for the most accolades with two apiece. Check out the full list of Razzie nominees below: Golden Raspberry Nominees 2025 Worst Picture: Borderlands Joker: Folie à Deux Madame Web Megalopolis Reagan Worst Actor: Jack Black, Dear Santa Zachary Levi, Harold and the Purple Crayon Joaquin Phoenix, Joker: Folie à Deux Dennis Quaid, Reagan Jerry Seinfeld, Unfrosted Worst Actress: Cate Blanchett, Borderlands Lady Gaga, Joker: Folie à Deux Bryce Dallas Howard, Argylle Dakota Johnson, Madame Web Jennifer Lopez, Atlas Worst Supporting Actor: Jack Black, Borderlands Kevin Hart, Borderlands Shia LaBeouf, Megalopolis Tahar Rahim, Madame Web Jon Voight, Megalopolis, Reagan, Shadow Land and Strangers Worst Supporting Actress: Ariana DeBose, Argylle and Kraven the Hunter Leslie Anne Down, Reagan Emma Roberts, Madame Web Amy Schumer, Unfrosted FKA Twigs, The Crow Worst Screen Combo: Any two obnoxious characters (but especially Jack Black), Borderlands Any two unfunny "comedic actors", Unfrosted The entire cast of Megalopolis Joaquin Phoenix and Lady Gaga, Joker: Folie à Deux Dennis Quaid and Penelope Ann Miller, Reagan Worst Director: SJ Clarkson, Madame Web Francis Ford Coppola, Megalopolis Todd Phillips, Joker: Folie à Deux Eli Roth, Borderlands Jerry Seinfeld, Unfrosted Worst Remake, Ripoff or Sequel: The Crow Joker: Folie à Deux Kraven the Hunter Mufasa: The Lion King Rebel Moon 2: The Scargiver Worst Screenplay: Joker: Folie à Deux Kraven the Hunter Madame Web Megalopolis Reagan The Golden Raspberry Awards will be announced on Sunday, March 2, 2025 Australian and New Zealand time. For further details, head to the awards' website.
When you step inside an IKEA superstore, it feels as though you have been transported to a different world entirely. Endless floors filled with endless shelves, filled with endless minimalistic, cost-effective products. It's planet IKEA. And now we might not be too far from the real-life version. Not long after launching fully furnished IKEA homes, IKEA has published plans to build a private neighbourhood. Set to start construction next year, the neighbourhood will cover 11 hectares of land in London to be named 'Strand East'. It will incorporate 1,200 homes and apartments, all owned by the Swedish furniture company. “We are in keeping with the IKEA philosophy: we don’t want to produce for the rich or the super-rich; we want to produce for the families, for the people,” says Harald Müller, the head of LandProp, the property-development branch of Inter IKEA, told The Globe and Mail. IKEA promises that the all-rental homes will appeal to a variety of income levels, and 40% will be large enough to house a family. The neighbourhood will be peppered by condominiums and offices, and will include a hotel as well. Underneath it all will lie an underground parking lot to avoid cars cluttering the interior streets. It all sounds rather Utopian, but does a furniture company really have what it takes to manage 6,000 residents? “We’d have a very good understanding of rubbish collection, of cleanliness, of landscape management,” Andrew Cobden, the project manager, says. “We would have a fairly firm line on undesirable activity, whatever that may be. But we also feel we can say, okay, because we’ve kept control of the management of the commercial facilities, we have a fairly strong hand in what is said in terms of the activities that are held on site.” Mr. Müller says that IKEA will act much like a municipal government to its neighbourhood, organising community events and creating a "sense of place". Looks like IKEA execs have had a lot more on the brain than "Ektorp" sofas and Swedish meatballs. Welcome to Ikea-land. [via PSFK]
The Gold Coast is roughly 12,000 kilometres from Mexico, but that won't stop holidaymakers from enjoying a tequila-soaked vacation in Coolangatta. Forget paying for an airfare to the other side of the world — head to the Glitter Strip instead for a getaway at The Herradura Hacienda, the new margarita-inspired room that's now open for bookings at The Pink Hotel. With its eye-catching exterior and beach views, The Pink Hotel is a Coolie icon anyway, but a stay there can now come with agave spirits. As the new suite's name makes plain, this margarita wonderland is a collaboration with Herradura Tequila, aka Mexico's last tequila-producing hacienda. The vibe inside: 'cosmic disco' meets 'neon jungle'. As well as colourful decor — neon signs, leafy prints, disco balls and a wall of mirrored titles do indeed feature, as well as plants, plus various pink, green and sparkling hues — a night here includes bespoke Herradura margaritas. For an extra fee, you can also get an hour with a bartender to mix your 'ritas in your room. The suite's hero marg is a watermelon and pink pepper number, but Herradura and Capi palomas and boozy pink lemonades help fill out the drinks menu. Unsurprisingly, this package is around for a good time, not a long time. Costing $389 on weeknights and $489 on weekends, it's on offer until Sunday, June 4; however, the revamped room itself isn't going anywhere afterwards. That said, if you can't make it along till then, you will need to pay extra for your margs and other Herradura Tequila trimmings, rather than getting them included in your room rate. "We are extremely proud of the unique offering our hotel brings to the Gold Coast and are thrilled for our guests to experience The Herradura Hacienda pop-up," said Freya Frenzel, General Manager at The Pink Hotel Coolangatta. "The room has all elements of The Pink Hotel that people know and love, with a fun twist!" Getting in quick is recommended, with The Herradura Hacienda available to book via The Pink Hotel, Booking.com, Expedia, Airbnb, Agoda, Qantas, Trip.com, Hotels.com, Hotel Network and Yonda. And whether or not you're a tequila fiend, a trip to The Pink Hotel involves kicking back in a refurbished boutique accommodation spot that dates back to the 50s, reopened in 2018, and combines Scandinavian and mid-century design. Guests can enjoy being opposite the beach, too, and just a three-minute walk from Coolangatta's shops and bars. Or, you can hit up the rooftop, and the onsite restaurant and bar. The Herradura Hacienda is available to book The Pink Hotel, 171 Griffith Street, Coolangatta, with all the Herradura Tequila trimmings until Sunday, June 4 — and with them available at extra expense afterwards. Head to the hotel's website for further details and bookings. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips — including at The Pink Hotel — with deals on flights, stays and experiences at destinations all around the world.
Beaches, pools, rooftop bars, outdoor cinemas: nowhere in Australia can have too many when summer hits. For movie lovers, Sunset Cinema is one such spot to see a film under the stars — and it's back for its 2023–24 season with stops new and old, plus flicks that fit both categories. Over the the next few sunny months, then heading into autumn as well, this excuse to hit the pictures in the open air has seven stops on its itinerary: its new venue in Bondi, which is on now; a return to Canberra, which is also taking place at the moment; and comebacks at North Sydney, Mt Martha, Wollongong, St Kilda and Brisbane all to come. The dates vary, as does exactly how long that Sunset Cinema is getting its projector whirring in each place, but cosy date nights and easy group hangs outdoors all await. Bondi's season runs until Saturday, December 23 at Dolphin Court, with Jaws, Saltburn, The Marvels, and Christmas titles such as Elf, Love Actually, Home Alone and The Nightmare Before Christmas on its roster for its final days. In Canberra, you have until Saturday, February 24 to head to the Australian National Botanic Gardens, where highlights include festive fare — of course — as well as Barbie, an advance screening of the Mean Girls musical, Wonka, Priscilla and Poor Things. North Sydney will enjoy a three-month stint from Friday, December 8—Saturday, March 9 at North Sydney Oval. In addition to Christmas movies — a staple at every Sunset Cinema that's running in December — the lineup includes many of the above titles, as well as other standouts such as Past Lives, The Boy and the Heron, Ferrari, Force of Nature: The Dry 2 and perennial favourite 10 Things I Hate About You. From Wednesday, December 20—Friday, January 20 at The Briars at Mt Martha gets in on the action. Then, the Wollongong Botanic Garden joins in from Thursday, January 11–Saturday, March 24. In St Kilda, you'll be able to head along from February 2024, with exact dates and a venue to be announced. And Brisbane gets its turn from sometime in March 2024 at Maritime Green at Northshore, where Sunset Cinema set up shop in 2023. At all stops around the country, BYO picnics are encouraged, but the event is fully licensed, so alcohol can only be purchased onsite. Didn't pack enough snacks? There's hot food options, plus plenty of the requisite movie treats like chips, chocolates, lollies and popcorn. SUNSET CINEMA 2023–24 DATES: Bondi, NSW: until Saturday, December 23 at Dolphin Court Canberra, ACT: until Saturday, February 24 at Australian National Botanic Gardens North Sydney, NSW: Friday, December 8—Saturday, March 9 at North Sydney Oval Mt Martha, VIC: Wednesday, December 20—Friday, January 20 at The Briars, Mt Martha Wollongong, NSW: Thursday, January 11–Saturday, March 24 at Wollongong Botanic Garden St Kilda, VIC: from February 2024, exact dates and venue TBC Brisbane, QLD: from March 2024, exact dates TBC, at Maritime Green at Northshore Sunset Cinema's 2023–24 season runs at various venues around the country on various dates. Head to the Sunset Cinema website for further details.
It's a classic cycle: we say we want to discover somewhere new, then we end up at the same holiday spots. We're creatures of comfort, after all. But, with such fantastically varied landscapes at our Australian fingertips, it's the year to switch things up. Let's start with your coastal weekender. Instead of another (delightful) beachside vacay, why not opt for some riverside charm? The serenity of the Murray Region is overlooked by city-slickers, but it's an area enlivened by passionate locals, immense natural beauty and deep history and culture. The riverside towns here are jam-packed with rich First Nations history, a thriving contemporary arts scene and some seriously niche slices of Australia's past. So, if you're ready to hit the road, the banks of the Murray will take you on a journey through time — think ancient lakebeds, a giant shed dedicated to Aussie beers from decades gone by and an insanely intricate display of replica paddlesteamers. Together with Destination NSW, we've got you covered with this extensive list of ways to enjoy the region. [caption id="attachment_894057" align="alignnone" width="1920"] Destination NSW[/caption] MURRAY ART MUSEUM ALBURY Opened in 2015, Albury's contemporary art museum is a cultural hub for Australian artists, both established and emerging. With a backdrop of quaint, small-town charm, the Murray Art Museum Albury (MAMA) brings vivid modern creations to this regional centre. From now until mid-July, the museum is hosting No Easy Answers. The exhibition invited artists — such as Ella Barclay and Tracey Moffatt — to use their creativity as a medium to tackle the issues of today. If regional charm meeting arty creations sounds good to you, opt for two nights at the Mercure Albury, just around the corner from MAMA. [caption id="attachment_894595" align="alignnone" width="1920"] Wentworth Victoria[/caption] BARKINDJI WIMPATYA MURRA CENTRE Right on the banks of the river, the Dareton region is thriving with stunning natural wonders, culinary delights and rich cultural history. A trip to this country locale would not be complete without a visit to The Barkindji Wimpatya Murra Centre (Bmeet), a spot where you will be sure to learn about the area's unique Indigenous history. This Aboriginal art gallery showcases an array of local art ranging from traditional to more contemporary work and artefacts. Expect a warm welcome at Bmeet, with local artists often in the workshop and happy to answer any of your curiosities. YARRAWONGA-MULWALA PIONEER MUSEUM Located in the fishing town of Mulwala, The Yarrawonga-Mulwala Pioneer Museum is a treasure trove of local history. This complex, established by the Historical Society, contains a range of exhibits to fascinate any visitor. From aviation to agriculture, vintage vehicles to photography, the curated collection delivers a snapshot of time in this riverside locale. THE GREAT AUSSIE BEER SHED & HERITAGE FARM MUSEUM We all know that beer is a big part of Aussie culture. That's why, in 2003, Neil Thomas opened The Great Aussie Beer Shed. Displaying an unbelievable array of Australian paraphernalia — including over 20,000 beer cans — this museum really is a must-see, located in northern Victoria just three kilometres from Echuca. Proudly showing off a collection that's taken him over 45 years to build, Neil himself will guide you through his treasures. And, it doesn't stop at beer. This 5000-square-foot shed is filled with iconic Aussie products, machinery and more. Afterwards, check out Neil's Farm Museum and its extensive display of equipment dating back to the late 1800s. [caption id="attachment_894059" align="alignnone" width="1920"] Destination NSW[/caption] OLD WENTWORTH GAOL The historic Old Wentworth Gaol gives a fascinating peek into our regional history. The lock-up is the oldest Australian-designed gaol in the country, built between 1879 and 1881. Until 1927, it operated with harsh conditions, though now is a popular tourist attraction and an important historical landmark. The structure has been well maintained, meaning you can get a pretty good idea of what it was like to be a resident back in the day. There's plenty of information on display, including an Indigenous history collection, so you're set to school-up on your visit. [caption id="attachment_894058" align="alignnone" width="1920"] Destination NSW[/caption] RIVERBOAT ROD'S MODEL PADDLESTEAMER DISPLAY Not only does Wentworth contain the country's oldest Australian-designed gaol, this charming NSW town was also once our country's busiest inland river port. If you want a better idea of what the turn-of-the-century paddle steamers looked like — or simply appreciate some dedicated craftsmanship — look no further than Riverboat Rod's. The charming space is home to a pretty incredible display of over 30 handmade paddlesteamer replicas. This collection is possibly the largest and only of its kind in the world and showcases a lifetime of attention to tiny, intricate details. Whether you are interested in aquatic history or not, these models are impressive just as they are. [caption id="attachment_894055" align="alignnone" width="1920"] Destination NSW[/caption] HOLBROOK SUBMARINE MUSEUM Holbrook is a great stopover town when exploring the Murray. Where else could you uncover a life-size submarine hanging out in the middle of rural NSW? This, and the accompanying fascinating history, can be discovered at the Holbrook Submarine Museum. After you've seen the HMAS Otway out front, head to the museum and stroll through its impressive display of submarine memorabilia from the depths, while you busy yourself learning some WWI history. [caption id="attachment_894763" align="alignnone" width="1920"] Destination NSW[/caption] MUNGO NATIONAL PARK Mungo National Park is a remarkable destination that cannot be missed when exploring the Murray. It's home to ancient lakebeds and plenty of incredible relics of early Aboriginal culture. This national park is truly an experience to remember. But to make the most of it, make the Mungo Visitor Centre your first stop. Here, you can view amazing displays and learn of the area's First Nations heritage and the archaeological evidence that revealed the once-full Lake Mungo. [caption id="attachment_895130" align="alignnone" width="1920"] Destination NSW[/caption] EXPLORE DENILIQUIN Deniliquin is a locale found on the Edward River — a tributary of the Murray — making it a primo spot for any riverside activities. Whether you're into water skiing, fishing, bushwalking or just soaking up beautiful surrounds, you're covered here. Stay at Centrepoint Motel, where you'll be just a five-minute walk to the centre of town. What's nearby? The Long Paddock Touring Route, the stock route that's still used today and dishes up a slice of history with a side of tranquillity and art. Along the track, which starts in Echuca Moama and heads out to the Outback, there's both local history on sporadic info boards and public artworks — plus plenty of country pubs. This area is also home to the flattest, most open natural plains on the planet, which deliver spectacular expansive vistas into the horizon (pictured above). Here, you'll also find a cycle loop, The Depot and its incredible collection of automobiles and memorabilia, a vibrant towering mural splashed across a water tower and plenty more. Looking to visit later in the year? The Deni Ute Muster takes over the town in September, and is a celebration of the region's 'ute culture' and unique landscape. For more ways to enjoy the Murray region, check out our foodies guide or guide to a rejuvenating trip. Or, to start planning your history and culture trip to the Murray region, head to the website. Top images: Destination NSW (Walls of China; Barmah National Park; Mungo National Park).
If you've ever wondered how variety can be the spice of life if simplicity is the ultimate in sophistication, it will do you good to head along to Sagra, one of Darlinghurst's most talked about Italian restaurants tucked inside a cute corner terrace on Stanley and Riley Street. With a juicy reputation in and around the eastern suburbs for unpretentious, humble Italian like Nonna used to make, on a menu that changes daily, you’ll soon understand how tasty this so-called paradox can be. Literally translating to 'festival' (of the small town variety), Sagra is owned and operated by head chef Nigel Ward (Lucio’s, Sean’s Panaroma and Trullo in London), and it’s safe to say the main attraction here, apart from the thoroughly inviting home-like and sparse-yet-still-cosy interior, is his philosophy of seasonally inspired food without the frills. Throw in traditional and cheeky Italian service with a genuine appreciation of the dishes in-hand, as well as knowledge of wines back home from The Boot, and you’ve got yourself plenty of reasons to nab a space at one of the 11 or 12 tables scattered inside. Luckily, you can book. When in Rome we began with a Negroni ($15) as we munched on the complimentary house-made bread and plump Sicilian green olives. Then one of the few long-term dishes made its way to our mouths: garlic soup (if, like on our visit, this isn’t displayed on the menu, definitely ask). Made from pureed Aussie cloves and olive oil, pepper, bread and cheese, this friendly little bowl packs a punch without any aftermath, smacking fellow diners in the face via your breath and their nostrils. The visible menu is divided between antipasti, primi (pasta) and secondi (main courses usually in the form of one meat and one fish). Skipping the antipasti in favour of the aforementioned favourite, we moved onto the pappardelle ($17) mingled with mascarpone, rocket and 'nduja (spreadable, spicy pork sausage) and some seriously good malfatti in sage butter (blob-like pasta balls literally meaning “badly formed”). Both dishes were perfectly proportioned, leaving plenty of room for the pork ($31), gemfish ($29) and rosemary potatoes ($7) that followed. The pig was tender and accompanied well with cabbage and verjuice salsa, while the thick white fish kept its natural flavour alongside cauliflower and heirloom carrots. Wine-wise our waiter helped us out with a powerful bottle of Italian Nebbiolo from the Piedmont region (also not on the menu). As we say here in Oz: too easy. At the end of the night and a little time poor, in search of something sweet we sadly had to substitute the house-made ice cream with a shot of thoroughly satisfying house-made lemoncello. But to be honest, after a couple of hours eating, drinking and generally being as merry as those fabulous Italians themselves, we’re not ashamed to admit “in search of something sweet” actually meant finding any excuse not to leave. Hey, simple variety. We love it.
When it comes to our long-lasting love affair with coffee, we all know this city prefers boutique fabulous over, say, evil green and white corporate giants intent on, if nothing else, killing tastebuds. Piccolo Me, however, a 100 percent Australian venture launched by brothers Roy and Charlie Hachem that aims to bring back some much needed "soul" to the chain industry, is pulling out some pretty quirky stops to help attract a crowd. And so far so good: it looks like those stops are bringing in the go. We decided to head along to Piccolo Me's Bridge Street store in the CBD (you can also find a fix on Castlereagh, as well as Macquarie Uni and Norwest Business Park by the way). The setup here is good, with a decent street-fronted waiting area complete with large counter, warehouse-inspired stalls and Connect Four if you're in between meetings and need to give the old feet and brain a rest. Otherwise you can pop round to the dining area, illuminated by some pretty nifty, diagonal bare bulb lighting, which features a cute plant wall with a multitude of green sprouts homed in self-branded black and yellow cups. As dining goes, there's nothing really that special on the menu – think all the usual carb and filling-based quick and tasty hunger killers. However, in these guys' defence, all said bread-based goods are sourced from The Bread and Butter Project (where 100 percent of profits go towards helping in-need communities), and more importantly, you don't really come here to eat. You come here to drink. On that front, another of Piccolo Me's philosophies focuses on local industry and sustainability, so your caffeine, in the form of organic Fairtrade beans only, is chosen from local roasters (a cup of Joe comes in at $3.50 for a regular and just $2 for a piccolo between the hours of 3pm and 4pm). But then there's the Nerdtella Bomb of Nutella, Nerds and milk; an evolution of Piccolo Me's initial Nutella mocha or hot chocolate that, as well as combining the Hachem brother's love of sweet treats, is so pop culture-tastic it received international attention from Huffpost Taste. Yes, it's very sweet and totally worth it if you need to binge on something ridiculous, but sadly no, it's not that amazing. You can certainly taste the tang of the nerds combined with the smooth, chocolately Nutella, but once the speckled brown nugget melts off its stirring stick, it clumps at the bottom. This is fine if you're sitting in, but on the go is not such a hot look. The gravitational behaviour of melted breakfast spread and lollies aside, however, we have to admit the team at Piccolo Me have done a fantastic job with their marketing. All you need to do is wander around the CBD circa 3pm and it won't take you long to see some busy businesswoman throwing back a black and yellow $2 afternoon saviour. And, if we're to believe all this soul and sustainability stuff too, then what else can we say? Piccolo Me, piccolo you.
Drawing attention away from any one of Timothée Chalamet (Wonka), Zendaya (Euphoria), Javier Bardem (The Little Mermaid), Rebecca Ferguson (Silo) or Josh Brolin (Outer Range) isn't easy, let alone from all five in the same films. And yet, the desert expanse that's roamed across by the stars of Denis Villeneuve's Dune franchise demands notice above everyone and everything. The person guaranteeing that viewers not only spy the sand stretching as far as the eye can see, but feel its impact: Australian cinematographer Greig Fraser. On both Dune: Part One and Dune: Part Two, his work for the Blade Runner 2049 director ensures that audiences spend ample time with Chalamet and company as well. The two movies are as intimate as they are epic. But these pictures couldn't exist without their namesake receiving such prominence. Sand isn't just sand in Dune, or to Fraser. With Dune: Part Two, Frank Herbert's books now reach cinemas for the third time — David Lynch's 80s adaptation came first — but they couldn't value golden grains more highly even when they were only playing out in readers' imaginations. In the Dune realm, all that siliceous substance is spice, also known as melange. It powers interstellar travel, extends lives and expands consciousness. It's only found on Arrakis, the planet that Chalamet's Paul Atreides is sent to live on in Dune: Part One when his father (Oscar Isaac, Spider-Man: Across the Spider-Verse) is installed as its new ruler. It's hardly astonishing, then, that past overseer Baron Vladimir Harkonnens (Stellan Skarsgård, Andor) isn't thrilled about losing control of such a treasure trove. It's similarly unsurprising that the Fremen, Arrakis' Indigenous population, is determined to fight for their home and destiny. Spinning this story for cinema was always going to be a sandy endeavour, with Fraser's skills pivotal. For Dune: Part One, which stunned with its spectacular desert-swept visuals and set the bar stratospherically high for its sequel, he won the Best Cinematography Oscar. "You become an expert in the dunes," he tells Concrete Playground about not just making the first film, but also returning for Dune: Part Two. He didn't shoot the initial flick with its follow-up in mind, however — or even dream back when he lensed his first-ever feature, 2005's Jewboy, that this is where his career would take him, or to an Academy Award-nomination for Lion before his Dune win. Bright Star, Let Me In, Zero Dark Thirty, Foxcatcher, Rogue One: A Star Wars Story, The Mandalorian, The Batman, The Creator: they're all also on Fraser's resume. "It's funny because, it's going to sound a little bit weird, but I just didn't think full stop," Fraser shares about his mindset when he was initially starting out. "Whenever I was doing a movie when I was younger, or even now, frankly, it's one foot in front of the other as opposed to a master plan. I wish I was smart enough to be in that Dune world of plans within plans, and manipulating events to my end. But really what I was just trying to do was just trying to do the best job of the thing that was sitting right in front of me." "So no, I can tell you that right now, when we were filming in Bondi for that movie, on a bus in Bondi" — for Jewboy, that is — "that I categorically was not ever thinking about the possibility of doing something like Dune. That was never on my radar. Obviously I knew what I liked, and I knew the films that I loved. And it just became a a race — or a game, I should say — of doing what I love doing. And then if I was doing what I love doing, and then doing the best job that I could, then hopefully that then leads to the next thing that I love doing. And that's kind of how the career's gone. It's a little bit of a simplistic way of describing it, but that's a genuine, honest take on it," Fraser continues. To say that his career is going well is an understatement. Now that Fraser has returned to Dune — including showing moviegoers what Arrakis and all of its sand looks like under an eclipse, and also bringing the planet of Giedi Prime, which dwells beneath a black sun, to the screen — he'll next shoot the Dark Knight again on The Batman Part II. We chatted with the cinematographer about his work on both Dune films to-date, his Oscars recognition, how daunting it is to try to back up his Dune: Part One accolades on Dune: Part Two, his new expertise on sand dunes, taking Arrakis and Giedi Prime from the page to the screen, and more. [caption id="attachment_774009" align="alignnone" width="1920"] Dune: Part One. Image: Chiabella James. Copyright: © 2020 Warner Bros. Entertainment Inc. All Rights Reserved.[/caption] On Lensing Dune: Part One Without Presuming That Fraser would Be Returning on Dune: Part Two "You never take anything for granted, and doing a movie is a miracle. People talk about us as a species having evolved, that's kind of a miracle — because there's a million things that could have gone wrong with a film getting up and going, but then there's another million things that could have gone wrong with me being able to do it. I could have been committed on another project. Denis may have chosen to to use another cinematographer, as is his right and he should and could, to create something different. Because that's what he he does — he casts his crew like he cast his actors. And so there's a whole myriad of reasons why I may not have been able to do Part Two. So I wasn't necessarily doing Part One on the proviso that I do Part Two. I was trying to make — as Denis was — Part One as good as possible, and do the best job for my director as possible. Then, with Part Two — obviously, we knew there was more of the story, but it's not dissimilar to to something like Rogue One. You know there's more to the story because the Star Wars universe is bigger than just Rogue One, but you don't make Rogue One thinking there's going to be another one or a series. You make the best thing you can." On Winning an Oscar for Dune: Part One — and Receiving a Nomination for Lion Before That "I love Lion, as I know a lot of people do. There's a lot of love out in the world for Lion. So, to have done that — the recognition is interesting, because the recognition from my peers is really important, and particularly peers that I respect and know. There's been a few events in my life where I've been given a pat on the back by people that I respect, and that's what effectively the Oscars are. A nomination for that is that exact thing. It's a pat on the back by your peers. And the win itself is, of course, icing on the cake, but that's not the most important thing. The most important thing is the nomination, because it basically says that of the movies of that year, that your peers feel like you are in the top five — and that's a big deal. For a kid from Melbourne who used to shoot short films and music videos with his buddies, to have made the top five film of the year for two years, I guess, now — two nominations — that's a big deal to have kudos from your peers, that I think's quite, quite fantastic. And also as a pat on the back to not just me, but also my director. Because if you recall in that year, Garth Davis directed Lion and that's a pat on the back to him. And Denis in the year that Dune was nominated, it's a massive pat on the back to him." On Being Daunted on Dune: Part Two After the Accolades and Acclaim Earned by Dune: Part One "Suddenly there's hype behind it. If it'd just been people going 'yeah, good one, that's great', well Part Two, you've got nothing to lose. But going into Part Two for us meant that we had everything to lose. Suddenly the stakes where a thousand times higher because everybody was going 'well, that won all these awards, this has got to be better'. Now, I will say just on the record, there have been many, many movies that have not won Academy Awards that are incredibly deserving — and there are many, many that have that aren't. So winning an Academy Award, in my opinion, is not always for the best film, out of respect for other films that don't win. But there is an inbuilt kind of consensus that that becomes the best film of the year. So therefore we were like 'alright, well all of us basically won that year'. Myself, and Patrice [Vermette, Foe] the production designer, and Paul [Lambert, First Man] the effects supervisor, and Joe [Walker, The Creator] the editor — we all kind of went 'gulp, we've got to make this better'. We want to make it better for ourselves anyway, and for the director anyway. But we're now like 'okay, now we've got to make it better better better better better'. Again, regardless of what it does in the awards season, I feel like we've made it better. I think every department stepped up. I didn't think that was even possible, frankly — that the design could be any better than last time or the VFX could be better than last time. But it is. And it was. And we did. And it felt better." On Becoming an Expert in Sand Dunes "What happens that I've learned — so here is the the masterclass of the sand dunes, if anybody wants to go out and shoot sand dunes — is that the time of day is critical. So you might be scouting a place in the morning where the sun's coming from east and you might not love it. You might dismiss it as a location. But you're driving past there in the afternoon, and the way the sun works its way across the the tops of the sand dunes and backlights the wind, it can change the location massively. Often at the beginning of our journey, back in 2019–2020, we would scout at the wrong time of day — or we would scout at a time of day that we weren't shooting. And we soon came to realise that 'okay, when this is scheduled, let's scout when it's scheduled, and that's the afternoon'. Which, in hindsight, is logical, and I'm surprised it even took us the couple of days it took us to figure that out. But yeah, I've become a bit of an expert when it comes to what the sand dunes are going to look like with the right light." On Giving Arrakis a Different Colour Palette for Dune: Part Two "We didn't want to start the movie the same way that that Part One ended. And it was a very deliberate, very deliberate process. Denis obviously had a really long time to think about this film — because even though I had done The Batman between the two Dune films, he had not. He was finishing Dune: Part One and he was preparing Dune: Part Two. So he had a lot of time to think about it, and he came to me and said 'I don't feel like we should start this the same way we ended'. And he said 'should we consider doing this as a night scene?'. And you know, I read the script, and a night scene for that scene would have been technically really tough, in the desert with lights. It would have been not only tough — nothing was impossible, of course — but I don't think the end result would have been as good. So we looked at day for night options. We looked at other ways to film it, to make it look different. And I found a filter that that cuts out a lot of blue and green light — not all of it, just a part of it, so it changes the spectrum, and it felt a little bit reddy-orange, but it still had colour. And we went 'perfect, that's what this world looks like when there's an eclipse'. So we said 'okay, we have the ability to to make an eclipse whenever we want'. And so we went 'let's start the film with an eclipse'. The funny thing was, we didn't plan for this, but during our time filming that sequence there was actually an eclipse in Jordan. Not to that degree — but we did a shot, we had our splinter unit DP Christoph with the long lens filming the sun, and so he did film the eclipse. I think there might be shot of the actual eclipse that we filmed in the film." On the Striking Look of House Harkonnen's Giedi Prime "Again, it's conversation with Denis. So Denis said 'listen, there's a fight scene. Feyd-Rautha [played by Elvis' Austin Butler] is gladiator, and there's a fight scene, and it's outside in a gladiatorial environment — but it can't look like Arrakis'. You think about all the gladiator films you've seen, and they're all on sand, aren't they? And they're all under the sun. So you would be confused if it looked like Gladiator or something, because it would be too similar to Arrakis. I'm not sure if this is in the book or not, but Denis wanted to create a a black sun for that world. And I was like 'wow, okay, what does the black sun do? Does it suck light out? Well, if it does, then it's black. It's a black hole.' But we were like 'no, it sucks the colour out. It emits an infrared light, but it sucks all the colour'. All work that's outside — the sun, effectively anything that's hit by sun or the effects of sun — is an infrared type of light with no visible colour. There are some scenes where it's inside in Giedi Prime and it's muted colours, but it's not black and white. When anybody comes from the Baron's box, for example, when they're inside in artificial light, let's call it, it's colour. It has colour. But then when they get hit by the sun, they become just this white, almost-ghoulish kind of effect. The benefit of that was that it really helped us tell that story of why the Harkonnen look the way they do — why they look so pale, and why they have alopecia, and why they have such gaunt, pale, pasty skin. It's because they don't get any of the ultraviolet from from the real sun. That's a backstory that never gets discussed in the movie, but hopefully with an audience it starts to become logical that you go 'okay, I get why they're so white and they need protection in the desert, because they can't handle the UV'. On Balancing the Epic and the Intimate On-Screen "I love extremes. I love dramatic extremes. I'm visually quite dramatic, I would like to think. So there's nothing more fantastic to me than seeing a closeup, then cutting to an extreme wide [shot] and seeing scale and grandeur that we possibly can't even imagine. It's something that I love about the Star Wars series. These guys get on the Millennium Falcon, which is massive, and then the Millennium Falcon flies up close to the Death Star, which then the Millennium Falcon becomes tiny. It's all about scale. It's people that we know get into something big, and then that big thing flies into something even bigger, which is beyond belief. It's hard to imagine that scale. As humans, we rarely come across scale that that absolutely floors us. I know people start talking about things like the Grand Canyon, they start talking about massive structures — massive earth-mining machinery, about the scale of those things that just literally blow their mind. So with filmmaking, we have that ability to create this scale that's beyond beyond this world, but mindblowing. Like those worms, I mean, those worms are beyond massive." On Making a Third Dune Film If It Comes to Fruition "Absolutely. I love working with Denis, so anytime Denis asks me to do a movie, I'll be there if the stars align — I'd be absolutely there. How it would look is a different story. I can't tell you what that would be, and that's what's fun about the process of discovering what a film is. Because Part Three would not look like Part One and Part Two. It would look different, and I don't know how that would be different at this point, which is fun because it means you got to work it out — and we could be talking again in whenever it comes out, five, ten years, whatever. If I get the chance to shoot it, then I'd love to talk about how different we made it. But at the moment, I don't know. It's a funny thing. I would love to do it. And if it comes off for me and the timing's right, fantastic." Dune: Part Two opened in cinemas Down Under on Thursday, February 29, 2024. Read our reviews of Dune: Part One and Dune: Part Two.
London's iconic Ministry of Sound Club is bringing its beats down under with the launch of a brand new EDM night in the Sydney CBD. Lighting up ivy on George Street each and every Saturday night, Ministry of Sound Club Australia will feature four rooms of music, a state of the art sound system, and a carefully crafted lineup of killer acts. They're calling it a "new era of clubbing in Australia", and at the risk of over-hyping it, they might just be right. MOS' Australian excursion will kick off with a bang, with an opening night set by Peking Duk. They'll be joined in the ivy Courtyard by local favourites Kinder, while US house legend Sandy Rivera, aka Kings of Tomorrow, takes over the Pool Club. "Ministry of Sound in London is a world-renowned venue and has been the destination for lovers of dance music for over 25 years," said Ministry of Sound Australia CEO Tim McGee. "We are now going to bring that same experience and ethos to Sydney...Ministry of Sound Club will be the ultimate destination for true lovers of dance music." For more information about Ministry of Sound Clubs Australia visit www.ministryofsoundclub.com.au. Image: Nathan Doran Photography
You may affiliate the industrial suburb of Rosebery with oversized storage warehouses and designer outlet stores; however, the area is becoming quite the dining precinct, abuzz with delicious eateries. And now that our favourite bakery/cafe Black Star Pastry has set up shop in the neighbourhood, it makes the detour through these concrete 'burbs even more worth it. Set in the Cannery alongside Kitchen By Mike, the cafe is sticking to the streamlined theme of Rosebery; exposed raw brick matched with high ceilings enhance the spacious warehouse feel. The sleek interior makes for a sophisticated space — a stark contrast to the cosy Newtown parent. But it also seems that eclectic vibe we know and love about Black Star is somewhat amiss here. The staff are slightly detached and not as engaged as those behind the counter in Australia Street. Nonetheless, there are some fluencies that we recognise, from the chalkboard menu to the DIY toast station, the Little Marionette coffee and trendy tattooed staff — even the little black description cards with silver handwriting in front of the treats are the same. Perhaps Christopher Thé and his team are at odds over what to do with all this excess room? We doubt it. The location may have changed, but the heavenly treats remain and we're loyal to the core. More space just means that we diners now have ample elbow room to throw our arms around in ecstasy over the incredible strawberry watermelon cake ($7.50). Our fellow patrons needn't fear anymore that their orange cake with Persian fig ($4.50 piece) or chocolate eclair ($5.20) will meet its fate with the floor. Elbows can stretch out here — jump for delicious joy all you like. Whereas the Newtown store is driven by cakes, here it's more about lunch and bread, courtesy of the woodfired oven. It's getting put to good use by roasting chicken for the pita pockets ($10) and daily salads (from $5); they've even experimented with beetroot bread. The goat's cheese and roast tomato sandwich ($10) is lacking a real punch, however — maybe they're attempting to lay the focus on how great the sourdough is. Take home a loaf for only $8. But who comes to Black Star for a sandwich anyway? Lest we forget what we really love about Black Star: the signature flaky pastries such as the boozy almond knot ($4.80); quiches like the mushroom and feta that have that well-balanced eggy wobble ($6.50); and the pies ($8) that give you a good excuse to never make your own. As always, the lamb shank and red wine pie ($8) is a hot-seller. Best be quick. And butter me up and call me a cake, there's nothing like the sweet favourites: bread and butter pudding ($6.80) with dreamy Anglaise, the wonderfully rich chocolate hazelnut torte ($6.80), the coconut covered lemon myrtle chiffon cake ($4.80 piece) that is so ridiculously light and spongy it feels like you're eating velvet, and a zen garden ($7.50) — a pistachio, lemon and white chocolate layered cake is a Zen garden, in your gob. To wash down all the glorious sweet and savoury delights, the house-brewed iced tea ($4) or cold drip coffees ($4) are ideal accompaniments. Need we say more? Despite the the Rosebery branch being somewhat stark in comparison to the familiar Black Star that we have fallen head over heels with, don't let that deter you. The famed patisserie is still knocking us over with its exquisiteness. So warm your arms up in anticipation for that elbow-extending frenzied delight.
Fond of zipping around Sydney on a brightly coloured, two-wheeled mode of transport? If you're making your way across the inner city, you now have another choice. While Beam's purple e-bikes have been available since 2020, Sydneysiders can now also go orange by jumping on one of Neuron Mobility's electric bicycles. The Singapore-based outfit has unleashed 250 of its vibrant vehicles on the Harbour City's streets, starting in the Sydney CBD, Waverley and Randwick. That means that if you're keen to hop on one of Neuron's e-bikes, you'll need to be in the company's ride zone boundary — which, at the moment, spans out to Pyrmont and Circular Quay in the inner city, also includes Newtown and Green Square in the inner west, and encompasses Bondi and Coogee for beachside rides, too. As well as helmets, Neuron's bikes come with in-built geo-fencing technology, which means that the orange modes of transport can't venture beyond a specific zone. The geo-fencing also controls how fast the bikes can travel, as well as where they can be parked — but Neuron have set up incentivised parking stations across its operating area. Also, the e-bikes are linked to Google Maps, which means that you can use the latter to find one of Neuron's e-bikes, and to get information on your ride. That spans directions, details on how long it will you to get to your destination, price estimates, battery range and expected ETA. You'll unlock the bike and pay for it via the Neuron app, however. Price-wise, Neuron's e-bikes cost $1 to unlock, then 45 cents per minute to ride. Or, you can buy Neuron Passes, which let you ride as many times as you like for up to 90 minutes per day — starting at $3.30 a day, depending on whether you get a one-day ($15) three-day ($25), weekly ($33) or monthly ($99) version. And if Neuron sounds familiar — or its orange-hued vehicles look familiar, more likely — that's because you might've come across them in other Australian cities. Its move into Sydney marks the company's first location in New South Wales, but also now sees it operating e-scooters, e-bikes or both in every Aussie capital. Neuron Mobility's e-bikes are now available around Sydney. For further details, visit the company's website.
MOP is a good gallery - one of the best artist-run space's in Sydney in my opinion. Evidence of this can be seen in the artists that exhibit here, but it might also be due to the fact that the standardized curatorial hand does not press too heavily on the exhibitions themselves (after all, curators don't make art, artists do). To this end, established and emerging artists often exhibit together without it being a 'strategy' or 'generational connector', mediums do not have to match and each artist is often working from a different history or set of concerns. A good example of this diversity can be spotted in the upcoming lineup: Jai McKenzie, Gary Carsley and Kate Williams. McKenzie re-visits underachieving 20th Century utopian propositions in a new installation Used Future, Carsley expands on his very own brand of cosplay-inspired iconography in Display Sweet, and Williams presents her fractured sculptures that directly address our perception of space and self in Twisted Logic. It's certainly a varied group, but if there are links to locate here you'll be able to think through them yourself. This is art served straight up. Image: Jai McKenzie
Perched overlooking Monro Park, Parc Pavilion is the latest addition to Cronulla's burgeoning dining scene. Spanning four upbeat restaurants across two levels, each offers a distinct mood and menu, from laidback family-friendly dining experiences and an upbeat sports bar to Italian-inspired cocktails with a beachside view to match. Guided by the Feros Group — the same crew behind venues like Highfield Caringbah, The Prince Hotel and The Botanical — they've brought on the highly experienced chef Jamie Gannon to lead the cuisine as the Group's new culinary director. For punters, that means fresh, seasonal and inventive dishes served from all four venue kitchens. With two venues now open on the ground floor, Parc Bistro is a casual spot designed for relaxed dining and quick takeaways to enjoy in the park. Think stacked burgers, fresh salads and classic mains, like chicken schnitzel and roast barramundi. Meanwhile, there's a solid selection of low-fuss options perfect for the kids. Up next is Mr Munro's — a front bar overlooking Cronulla Street. Primed for post-work drinks and catching live sports, a rotating entertainment program features live music and drag bingo. Heading upstairs, The Terrace offers an upbeat retreat among the greenery that evokes just a hint of the Mediterranean. Sip on vibrant cocktails and chilled wines while indulging in an Italian-inspired menu, featuring highlights like burrata with beetroot and alto lemon oil, and fried squid with garlic and parsley. There's also an expansive list of pizza, pane and pasta options alongside mains like fritto misto and grilled swordfish. Ideal for long lunches and even longer nights, live DJs help bring this intimate space to life. Launching Thursday, June 5, Call Me Mamma is the last of this dining quartet, offering personality-packed Italian dining. Featuring full table service and an elevated but approachable atmosphere, this might just become Cronulla's go-to spot for birthday celebrations and midweek dinners where the good times flow non-stop. With award-winning interior architecture practice H&E leading the design from top to bottom, expect Parc Pavilion to become a bustling local destination. "Cronulla has been waiting for a venue like Parc! We wanted to create an all-encompassing space that celebrates everything we love about this community — the energy, the lifestyle, the people," said Chris Feros, executive chair of the Feros Group. "Parc Pavilion is designed to be a place locals feel proud of and becomes a highlight for visitors." Parc Pavilion is open daily from 10am–12am at 138 Cronulla Street, Cronulla. Head to the website for more information.
This April, the Art Gallery of NSW is unveiling The Essential Duchamp, a landmark exhibition showcasing 125 works and materials from the captivating career of French artist Marcel Duchamp. If you're not too familiar with Duchamp himself, you'll probably still recognise his most controversial works — he's the dude that basically decided a urinal could be considered an artwork if an artist said it was, thus paving the way for manufactured objects to be considered and recognised as art (what Duchamp called 'readymades'). But there's more to his six-decade-long career than controversy. To prime you (art pun intended) for your visit, we spoke to the AGNSW's curator of modern and contemporary international art, Nicholas Chambers, to find out five things you should know about the iconoclastic artist — and obsessive chess player — whose irreverence, agility and refusal to heed the status quo single-handedly changed the course of modern art forever. [caption id="attachment_721134" align="alignnone" width="1920"] Marcel Duchamp: Nude Descending a Staircase (No 2); 1912. Philadelphia Museum of Art, the Louise and Walter Arensberg Collection, 1950-134-59 © Association Marcel Duchamp/ADAGP. Copyright Agency, 2019.[/caption] DUCHAMP NEVER SETTLED Looking back on his career, Duchamp said: "I didn't want to pin myself down to one little circle, and I tried at least to be as universal as I could." A huge part of his ongoing appeal lies in the way he fought against the idea of the artist as a brand, avoiding being pigeonholed into a particular style or becoming a card-carrying member of a movement — even dadaism, a movement that he was a pioneer of. You'll experience Duchamp's diversity as you move through the exhibition, which Chambers promises "reveals just how agile he was as an artist, able to move so deftly between different art forms and ideas". Duchamp welcomed self-contradiction and embraced a broad array of influences, some of which he'd try on for a while, make his own and then abandon — as you'll see in his early painting, Nude Descending a Staircase, No.2 (1912), where he essentially mic dropped a highly original take on cubism, caused quite le scandale at the 1913 New York Armory Show, then decided to leave painting behind to focus on less traditional ways to operate as an artist. [caption id="attachment_721132" align="alignnone" width="1920"] The Bride Stripped Bare by Her Bachelors, Even (The Large Glass); 1915-1923, oil, varnish, lead foil, lead wire, and dust. Philadelphia Museum of Art, bequest of Katherine S. Dreier, 1952 © Association Marcel Duchamp/ADAGP. Copyright Agency, 2018.[/caption] DUCHAMP PROVOKED CONVERSATION No stranger to controversy, Duchamp believed that art's purpose wasn't to provide visual pleasure, but rather to shake things up and engage people intellectually. Painting, for example, in his words "should not be exclusively retinal or visual; it should have to do with the grey matter, with our urge for understanding." From Nude Descending a Staircase, No. 2 (1912) to the game-changing readymade Fountain (1917) (that's the urinal) to the "definitively unfinished" glass composition The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915–23), Duchamp's work started conversations — sometimes heated ones — and activated discourse. Seriously, can you imagine some of the reactions to 1913's Bicycle Wheel, his first readymade? Just who is this guy who thinks he can plonk a bicycle wheel on a kitchen stool and call it art? His work remains provocative in 2019, says Chambers, prompting and compelling us "to reflect on questions of taste. How is value determined in the art world? What's at stake when artists, viewers, curators or critics make aesthetic judgements? He provokes us to question the most basic conventions of art appreciation". [caption id="attachment_721133" align="alignnone" width="1920"] Marcel Duchamp: The Chess Game; 1910. Philadelphia Museum of Art, Louise and Walter Arensberg Collection, 1950 © Association Marcel Duchamp/ADAGP. Copyright Agency, 2019.[/caption] DUCHAMP REALLY, REALLY LIKED CHESS Several Duchamp works take chess as a theme, including the early painting The Chess Game (1910), which depicts his two brothers — both of them also artists — hunched over a chessboard in their studio's garden. A lifelong devotee of the game who eventually acquired the title of Master and competed for the French national team in multiple Chess Olympiads, in the early 1920's it was even (falsely) rumoured Duchamp was abandoning the art world entirely to focus on chess full-time. Chambers notes that chess actually "provides an interesting analogy for thinking about Duchamp's project at large: an approach to art and life that's at once playful and strategic". In both art and chess Duchamp believed in taking risks, but could also take a slow and steady approach; he could revel in the endless combination of tactics and moves — or styles and techniques — available, but he could also step outside a trend or movement to see the bigger picture, and triumph. Whether Duchamp ultimately preferred chess over art is a matter of argument; however he is often quoted as saying: "While all artists are not chess players, all chess players are artists." Make of that what you will. [caption id="attachment_721136" align="alignnone" width="1920"] Man Ray: Duchamp as Rrose Selavy; 1921–26. Philadelphia Museum of Art, gift of Jacqueline, Paul and Peter Matissein memory of their mother Alexina Duchamp, 13-1972-9(763a,b). © Man Ray Trust/ADAGP. Copyright Agency, 2019.[/caption] DUCHAMP WAS ENIGMATIC "There was always a lot of mystery surrounding Duchamp — both his person and his productions," says Chambers. Duchamp actively perpetuated rumours he had retired from the art world, loved wordplay and language games and often signed his works with false names, such as Fountain (1917) which is signed 'R. Mutt' — a joke of which even Duchamp became slightly murky on the exact origins. During the 1920s he created a female alter ego named Rrose Sélavy (ask a French speaker to point out the aural gag) whose name adorns several of his readymades. Many of his works feel full of clues to meanings just beyond our grasp, and he could be deeply secretive — the last 20 years of his life were spent working on a piece only a few people knew about entitled Étant donnés (1946–66), which you'll see a digital presentation of in the exhibition. Testing the boundaries of his own image as an artist, Duchamp relished a sense of play, mystery and freedom, stating: "I believe that art is the only form of activity in which man as man shows himself to be a true individual." [caption id="attachment_721135" align="alignnone" width="1920"] Marcel Duchamp Hat Rack 1964 (replica of 1917 original) National Gallery of Australia, Canberra; Fountain 1950 (replica of 1917 original) Philadelphia Museum of Art; Bicycle Wheel 1964 (replica of 1913 original) Philadelphia Museum of Art; Bottlerack 1961 (replica of 1914 original) Philadelphia Museum of Art, © Association Marcel Duchamp/ADAGP. Copyright Agency, 2018.[/caption] DUCHAMP CHANGED THE WAY WE THINK ABOUT ART Duchamp borrowed the term 'readymade' from the fashion industry to describe the everyday, mass-produced, often utilitarian objects he found, modified and declared to be artworks. Works such as Bicycle Wheel (1913), In Advance of the Broken Arm (1915) and Fountain (1917) were ironic, at times humorous acts of rebellion against what he called "retinal art" — their appeal to Duchamp lying in their very banality and visual indifference. It's impossible to overstate just how revolutionary it was in 1917 for an artist to suggest that a standard urinal should be included in a public exhibition. "The readymades on a fundamental level changed what we mean when we use the words art and artist," says Chambers. An artist now had the power to transform and elevate a humble snow shovel into an artwork. An artist by definition no longer had to be someone who uses their skill to make something original by hand — they could also appropriate something someone else (or even a machine) had made, and give it new meaning in an artistic context. Art could be more about an idea than the object itself. And it definitely didn't have to please the eye — it could please the mind instead. You can catch The Essential Duchamp at Art Gallery of NSW between April 27 and August 11, 2019. Admission is ticketed and can be purchased in person or online. AGNSW is open 10am—5pm daily, with extended hours until 10pm on Wednesday.
The kitchen crew yell out 'orders up' while waitresses loudly greet their guests with shouts of kangei (welcome). Amid the noise, sounds of zuzutto fill the air, as patrons hunch over and lovingly slurp from the gigantic bowls in front of them. While the austere tables and bustling atmosphere set the scene for a classic Japanese ramen house, Ippudo is no ordinary noodle joint. The now global franchise had its humble beginnings in Japan in 1985 but since its international debut in 2008 has become a ramen mecca, with more than 100 locations worldwide. Nestled among the greenery of "Sydney's new downtown", Ippudo Central Park is a smaller, more intimate location than its "ramen brasserie" sister in the Westfield. The real draw of Sydney's second Ippudo, however, is the special miso-tonkotsu, a twist on the original tonkotsu broth, which isn't available in the CBD. The red miso blend is thicker and a bit nuttier than the classic pork-bone based cloudy broth. Succulent pork belly in the miso tonkotsu chashu is topped with an attractive mix of corn kernels, cabbage and pickled bamboo shoots that set the dish apart on the ramen menu. For first-timers, the shiromaru — Hakata-style ramen with juicy pork loin, crunchy bean sprouts and silky black mushrooms — is the speciality that put Ippudo at the top of the ramen trade. Add the nitamago, a delicious yet slippery whole flavoured egg, at your own risk. Whatever your ramen preference, order the noodles hard, as recommended. Part of the quality ramen joint's global success stems from its client-minded approach. The Ippudo Sydney locations combine local products with Ippudo flavouring and noodle concept; the Aussie patrons are also considered in the unconventional shojin, a vego option with seaweed and whole grain noodles that would not be present on a Japanese menu. While the famous Ippudo bun selection is not yet available, there are plenty of other entree options for those with an enormous appetite. Try the unconventional fish and chip, which is a lightly battered and perfectly golden salmon, served with a side of spicy tomato sauce and a blend of Japanese-style tartar sauce; the fried egg with a creamy yolk adds a truly unusual aspect to this dish. For those with the mightiest of appetites, the Kae-dama system will sit you with an extra serving of noodles for just $2 extra. So go on, zuzutto away.
If there was ever a film that made you wish you could step right into its frames, it's Wet Hot American Summer. The cult hit from 2001 took a satirical look at the American coming-of-age ritual that is heading off to summer camp, complete with Paul Rudd, Amy Poehler, Bradley Cooper, Elizabeth Banks, Molly Shannon and Michael Showalter along for the fun. And, while it wasn't the biggest money earner, its enduring popularity caused Netflix to fund both a prequel and a sequel series. Now, the eager folks at Devastator Press! want to help make all of our dreams a reality. No, they're not hosting a real-life summer camp, sorry (but Brisbane's Death Valley Fun Camp is doing a pretty good job, though, and Camp Kidinyou did the same thing in Melbourne late in 2016). Instead, they're turning WHAS into a role-playing game that'll ensure film and TV fans can play along as a camper, counselor or staffer at Camp Firewood — while wearing cutoffs and drinking beer, obviously. Even if tabletop role-playing games aren't normally your thing, we're betting you'd try out Wet Hot American Summer: Fantasy Camp; it's designed for newcomers to the genre, with "more emphasis on storytelling and party game craziness". At the time of writing, the game's makers have taken to Kickstarter to crowdfund their efforts. After just four days, the campaign has made US$10,802 of its US$12,500 goal, so it's pretty likely that it'll happen. Yes, basically one of the film's biggest fans is turning his favourite flick into a game, but it has the official tick of approval, and we all get to reap the benefits. Until you can get your own copy — they're expected to begin shipping in August — spend your time thinking about playing as a can of mixed vegetables. And as for that sequel series we mentioned earlier, Wet Hot American Summer: Ten Years Later is due to drop on Netflix later this year.
This graffiti-clad emporium is what you'd if you crammed together a year of Saturday garage sales, binned the dud items, and arranged the gems in one enormous warehouse in Alexandria. There are over sixty different stalls within the Centre's walls, stocking all the vintage, industrial and retro furniture, knick knackery and ephemera you've ever fantasised about, with a range from Victoriana through to 20th century design. Searching for something specific? Use their 'wish list' feature to have the Centre's dealers try to hunt it down for you.
As you may well know by now, museums aren't just for 19th century historical artefacts and giant dinosaur models anymore. They're also for food. Last year New York got a permanent Museum of Food and Drink, which joins a whole slew of weird and wonderful food museums, like Japan's instant ramen museum and the Kimchi Field Museum in Seoul. So it's surprising that, considering our total obsession with food, Australia does not have its own. But that's all set to change, with plans for a brand new institution dedicated to our food culture to be set up in Adelaide. The proposal comes from Adelaide City Council, who believe a culinary cultural centre could help both locals and international visitors learn about and experience Australia's multicultural food culture. Considering the city's proximity to world-class wineries and its own burgeoning food and bar scene, Adelaide — while nowhere near as big as Sydney or Melbourne — makes a good case for being the new centre's home. The project has the support of the State Government and other local cultural institutions, but discussions on what the centre would actually include and who would establish it are still taking place. We'll keep an eye on this one to see where it goes. Via ABC News.
Welcome to the future of libraries, where it's about more than just books. Green Square Library has upped the ante and moved beyond the standard collection of pageturners. Within the swish new space, you'll find a high-tech lab, underground reading garden, amphitheatre, music room, cafe and meeting rooms. The building, which is located in Zetland – around three kilometres south of Central Station – is hard to miss, thanks to its six-storey glass tower, which emerges from a tree-dotted plaza. Behind the partially-subterranean architecture is Alexandria-based studio Stewart Hollenstein, whose design topped a 167-strong international competition held back in 2013. While books — and underground gardens in which to read said books — are still the central focus of the library, it also features many spaces dedicated to music. The sprawling music room has a baby grand piano, which can be hired out by Beethoven hopefuls stuck in tiny Sydney apartments, and the open air amphitheatre plays host to public gigs. As well as being an eye-catching piece of art itself, the library also contains two stunning installations. High Water, a series of massive LED screens that interpret local weather patterns in abstract colours, by Indigo Hanlee and Michael Thomas Hill dons the plaza, and Claire Healy and Sean Cordeiro's Cloud Nation – a vintage aircraft with wings containing the miniature world of Laputa, from Jonathan Swift's novel Gulliver's Travels – hangs inside the library. Spending the day surrounded by art, with a book in hand, sounds like perfection to us. Green Square Library is now open at 355 Botany Road, Zetland. It's open 10am–7pm, Monday to Wednesday; 10am–6pm, Thursday and Friday; and 10am–4pm, Saturday. Images: Katherine Griffiths.
