How do you brighten up one of the most vibrant cities on earth? And at the brightest time of the year? It's simple: add a park installation littered with glowing lights. Like Tokyo before it, New York now boasts its own short-term piece of luminous art — and one that's both creative and eye-catching. Called Whiteout, the commissioned project has unleashed hundreds of LED-filled globes upon Madison Square Park. Set up until March 25, 2018, the piece comes from Austrian-born, New York and Ohio-based artist Erwin Redl, who suspended the white, transparent spheres across the space using a square steel grid and cabling. As well as their standard twinkling, the orbs sway with the wind and sparkle according to large-scale animated patterns, all as part of the 6.2-acre park's latest free outdoor exhibition. https://www.instagram.com/p/Bbk8VEvnCTh/?taken-by=madsqparknyc Explains Redl, "the physicality of the swaying orbs in conjunction with the abstract animations of their embedded white lights allows the public to explore a new, hybrid reality in this urban setting." Known for creating light projects on building facades, Redl takes inspiration from the greats in the field, such as Larry Bell, Robert Irwin, James Turrell, and Doug Wheeler While visitors can't interact with the installation, they can view it as they mosey along the park's walkways. Given that more than 60,000 people visit the site daily, it's certain to make quite the impact, in a piece Redl created and fabricated with the assistance of Madison Square Park Conservancy and the New York City, Brisbane and Shanghai-based public artwork firm UAP. If you're in New York, check out Whiteout at Madison Square Park until March 25, 2018. Head to the park website for further information. Image: Erwin Redl, Whiteout, 2017. Steel, animated white LEDs, stainless steel cable, low voltage insulated wire, two sections: each 12 x 40 x 180 feet; overall: 12 x 110 x 180 feet. Collection of the artist. © Erwin Redl. Photo: Rashmi Gill.
Do you ever watch Jeopardy! or Who Wants to Be a Millionaire? and think "I could do that"? Or, maybe you and your mates are guns at pub trivia and you've been waiting for an excuse to go head to head. Well, Sydney's new Quiz Room is here to facilitate just that. The interactive trivia room has opened on Sydney's George Street in the same complex as Virtual Room Sydney and Escape Hunt. There are three colourful quiz rooms on offer, each fitted out to look like a classic game-show set and each with six podiums. Groups of up to 18 can rent out a room, where they'll pitted against each other in bouts of trivia. There are two game modes on offer. The first is a classic general-knowledge quiz that covers a variety of topics and comes equipped with several game modes, as well as in-game trump cards and surprises. The second is for all the music lovers out there. The Music Quiz runs through three rounds of a name-that-tune-style game, with each round serving up new twists and turns. You can choose your preferred musical era (anywhere between the 50s and the 2020s) but, generally, the game is kept pretty broad. If you and your friends were always reaching for the video game Buzz growing up, this is your chance to relive those memories — or you can book a room for a team-building exercise at work. There's also a family-friendly version of the general quiz adapted for kids aged eight to 12. Each Quiz Room booking includes two 30-minute games. Groups of four can book for $45 per person, with the per-head price going down as groups get bigger. And, special reservations can be made for workplaces, hen's parties, birthdays and large events, including catering, drinks and use of the level-seven rooftop. Find Quiz Room Sydney at Level 6, 393 George Street, Sydney — open 10am–10pm Monday–Sunday.
Gather an eclectic group of people in an intriguing place, spill a few secrets, commit a few crimes and watch sparks fly. It's an approach that's worked for Agatha Christie's Murder on the Orient Express, Quentin Tarantino's The Hateful Eight and even the board game Cluedo, and it works a treat for Bad Times at the El Royale. Contrary to the film's moniker, you can expect a rollicking good time with this mystery-thriller, which has devilish fun taking both its sharp narrative and its motley crew of characters on a twist-filled ride — and taking the audience along too, for that matter. On a sunny 1969 day that's soon to turn stormy, Lake Tahoe's El Royale Hotel welcomes four guests to its distinctive surroundings. Checking into the spot smack-bang on the border of California and Nevada are smooth-talking vacuum salesman Laramie Seymour Sullivan (Jon Hamm), jobbing singer Darlene Sweet (Cynthia Erivo), man of the cloth Father Daniel Flynn (Jeff Bridges) and a woman who writes "fuck you" in the ledger instead of her name (Dakota Johnson). Strangers crossing paths for the first time, each has their own reasons for being there, not that anyone is forthcoming. As they assemble in the lobby beneath photos of Marilyn Monroe, Frank Sinatra and other bigwigs who've stayed on the premises, the young, distracted manager Miles (Lewis Pullman) gives them the spiel: they can slumber in either U.S. state, but rooms in California cost $1 extra and you can't drink in the Nevada lounge, or gamble either since it lost its gaming license. The hotel's divided layout aside (and yes, a line literally runs right through the middle), much about Bad Times at the El Royale initially feels familiar. The basic setup, the use of title cards, the shifting perspectives and fractured timelines, and the air of foreboding in a fading abode all could've stepped out of countless other movies. Thankfully, derivation isn't the name of the game here, although there's one particular film that writer-director Drew Goddard owes a debt to. It's his own last big-screen release, The Cabin in the Woods — and while the filmmaker isn't trying to make the same flick twice by any means, he approaches this slightly over-long 90s-style crime throwback in the same way as his hit horror movie. Both share a sense of playfulness that's highly engaged with their chosen genres, neither follows the routine path, and each comes packed with an energy that's thoroughly infectious. Chris Hemsworth plays a part in both films, although just how the star and his frequently bare chest fit into Bad Times at the El Royale's narrative is best discovered by watching. But, by re-teaming with Goddard, he's once again immersed in an engrossing story that's spun around a fantastic setting — complete with shooting, spying, scandals, bank robbers and cults. While treating a movie's location like one of its characters might be commonplace to the point of cliche, this lively, pulpy and often amusing noir-esque picture wouldn't be anything without its central lodge. From the diorama-like opening scene that buries a secret beneath the floorboards, to roving camerawork that stalks every hidden nook and cranny of the place in a striking fashion, the El Royale proves a slick visual playground for blood-splattered revelations and reversals. Along with cinematographer Seamus McGarvey (The Greatest Showman), roaming the hotel's halls is a well-chosen group of actors, helping to overcome what could've been the film's greatest flaw. Casting can often be a movie's biggest spoiler, instantly signalling that a high-profile name is destined for a more sizeable role than their seemingly small part first indicates — but even when that remains true here, talent such as Bridges and Johnson craft fascinating characters who are more than the sum of their flaws, failings and deceptions. Firmly and delightfully in Kurt Russell-meets-Patrick Swayze mode, Hemsworth is charming to watch in a more straightforward part, however it's Erivo who's having the best time of all. Turning in a performance as powerful as the soulful tracks she's often singing, the Tony and Grammy winner only made her cinematic debut at the Toronto International Film Festival last month. With Bad Times at the El Royale, Erivo checks in to a darkly entertaining affair, and certain big-screen stardom as well. https://www.youtube.com/watch?v=y7wzBVARwaU
Valentine's Day has a way of sneaking up on us. Held just as the year gets going (hello, back to school), it's easy for plans to turn into a last-minute scramble. If you have kids, this feeling triples. Valentine's Day often brings a babysitter cancellation, a late meeting, daycare germs, or a sudden realisation that leaving the house together isn't happening. But staying in on the most romantic night of the year doesn't have to mean settling for baked beans on toast. With the right moves, a date night at home might even be the most romantic plan of all. Let Someone Else Handle Dinner Fewer takeaways may have been one of your New Year's resolutions, but a last-minute Valentine's Day date is a good excuse. Ordering food from your favourite restaurant via a delivery app like DoorDash means no cooking, no washing up, and a real 'treat yourself' moment. With the weight of "What's for dinner?" taken off your shoulders, your date night at home is off to a great start. Focus On Atmosphere, Not Grand Gestures Not everyone needs grand romantic gestures — especially not exhausted parents who are just trying to get through the day. Your at-home date night doesn't need a full set re-design, but rather, a few signals that the night is more special than the average. Get rid of daily clutter and set the table properly (maybe even with the fancy crockery), dim the lights, light a candle or two and swap the TV background for music. These small details can help elevate your night from just another evening into a romantic date night. If you realise that something is missing from your evening, whether that be a bottle of wine, flowers or their favourite chocolate, DoorDash also offers fast and reliable delivery for any last-minute needs. Use The Flexibility To Your Advantage Staying in means there's no schedule to adhere to: no restaurant reservations, concert start times, or babysitter curfews. You can eat earlier, later, or in stages if your kids are little. This flexibility can sometimes be a relief for parents managing it all. Once the house is quiet, spend the evening however you please, whether that be with a board game you've been meaning to get to, a movie on the couch, or just staying up chatting without distraction. Keep Expectations Realistic As with New Year's Eve, the pressure around Valentine's Day often stems from trying to make it exceptional. But by staying in and making the night your own (last-minute or otherwise), you can take the pressure off the evening and just enjoy each other's company. Because, as many parents know, sometimes having no plans can be the best plan of all. Head to DoorDash to see what restaurants are available in your area this Valentine's Day. Image Credit: Supplied and Getty Image
For the past few years, Netflix has been obsessed with one very particular golden ticket: the beloved works of British author Roald Dahl. Back in 2018, the streaming platform announced that it was bringing 16 of the writer's classic novels to the service in animated form. And, it revealed that there'd be two new series from Taika Waititi based on Charlie and the Chocolate Factory, too. In 2021, it also advised that it had snapped up the Roald Dahl Story Company (RDSC) itself. So, plenty of Dahl-penned tales are now getting the Netflix treatment, with the service's library set to expand in a big way. That spans everything from Charlie and the Great Glass Elevator, Matilda and The Twits, all as animated television shows, plus The BFG, Esio Trot, George's Marvellous Medicine, The Enormous Crocodile, The Giraffe and the Pelly and Me, Henry Sugar, Billy and the Minpins, The Magic Finger, Dirty Beasts and Rhyme Stew. Yes, it's a long list. Also included: an adaptation of Matilda the Musical, turning the page-to-stage hit into a movie. That one is happening ASAP, with the resulting flick due to arrive in December — and a just-dropped first trailer showing fans of everyone's favourite book-loving schoolgirl with telekinetic abilities what they're in for. Of course, if you've seen the Tony and Olivier award-winning show in theatres since 2010 — complete with original music and lyrics by Tim Minchin — you'll know what's in store. The narrative remains the same, but with songs and tunes that are all supremely on the original 1988 book's wavelength. Once again, Matilda Wormwood (Alisha Weir, Darklands) is a curious, bright, quiet, observant and imaginative girl — and tiny — but has terrible parents (Venom: Let There Be Carnage's Stephen Graham and Possessor's Andrea Riseborough). So, she escapes into novels as they feast on TV and try to stump up cash via dodgy schemes. At school, Matilda finds a source of support and inspiration in Miss Honey (Lashana Lynch, No Time to Die), but Crunchem Hall also gives its star student another foe. That'd be the villainous Miss Trunchbull (Emma Thompson, Cruella), who is as mean as can be — and needs Matilda to teach her a lesson. Minchin's songs and lyrics make the jump to the movie version, of course, while Tony Award-winning director Matthew Warchus — who did the honours with Matilda the Musical on the stage — helms. And yes, this'll be the second movie based on Dahl's Matilda, after a 1996 version initially adapted the book for cinema (not as a musical, though), and featured Mara Wilson as the titular character. Check out the trailer for Matilda the Musical below: Matilda the Musical will be available to stream via Netflix sometime in December — we'll update you with an exact release date when one is announced. Images: Dan Smith/Netflix © 2022.
This is really very exciting. It isn't often that a platform for collaborative thinking and making is given enough time to find its roots and address something specific. Too often 'collaboration' is ceremoniously trumpeted around as though it deserves praise as a word regardless of the activity it is meant to encompass. Edge of Elsewhere is different - this three-year (2010-2013) collaborative project will in fact produce some fruit. Organised to be part of the Sydney Festival, Edge of Elsewhere brings together artists from Asia, Australia and the Pacific to develop new work in Sydney. Specifically, the artists will address the city itself - the citizens, the geography and the various communities - enabling art to be responsive rather than premeditated. Among the many artists involved are the Korean text/net-based team YOUNG-HAE CHANG HEAVY INDUSTRIES, Australian image-architect Brook Andrew, as well as the Chinese anthropological video maker Wang Jian Wei. The Asia/Pacific Cultural Futures Forum will be held as part of Edge of Elsewhere at Capbelltownn Arts Centre on January 16 at 2.00pm, and the project is also taking place at Gallery 4A (181-187 Hay Street, Haymarket) from January 16 - February 6.
Whatever holiday plans you already have for 2023, you might want to change them — or add another getaway to your itinerary. As part of its efforts to kickstart its pandemic-era tourism industry, Hong Kong has announced a massive airfare giveaway to entice visitors to make the trip. You know what to do: clear your calendar, check your annual leave balance and dust off your suitcase. From March–May, the Hong Kong Tourism Board and the Airport Authority Hong Kong will team up with three local airlines — Cathay Pacific Airways, Hong Kong Express and Hong Kong Airlines — to hand out 500,000 free airline tickets. While many of the specifics are still to be revealed, the giveaway is being called 'World of Winners' and will focus on tickets from southeast Asia in March, then from mainland China in April, and finally from northeast Asia and the rest of the world in May. That's when the fares will be up for grabs. When you'll need to travel is still to be confirmed. To nab tickets, you'll need to hop over to either the World of Winners website or each airline's designated page — and each carrier might do their giveaways differently. So, some free tickets might be available via a lucky draw and others on a first-come-first-served basis, or a buy-one-get-one-free arrangement could apply. [caption id="attachment_887782" align="alignnone" width="1920"] Hong Kong Tourism Board[/caption] Free flights are just one aspect of an overall global promotional campaign named 'Hello Hong Kong'. Another: free drink, dining, shopping and transport vouchers, with at least a million up for grabs from 16,000-plus outlets. Dubbed 'Hong Kong Goodies', these freebies will be available to folks visiting Hong Kong for 90 days or less — and you'll have to pick just one offer. So, you can choose between a welcome drink valued at more than HK$100 at one of more than 100 bars, restaurants and hotels; a HK$100 cash voucher to use at 140-plus restaurants, shops or attractions; or a gift worth more than HK$100 at a heap of Hong Kong attractions and museums. With the current exchange rate, whichever of these three goodies you pick equates to around AU$18 / NZ$20 — but it's still a freebie. [caption id="attachment_887783" align="alignnone" width="1920"] Hong Kong Tourism Board[/caption] There are caveats for these vouchers, of course. First, you have have to have a non-Hong Kong mobile number to obtain them — and, at the moment, they have to be collected from a Hong Kong Tourism Board Visitor Centre once you're there. That said, more redemption methods are set to be added. Visitors to Hong Kong have until December 31, 2023 to collect their goodies — and once you have chosen your coupon, you can't swap it. "Hong Kong is back on the map for global travellers, with more excitement to offer than ever before. We are extending a biggest welcome to the world through the 'Hello Hong Kong' campaign, inviting friends from everywhere as they return to one of the world's greatest tourism destinations," said Hong Kong Tourism Board Chairman Dr Pang Yiu-ka. "I am confident that Hong Kong's vibrant east-meets-west culture, together with our iconic and brand-new attractions and immersive experiences will attract travellers back for an epic, unforgettable journey." For folks living in Hong Kong, the Tourism Board's new promo scheme will also include additional free flights to locals holidaying outside of the country, but not until July. In total, more than 700,000 airfares will be handed out to overseas visitors and Hong Kong residents. For more information about Hong Kong's World of Winners flights giveaway, head to the initiative's website. For more information about the 'Hong Kong Goodies' vouchers, head to that scheme's website. Top image: Hong Kong Tourism Board. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Any reference to acid in a nom de plume naturally elicits the intention of a band that bids to seduce you into their unearthly altered perception of the world. Renegade alt-electro supergroup, The Acid, portends to do just that. A formidable coalescence of distinctive individual talent, the trio is part comprised of Byron-native and early-buzz Splendour favourite Ry Cuming (RY X), who has notably been making waves since the release of his compelling Berlin EP in late 2013. Cuming's haunting vocals are paired with Grammy-nominated DJ and producer Adam Freeland's innate ability to effortlessly reinvent nu-skool breaks; captured by the skills of Steve Nalepa, whose dexterity as a producer and sound technician has led him to collaborate with the likes of Drake and The Weeknd. Together as The Acid, their debut album Liminal (released July 4 via Infectious Music/Liberator) may be described as both impulsive and restrained. If Bon Iver and The xx went on a 'trip' together, they'd probably sound something like this. As the album title suggests, Liminal subversively lulls the listener into an inner sanctum, where shimmering synths and lonely lyrical murmurs make you feel as though you've been bestowed with an indelible secret. Dive into The Acid at Goodgod on July 23 and get clued in. https://youtube.com/watch?v=kOucrAFX810
Eating on a budget doesn’t mean that you have to shuffle out to the nearest transnational fast food chain for a greasy burger that, if not bland, tastes terrible, and will make you feel like a shameful ball of clogged arteries afterwards. For less than fifteen dollars, you can still go out and experience a wide range of Sydney cuisine, from delicious culinary experiments to time-tested dishes perfected by masters. And the best news? Concrete Playground has you covered for every day, so being broke and hungry will be a thing of the past. El Loco Where: 64 Foveaux Street, Surry Hills Located next to the Excelsior Hotel in Surry Hills, El Loco is the brainchild of chef extraordinaire Dan Hong. Its tacos, with a subtle Asian influence, are recognisable anywhere, and for five dollars a pop, you’d be hard-pressed to say no. The rest of the menu stays under the fifteen dollar mark, with hotdogs and salads delivered in giant servings. Tip: The frozen margaritas are delicious, but pricey at $13.50. Signing up to Club Loco, however – a quick and free process – you can get a dandy keyring which gets you half price frozen margaritas on Mondays, from 7-8pm. Stinginess win! Zushi Where: Shop 2A, 285A Crown Street, Surry Hills Judging by the queues that spill out onto the street and the arms-full of accolades that it’s swept up, Zushi is not much of a well-kept secret. And for good reason; it offers a full Japanese dining experience at an affordable price. Of the two restaurants in Darlinghurst and Surry Hills, the Crown Street joint is larger in capacity, with a more extensive menu, and – this is what you’ve been waiting for – daily dinner specials. Tip: Hit up Zushi Darlinghurst, and expect to pay no more than ten dollars for eight pieces of sushi between 6 and 7pm. This isn’t that dried-out, pitiful stuff that you get on campus, either; this is sushi from Australia’s Favourite Restaurant, as awarded by Lifestyle Food Channel in 2009. Pub Life Kitchen Where: 42 Wentworth Ave, Surry Hills With weekly experiments in burger-building, Pub Life give you something to look forward to every hump day. Checking out their gallery of burgers past, you’ll find yourself wondering if this is real life or some post-modern movement in which impossibly tasty burgers are dreamed up. Eight cheese sauce? Pork and cider patties? Purple mayo? The Pub Life kitchen is the Willy Wonka Chocolate Factory of burgers, and they’re yours for only $14, although you’ll want to line up – they’re made in strictly limited quantities of 15 servings per week. Miss out on the crazy burgers? Don’t fret. Most items on the menu are under $15, some are vegetarian-friendly, and all are served in more-than-generous portions. And, as to be expected from Jovan Curic, whose father has been the chef at the original Bill and Toni’s since 1985, the food is delicious. Tip: Catch happy hour at the bar downstairs between 5 and 7pm, and expect to leave the Macquarie Hotel with bellies content and wallets still full. Gumshara Where: Eating World, 205/25-29 Dixon Street, Haymarket Uttering ‘Gumshara’ strikes fear into the hearts of even competitive eaters. That’s because the portions are huge in this ramen eatery tucked away in Chinatown’s Eating World. Add to that the fact that the collagen-rich pork broth is produced by boiling over 100kg of pork bones on a daily basis, and you have yourself a bowl of ramen quite unlike any you’ve had before, with a thick and salty broth that goes down surprisingly well. The menu is simple, with two of the dishes being rice-based and the rest being soup-based. The ingredients mingle well with each other and result in a flavour which is unique yet classic; combined with the low prices and generous portions, there’s more than enough reasons for Gumshara to be a staple in the diets of many a penny-pincher. Tip: Try the Special Rice ($9) for a combination of spicy cabbage, soft-boiled eggs, and specially marinated pork mixed throughout the half-basketball-sized bowl of rice, or the tonkotsu ramen ($13.50), served with slices of pork and seaweed in the aforementioned broth, which is so thick, it’s practically gravy. Laurie’s Vegetarian Where: 236 Bondi Road, Bondi Beach We all have a vegan friend who needs cheering up when you go out – vegan cuisine is rarely delicious if it is not expensive. Laurie’s, then, is the perfect solution. There’s a choice of six hot dishes which cost, at most, eight dollars. For simple, delicious, and homely food, you can’t look past Laurie’s. Tip: The highlight is the tempeh burger which starts at six dollars, and can have cheese, sour cream, and guacamole added. Nothing can compare to it in price or taste. The Dip Where: 55 Liverpool Street, Sydney With a love of food inspired by a trip to Memphis, head chef Andrew Levis brings you all the best that the United States has to offer, with a rotating menu of creative and delicious varieties of hot dogs, burgers, and desserts. Items on the menu sound like a Masterchef judge’s dream induced by a food coma: the Big Windy ($12) is a hot dog that pays tribute to Chicago, being topped with sliced tomatoes, sports peppers, pickle relish, white onion, mustard, celery salt, and a dill pickle spear; the pulled pork nachos ($15) are topped with pinto beans, tomato salsa, cheese, jalapeno cream, The Dip’s famous sweet’n’strong barbeque sauce, and 12 hour smoked pork; and, for dessert, the Ice Cold Guac ($10) is two scoops of sweet avocado ice cream with strawberry salsa and waffle chips. Tip: Nothing on the menu is over fifteen dollars. Make sure you get in on Saturday to taste-test experiments in hot dog design and deliciousness. Mamak Where: 15 Goulburn Street, Haymarket You can’t ignore the line that stretches down the street: Mamak is the best place to get Malaysian hawker food at authentic prices. Try the Maggi Goreng, which is Mee Goreng made with Maggi noodles, or the Nasi Lemak for the best balance of taste and value. Tip: Visit outside of main meal times to avoid the queues.
This resort is so remote that it is only accessible by four-wheel-drive, speedboat, or a paraglider (although we have no idea where your luggage will fit on the glider). You'll feel totally isolated from the rest of the world — in a good way — when staying in the northern-most region of Oman. The resort is located within the Musandam Peninsula which is so damn beautiful. You've got clear blue waters which are perfect for snorkelling, as well as rocky cliffs and open plains that can be explored by foot, mountain bike or four-wheel drive. You come here to bask in the unique natural landscape. Constructed to resemble a traditional Omani village, these stone-walled villas and suites are the pinnacle of luxury, even if they look rustic from the outside. Staying here might take up a large chunk of your accommodation budget but it will be an unforgettable experience worth the splurge. This starts with the villas themselves. Each has its own private plunge pool, a large terrace with a dining area, a sand 'garden' and a butler who will help you experience all that this magical stay has to offer. Seriously, when staying here, you'll feel like you're in a dream — it's that unique and beautiful. Six Senses Zighy Bay has stacks of options when it comes to dining. Have dinner at the hilltop restaurant overlooking the entire bay which serves local and international cuisine, or experience some authentic Bedouin dining right on the beach. They also have tapas at an al fresco bar and can even send a private chef to your villa. The luxurious digs might be remote but there's still a diverse range of activities available for guests. For one, there is an award-winning spa facility which includes two Arabic-style hammams. Its best known for its locally-inspired treatments that use indigenous ingredients to both pamper and soothe. But you're not just here to sit by a pool and spa (although you certainly can if your heart so desires). Adventure activities abound at Six Senses Zighy Bay. Explore the craggy coastline's clear deep waters on a traditional dhow cruise or a scuba-diving expedition, go waterskiing in adjacent bays, canoe around the bay at your pace, paraglide from the cliffs, join a mountain-biking trek in the Hajar Mountains or hike up some of the goat paths. You can even go a little further out on one of their Dubai day trips and 4x4 excursions to the ancient village and plateau of Sabatyn. Whether you're doing serious unwinding or This has got to be one of the very best resorts in the world. Now you can book your next dream holiday through Concrete Playground Trips, and discover inspiring deals on flights, stays and experiences.
Game, set, match, music: the 2024 Australian Open might be jam-packed with Grand Slam tennis action, but it's also serving up a few aces for fans of live tunes. In 2023, the annual Melbourne sports event launched the AO Finals Festival, which gets a heap of talents taking to the stage. Unsurprisingly proving a hit, the fest returns this year. Attendees will be treated to a program of live acts on three of the event's final four days, all in John Cain Arena. 2024's AO Finals Fest will start on Thursday, January 25, on AO Pride Day. Then, it's back for both the women's final on Saturday, January 27 and the men's equivalent on Sunday, January 28. A stellar lineup awaits, including Tash Sultana, Peach PRC and Yaeji on the Thursday; DMA's, Ruel and The Jungle Giants on the Saturday; and Groove Armada, Rudimental and Sunshine & Disco Faith Choir on the Sunday. Just like in 2023, the stacked bill doesn't come as too much of a surprise, given that it has again been curated with help from the respected music heads at Untitled Group — the brains behind Pitch Music & Arts, For The Love, Grapevine Gathering and more. Expect plenty of company, with the 2023 event selling out. Accordingly, 2024's AO Finals Festival has moved venues, shifting to John Cain Arena to take advantage of its 10,000-person capacity. Tickets can be bought individually per day, or matchgoers can upgrade their tennis tickets to head to the festival. As always, there'll be scores of food and drink pop-ups scattered throughout Melbourne Park, as well as big screens showing all the on-court action. AO FINALS FESTIVAL 2024 LINEUP: Thursday, January 25: AO Pride Day Tash Sultana Peach PRC Yaeji Anesu Djanaba DJ Luv You Saturday, January 27: Women's final DMA's Ruel The Jungle Giants Tia Gostelow Mell Hall Sunday, January 28: Men's final Groove Armada Rudimental Sunshine & Disco Faith Choir Latifa Tee Cooper Smith Images: Ash Caygill.
Have you spent the last 15 years popping your colleagues' staplers in jelly, or covering their desks in gift wrap? When someone makes a comment — any comment — do you answer "that's what she said"? Do you have a soft spot for paper company employees, or for anyone who gets married at Niagara Falls? As soon as you meet people who work in HR, do you expect them to be called Toby? If so, then The Office — the US version — has changed your life, and now it's time to put your secret skills to the test. Michael Scott won't call a virtual conference on Thursday, April 16; however Isolation Trivia will dedicate its next online trivia night to the beloved sitcom, so it's almost the same thing. Because Australia loves trivia evenings based on sitcoms that Mike Schur had a hand in (think Parks and Recreation and Brooklyn Nine-Nine) more than it loves pulling pranks, it's certain to be a popular evening — even when you're just taking part from your couch. The quiz session will run from 6.30pm, and you'd better be ready to break out Jim and Pam's wedding dance — and eat something beetroot-flavoured, ideally from Schrute Farms. https://www.youtube.com/watch?v=ryxUeWEcUqE Playing is free, and there's no need to register. Just head to the event Facebook page on the night. And if ever you needed an excuse to hit up Stan and binge your way through the whole series again, this is it.
Sick of staring into a mud-coloured cup of caffeine every day? Prefer your cuppa in a crisp, cool shade — the same as the jeans you're wearing, perhaps? Brightening up brews isn't a new trend, but Sydney's next pop-up is opting for a dash of denim with their coffee offering. From 5pm to 8pm on April 13, 20 and 27, and 12pm to 3pm on April 29, Topshop's Market Street store is playing host to a blue algae latte menu — and yes, each baby blue-coloured cuppa will be whipped up by a barista wearing denim. Of course it will. They'll be available for free, but there's a catch. If you want to sip on a blue brew, you'll have to purchase denim in-store during April. For those bulking up their wardrobe, two beverages will be on the menu: a hot blue algae latte sprinkled with blue algae powder, plus an iced blue algae latte topped with baby-blue fairy floss. Move over ice cream with fairy floss, coffee with fairy floss is now a thing. If they sound like the kind of coffees you'll be frantically snapping as well as eagerly drinking, that's part of the plan. Unsurprisingly, Topshop is pushing the aesthetic angle pretty hard, hoping that you'll be clogging your Instagram feed with pics. Don't worry — as well as looking great, blue algae lattes are also known for their health benefits, boasting beta-carotene, antioxidants, calcium and iron in huge levels. More than carrots, blueberries, spinach and cow's milk, in fact. Find the blue algae latter pop-up at Topshop's Market Street store from 5pm to 8pm on April 13, 20 and 27, and 12pm to 3pm on April 29. For more information, head to their Facebook page.
This specialist Japanese grocery store in Crows Nest has a wide range of fresh Asian veggies, Fuji Bakery goods, and frozen foods that provides home comforts to those with connections to Japan. Ume-Ya launched in Sydney in 2002, but it very recently opened a new store next to Woolworths on Alexander Street. It's an eclectic store — you never know what you'll walk out with. It also offers Australia-wide delivery, though check the store's website or Facebook page, as some delivery services are temporarily on hold due to COVID-19.
A Smart Dollar shop on Marrickville Road has been reimagined as a retro pub by a team of hospitality veterans. The Marrickville Hotel boasts an old-school Aussie pub vibe, and was created by some of the people behind Arcadia Liquors, Redfern Continental, GDR and Ron's Upstairs — namely Pascale Crouche-McDonald, John Archinal, Kim Fasher and David Jank — all of whom live in Marrickville. It's a pub by locals, for locals. The pub's fit-out is laid-back and a little eclectic — exactly what you'd expect from a classic Aussie pub. There's space for big groups, casual dates or solo drinks at the bar, and the outdoor courtyard is ready to go for the summer. It even features a shiny new disco ball for upcoming party nights. Elsewhere, you'll spot a large photo of a young Anthony Albanese, now Leader of the Opposition, knick-knacks and fairy lights behind the bar, and a painted slogan proclaiming "Marrickville — The Greatest Country on Earth!". The space also has a noticeable industrial feel, which is thanks to its history. "After we started the build, we found out it used to be an industrial paint shop [before it was a Smart Dollar shop]," says Crouche-McDonald. "And we were able to utilise some of the existing elements to revive its industrial feel." Old paint samples adorn the ceiling in the main bar, and the atrium showcases the building's original support beams. [caption id="attachment_742145" align="alignnone" width="1920"] Kimberley Low[/caption] Behind the bar, expect Aussie mainstays VB and Reschs, as well as Marrickville's own Grifter on tap at all times. The remaining taps will rotate regularly and feature local talent — at the moment, that includes Batch's milk stout on nitro and 4 Pines kolsch. For wine lovers, the drops are mostly minimal intervention Australian labels, along with some international numbers. A classic cocktail list is best enjoyed during one of the daily specials, which include $10 margaritas all-night on Monday, $10 spritzes until 6pm on Saturday and $10 bloody marys until 6pm on Sunday. For spring, the bar is serving up a special Poor Toms spritz, too. The simple food offering is reminiscent of Arcadia Liquors and includes antipasto and cheese boards, along with a regularly changing menu of toasties. For more substantial eats, the team has partnered with neighbouring Vietnamese shop Pho Phd to offer the likes of salt and pepper eggplant and a range of vermicelli salads. The Marrickville Hotel is now open at 244 Marrickville Road, Marrickville. Opening hours are Monday–Thursday 4pm–midnight, Friday 2pm–1am, Saturday midday–1am and Sunday midday–10pm. Venue images: Kimberley Low. Food images: Kitti Gould.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=wu9wL8sDhXE SUPERINTELLIGENCE Playing a former couple who reconnect and reignite their spark, Melissa McCarthy and Bobby Cannavale have great chemistry together in Superintelligence. This isn't the first time they've featured in the same movie, thanks to 2015's Spy, but there's an energy to their work opposite each other here. She's Carol Peters, an ex-Yahoo executive who quit her job eight years ago with a dream of moving into philanthropy. He's George Churchill, a creative writing professor. Carol still thinks about George two years after their breakup and, when they re-meet-cute in a supermarket, he's happy to see her — although he is flying out to Ireland in three days to take up his dream academic job. There is enough to the concept just described to furnish a likeable albeit predictable rom-com that coasts by on McCarthy and Cannavale's charm and charismatic pairing. A film that simply followed the above story would be straightforward, but Superintelligence shows that it'd likely work. Alas, Superintelligence makes Carol and George's romantic antics the subplot in a movie that's actually about a sentient artificial intelligence that's trying to decide what to do about humanity, chooses Carol as an example of the most average person on earth, and pushes her to get back with George so it can observe, judge her actions and extrapolate what it might mean about people in general. Unsurprisingly, the tech side of the story crashes hard. As everything from Her and Ex Machina to the Terminator and Matrix franchises have shown, films about AI aren't new — and nor are movies about technology threatening to eradicate or enslave humanity — so a wealth of far better features have already traversed this territory. And while screenwriter Steve Mallory (The Boss) has come up with a twist on the idea that he seems to think is brilliant, it really isn't. How can it be when his killer concept just involves said artificial intelligence being voiced by James Corden, and that fact being recognised in the story because Carol is a big fan? If you're not as fond of Corden as she is (likely because you've seen Cats and The Prom), you won't be laughing. It wouldn't be funny even if you did like his work. It's a one-note gag, and a grating one at that. It also chews up far too much of Superintelligence's running time, when viewers would always rather be seeing McCarthy and Cannavale together without any silly gimmickry. The former's husband Ben Falcone directed the film, as he did with Tammy, The Boss and Life of the Party, but that can't explain why the movie squanders the best thing it has. McCarthy's career constantly swings from highs to lows (Can You Ever Forgive Me? and The Happytime Murders came out in the same year, for instance), but Superintelligence is both misguided and a missed opportunity. https://www.youtube.com/watch?v=6nmsIChFUCo DREAMLAND Back in 2013's The Wolf of Wall Street, Margot Robbie didn't simply hold her own against Leonardo DiCaprio. The Australian actor stole scenes from her then far-more-famous co-star — which, given that he put in a phenomenal performance, is no small task. Accordingly, the fact that she quickly rocketed from supporting player to the kind of lead that an entire film can hang from is hardly surprising. Her path from Suicide Squad to Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) illustrates it perfectly, in fact. Still, even Robbie's ability to lift a movie has its limits, which Dreamland tests. She's both luminous and textured in the Great Depression-set thriller. Playing a bank robber on the run, she's the most absorbing and intriguing part of the film. She's meant to be, because that's how and why her character of Allison Wells draws in Texan farm boy Eugene Evans (Finn Cole, TV's Animal Kingdom) and gets him to help her. And, Robbie is clearly invested in the movie both on- and off-screen, as she not only stars but also produces. That said, very little about Dreamland other than her performance proves anything more than standard, and noticeably so. Director Miles Joris-Peyrafitte (As You Are) aims to follow in the footsteps of Badlands and Ain't Them Bodies Saints — and brings Bonnie and Clyde to mind, too — but flails in comparison to both. Dreamland does boast a gorgeously hazy, woozy aesthetic — through the hues that cinematographer Lyle Vincent (A Girl Walks Home Alone at Night) splashes across the screen, primarily — that gives it an enticing look and feel. In quick square-framed shots inserted to represent flashes of dreams of a life that could possibly come if everything goes Allison and Eugene's way, the film couldn't be more alluring. But, alongside Robbie's performance, that isn't enough to boost the routine storyline. Indeed, at times the movie's visual style even augments and bolsters Dreamland's been-there, done -hat air. The narrative doesn't need much help, though, with screenwriter Nicolaas Zwart (Riverdale) hitting as many recognisable beats as the cops pursuing Allison fire off shots. She's wanted in general, but also because her last stick-up with her now-dead partner saw a little girl get killed. Eugene's stern stepfather George (Travis Fimmel, Lean on Pete) is one of the deputies on her trail, so the teen's decision to let her hole up in his family's barn is instantly risky. The young man is also desperate to flee himself, to find the dad that abandoned him and his mother (Kerry Condon, Better Call Saul) years earlier on their dustbowl property, so he doesn't need much convincing to assist Allison in this all-too-familiar affair. https://www.youtube.com/watch?v=1_xZGoYU1eg CROCK OF GOLD: A FEW ROUNDS WITH SHANE MACGOWAN Frontman for The Pogues since the early 80s, and a formidable music force in-between the Celtic punk band's stints together — until the 90s, and then from the early 00s to the mid 10s — Shane MacGowan is a rare beast in his chosen industry. He's a true individual that no one could ever emulate no matter how they tried. He's also a spikier, pricklier, far more recalcitrant figure than others who've earned that description (David Bowie and Prince, for example). He certainly has more stories to tell about smoking cigarettes and drinking booze as a child, then listening to his aunt teach him the gospels and sharing her religious fervour to such an extent that he even thought about turning his childhood beliefs into his life's work. Accordingly, to delve into MacGowan's existence beyond the easy-to-Google biographical details, the usual musician-worshipping documentary was never going to do him justice. So, seasoned director Julien Temple doesn't try to fit the usual mould. The filmmaker has ample experience in the genre, with Sex Pistols rockumentary The Filth and the Fury on his resume — plus Joe Strummer: The Future Is Unwritten and Glastonbury, too — and he's just adept at finding the right approach for the right subject. In Crock of Gold: A Few Rounds with Shane MacGowan, viewers hear the song that he's best known for more than once. The Pogues' 'Fairytale of New York' is an instrumental part of his story, after all. Although it was released in 1987, it's also the most popular Christmas song of the 21st century. Alongside the film's birth-to-now linear path, the use of well-known tune is the most standard part about this deep dive into MacGowan upbringing, fame and controversy. Case in point: MacGowan isn't an interviewee here in the traditional sense. Archival footage of him answering questions fits the expected mould, but in his more recent chats specifically for the doco, he talks with people he knows such as Johnny Depp, Primal Scream's Bobby Gillespie and former Sinn Féin president Gerry Adams. It's a canny and compelling approach, likely by necessity, and just how MacGowan changes depending on his company doesn't escape attention. In the process, and amidst animated sequences, family photos and videos, and deftly deployed stock imagery, Temple lets his audience see first-hand how a man with such a strong presence and infamous reputation is still a rolling, rambling bag of contradictions and complications — although MacGowan's words, offered over more than a few drinks as the lively film's title makes plain, easily paint that picture themselves. If you're wondering what else is currently screening in cinemas — or has been throughout the year — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3 and December 10. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky and The Furnace. Images: Superintelligence, Hopper Stone; Crock of Gold: A Few Rounds with Shane MacGowan, Andrew Caitlin.
UPDATE, January 12, 2022: Eternals is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Amazon Video. It's the only Marvel movie by an Oscar-winning director. Focusing on a superhero squad isn't new, even if everyone here is a Marvel Cinematic Universe newcomer, but it's the lone instalment in the franchise that's about a team led by women of colour. It's home to the MCU's only caped crusader who is deaf, and its first openly gay superhero — and it doesn't just mention his sexuality, but also shows his relationship. It happens to be the first Marvel flick with a sex scene, too. Eternals is also the only film in the hefty saga with a title describing how long the series will probably continue. And, it's the sole MCU entry that features two ex-Game of Thrones stars — Kit Harington and Richard Madden, two of the show's Winterfell-dwelling brothers — and tasks them both with loving a woman called Sersi. (The name isn't spelled the same way, but it'll still recalls Westeros.) When you're 26 movies into a franchise, as the MCU now is, each new film is a case of spotting differences. All the above traits aid Eternals in standing out, especially the empathetic, naturalistic touch that Chloé Zhao brings to her first blockbuster (and first film since Nomadland and its historic Academy Award wins). There's a sense of beauty and weight rippling through almost every frame, as well as an appreciation for life's struggles. Its namesakes are immortal aliens sent to earth 7000 years ago to battle intergalactic beasts, and yet Eternals shows more affinity for everyday folks who don't don spandex or have superpowers than any Marvel flick yet. It's also largely gorgeous, due to its use of location shoots rather than constantly stacking CGI on CGI. But everything that sets the film apart from the rest of Marvel's saga remains perched atop a familiar formula. Perhaps that's fitting; thematically, Eternals spends much of its lengthy 157 minutes contemplating set roles and expectations, and whether anyone can ever truly break free of either. Spying an overt statement in these parallels — between the movie's general adherence to the MCU template and the ideas bubbling within it — might be a little generous, though. Of late, Marvel likes giving its new instalments their own packaging, while keeping many of the same gears whirring inside. That's part of the comic book company-turned-filmmaking behemoth's current pattern, in fact. Still, even after Thor: Ragnarok, Black Panther and Shang-Chi and the Legend of the Ten Rings, Eternals finds its own niche. It both intrigues and entertains, and it's ambitious — and it's often more than the sum of all those MCU firsts and onlys it's claimed. As a necessary slab of opening on-screen text explains, Eternals' sprawling central group were dispatched by a Celestial — a space god, really — called Arishem. With the monstrous Deviants, another animalistic alien race, wreaking havoc across the planet, the Eternals were tasked with fighting the good fight. That was their sole mission; they were forbidden to interfere otherwise, which is why they were absent whenever the world was threatened in the last 25 movies. But now, in the present day, a new Deviant attacks Sersi (Gemma Chan, Raya and the Last Dragon), her human boyfriend Dane Whitman (Harington) and fellow Eternal Sprite (Lia McHugh, The Lodge) in London. That gets the gang back together swiftly, unsurprisingly. In a script by Zhao with Patrick Burleigh (Peter Rabbit 2: The Runaway) and feature first-timers Ryan and Kaz Firpo, each Eternal gets more than a few moments to shine — and more than a few defining traits. But Sersi, her love of humanity and her ability to change inanimate materials attracts most of the focus. She's soon grappling with the squad's purpose, after reuniting with the flying, laser-eyed Ikaris (Madden) to reteam their pals. That includes the maternal Ajak (Salma Hayek, The Hitman's Wife's Bodyguard), wisecracking Bollywood star Kingo (Kumail Nanjiani, The Lovebirds), the super-strong Gilgamesh (Don Lee, Ashfall), warrior Thena (Angelia Jolie, Those Who Wish Me Dead), the super-speedy Makkari (Lauren Ridloff, Sound of Metal), tech wiz Phastos (Brian Tyree Henry, Godzilla vs Kong) and the mind-manipulating Druig (Barry Keoghan, The Green Knight). If these character names sound familiar, that's because Eternals plays with the past as it broadens the MCU's on-screen history. This is franchise's ultimate origin story, even with the lack of recognisable Marvel figures. And, toying with myths and legends told for millennia, it sports a firmly classic air. Those picturesque visuals that Zhao and cinematographer Ben Davis (a Guardians of the Galaxy, Avengers: Age of Ultron, Doctor Strange and Captain Marvel veteran) splash across the screen help immensely. Absent the usual plasticky gloss that's now as standard as jokey banter in Marvel fare — and dialling down the latter as well — Eternals anchors its looming end-of-the-world setup with sunset-lit landscapes that feel more grounded than everything that's come before. Zhao has named fellow filmmaker Terrence Malick (A Hidden Life, Song to Song, The Tree of Life) as one of her influences before, and even in this $200-million flick, it shows. That said, plenty of words that can be used to describe Eternals cut two ways. It's still a movie about ageless cosmic beings-turned-superheroes with heightened abilities, so its naturalism and grounding only go so far. The film's huge budget still spans the usual special effects and reliance upon pixels, too, and that can be as visually dull as ever when it takes over. But when it's a philosophically minded picture about tussling with responsibility and insignificance on an existential scale (and, notably, not just about having powers while trying to be a normal person, a Marvel go-to), Eternals is earthy and resonant. Being exceptionally cast assists as well, as it did in fellow recent Marvel movies Black Widow and Shang-Chi. When Eternals highlights Chan's sincerity, Hayek's calm command, Keoghan's moody vulnerability, Lee's hulking sensitivity, and Henry's passion and resilience — and lets Nanjiani mix swagger and care, and Jolie play fierce but fraying — it's equally graceful and compelling. Top image: Sophie Mutevelian ©Marvel Studios 2021. All Rights Reserved.
Summer might be in full swing on both sides of the ditch, but it's never too early to start thinking about your music festival plans for the year ahead, as well as how to spend the frostier months. One solution that ticks both boxes: Queenstown winter music festival and ski trip Snow Machine, which is returning in September 2023 for its huge second year. It's the hottest festival for the colder months, packed with five snow-filled days of music and adventure at two mountain-topping ski resorts this year. On the just-dropped lineup sits a heap of must-see names, including Art vs Science, Hayden James, Hilltop Hoods, The Jungle Giants and Peking Duk, all helping give Snow Machine's winter wonderland a thumping soundtrack. After launching in Japan in 2020, the festival was actually supposed to make its arrival in Aotearoa in September 2021 but was cancelled due to the pandemic. It finally debuted in September 2022, and now makes a comeback from Tuesday, September 5–Sunday, September 10, 2023. Attendees will be treated to action-packed days on the slopes, après ski events on both Coronet Peak and The Remarkables, and a hefty roster of international acts against the idyllic backdrop of New Zealand's adventure capital. Also dropping in to share the stage will be Benee, Broods, Coterie, Danny Clayton, Jacotène and Jimi The Kween, as well as Kate Fox, Neil Frances, Northeast Party House, Pete Murray, Set Mo, Shapeshifter, Stace Cadet (doing a DJ set), Sweet Mix Kids and Zahn Walker. Other than the wintry backdrop, one of the things that sets Snow Machine apart from other music fests is being able to book your entire getaway with your ticket. Packages span both five and seven nights of accommodation, and include a four-day festival ticket and five-day ski pass. If you'd rather make your own way or pass on the skiing, there are 'ticket only' options — and VIP packages if you really want to do it in style. Festival goers are also encouraged to immerse themselves in the adventure capital by adding on heli-skiing, jet boating, bungy jumping, canyon swinging and skydiving — and that's on top of Snow Machine's huge welcome party, and vintage retro day dedicated to old-school ski suits. Also returning in 2023: the second annual Polar Bare, which endeavours to set a world record for the most amount of people heading down the slopes their swimwear. SNOW MACHINE 2023 LINEUP: Art vs Science Benee Broods Coterie Danny Clayton Hayden James Hilltop Hoods Jacotène Jimi The Kween The Jungle Giants Kate Fox Neil Frances Northeast Party House Peking Duk Pete Murray Set Mo Shapeshifter Stace Cadet (DJ set) Sweet Mix Kids Zahn Walker Tom Tilley and Hugo Gruzman present First Base Snow Machine will be held from Tuesday, September 5–Sunday, September 10, 2023 in Queenstown, New Zealand. Presale tickets go on sale from 12pm AEDT on Tuesday, January 17, with general tickets available from 12pm AEDT on Wednesday, January 18. For more information, visit the festival's website. Images: Pat Stevenson/Ben Lang. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
With the holidays just coming to an end, we're all now emerging from prime binge-watching season. So, if you feel like you've glued your eyes to every possible TV show and movie there is recently, that's completely understandable — but the great thing about streaming is that there's always something else popping up, demanding your attention and helping you maintain that comfy groove in your sofa. Returning series releasing their latest seasons, brand new shows that haven't been on your radar, recent favourites that you mightn't have seen, retro classics that are always worth a revisit, flicks that'll keep you talking — they're some of the fresh additions to the streaming world recently, and they're all ready to add to your 2021 watch list. If you're wondering where to start, we've teamed up with streaming platform Binge to pick five must-sees that'll help you start the year with some top-notch viewing. You can view them all on the Australian service, including via a 14-day free trial for new customers.
If you've conveniently (or genuinely) forgotten about everyone's favourite fake holiday of the year, here's a timely reminder that Valentine's Day is nearly upon us. While V-Day is hardly an occasion that's celebrated far and wide — Instagram seems to have missed that particular memo — we do admit that it's a great excuse to take your favourite human, best friend, partner-in-crime, won't-pick-up-their-socks-off-the-floor SO out for a well-deserved treat. So, if you're wrangling your brain for plans this Valentine's Day, check out the best date ideas from Concrete Playground's writers and editors. We've even included rom-com recommendations to help wrap up the evening afterwards. Call us Cupid. SUZ TUCKER: Editorial Director, favourite rom-com is The Princess Bride I'm not a big one for Valentine's Day, but I am very much into any excuse for good eating and drinking. This year, February 14 falls on a Monday night when a lot of restaurants and bars are typically closed, but you can still find a decent selection of bangers around the city that welcome Monday night guests. My pick would be dinner at The Apollo. You ask for bar seating so you can chill at the big marble bar and hang with the wait staff while making your way through the taramasalata, signature saganaki with honey, and kritharaki pasta. Then top it off with the magnificent Avgolemono pie and a Greek Martini. That, to me, is true love. ELLEN SEAH: National News & Features Editor, favourite rom-com is Notting Hill Valentine's Day is kind of like underseasoned, roasted brussel sprouts at the table: I could take it or leave it. That said, it does work as a great excuse to plan out some quality time with your partner. Considering it falls on the demonish side of the week this year (Monday), I'd recommend skipping the weekday dinner date altogether and planning a weekend getaway instead. Gather ye rosebuds etc etc. After two years of travel deprivation, head out on an easy romantic weekend trip to the south coast, or make it a long weekend for a trip up to Queensland. If you really want to impress, Sydney's Roar and Snore at Taronga Zoo boasts views over the harbour and overnight glamping. Or, go all out and book an overnight stay at the northern beaches' luxury floating villa. MELANIE COLWELL: National Branded Content Editor, favourite rom-com is You've Got Mail Pastry is my love language. Croissants, kouign-amanns, tarts — if butter is the main ingredient, I'm sold. So, I will be swapping the traditional date night for a sunrise walk followed by a pastry-forward breakfast picnic. Want to follow my lead? You have several quality options. You could do the Bondi to Bronte coastal trek, then head up to Iggy's for a feta croissant. Or, stroll (or cycle) around Centennial Park before heading to Lode for a LuMi Pithivier pie (trust me, it's worth the extra effort). Or, take a wander through the Royal Botanic Garden to watch the harbour wake up before visiting Flour and Stone for a canele (or two). Whether you're into V-Day or not, you'll be starting the day on a (sugar) high. Bonus: your evening is then free for… other activities. [caption id="attachment_754228" align="alignnone" width="1920"] Destination NSW[/caption] NIK ADDAMS: Branded Content Manager, favourite rom-com is While You Were Sleeping Valentine's Day is the worst. I love love, don't get me wrong, but I've always been of the belief that if you need to be told when to celebrate it, you're either not doing right or you're seriously lacking in imagination. I feel the same way about theme parties, for the record. If you really want to surprise your boo this February 14, do something on February 13 instead. Whatever you decide to do, you can rest assured your person will definitely be surprised — and, maybe more importantly, you won't be surrounded by performatively affectionate couples. The question remains though, of what to do on the 14th. It's on a Monday this year which means that your options are somewhat limited (take that, Cupid!), but, this being Sydney, there's still plenty to do. Whether you're with someone or not, why not spend the evening with friends instead? Grab a group serve of fish and chips from Petersham's excellent Fich and take it down to the Glebe parklands for a twilight dinner by the bay. Or, take a stroll along one of the city's many delightful foreshore walks — Curl Curl to Freshwater is always a great shout if you're north of the bridge, while the path between Doll's Point and Sandringham is super pleasant as well. La Niña keeping you indoors? Find a screen, grab some bevs and hate-watch MAFS instead. [caption id="attachment_703447" align="alignnone" width="1920"] Destination NSW[/caption] COURTNEY AMMENHAUSER: Branded Content Manager, favourite rom-com is 10 Things I Hate About You Valentine's Day can be a real vomit-inducing time for some. And, depending on where you sit on the romance and relationship scale, you might find yourself cruising around with a sick bag on Feb 14. But, if you do want to show some love to yourself, your mates or your significant other on a whim, my pick is an ocean swim. To start, you'll be literally taking your clothes off so, um, I dunno, but that seems kinda intimate to me. Plus, you can make this activity as romantic as you like by pairing it with a post-swim picnic, a sunset wine by the sea and maybe, just maybe, a Notebook-esque smooch in the rain if La Nina shows up. Hot. Destinations at the top of my loved-up V-Day swim list include Mahon Pool, Parsley Bay and Milk Beach. [caption id="attachment_779832" align="alignnone" width="1920"] Cassandra Hannagan[/caption] SARAH WARD: Associate Editor, favourite rom-com is Singin' In The Rain Don't let anyone tell you that going to the cinema on Valentine's Day is boring. We've all had those perfect movie dates that genuinely feel like something out of a movie, where you and your other half connect over something glorious on the big screen — or even something so terrible that it's still glorious — and it instantly bonds you. And that kind of experience transcends manufactured occasions like this one if you're watching the right movie with the right person. (Yes, a film critic would say this, but that's because it's true.) Sydney's wonderful Golden Age Cinema and Bar doesn't actually open on Mondays, so it misses February 14 this year, but seeing a movie there — and grabbing a cocktail to go with it — is a great date idea all-year round. The Surry Hills spot is showing swoon-worthy flicks the day before V-Day, however, which includes falling head over heels for Nicolas Cage and Cher in Moonstruck. But even if you opt for something more recent at your local or even for a movie date at home, there's a reason the whole concept is a tried-and-trusted go-to. BEN HANSEN: Staff Writer, favourite rom-com is The Big Sick For me, a trip to the art gallery or museum is the perfect last-minute Valentine's Day activity. If you've got work, treat yourself, take the afternoon off and beeline to your local cultural haven. No booking required, generally free and you get a big dose of awe-inspiring art to get the feels flowing. There's plenty to marvel at in Sydney at the moment. The Art Gallery of NSW's brilliant exhibition The Purple House and its blockbuster Henri Matisse retrospective Matisse: Life and Spirit. The Powerhouse Ultimo's current run of exhibitions that weaves in history, nature and music. And if you want to soak in some fresh air while you're at it, The Calyx in the Royal Botanic Gardens has a huge plant and sculpture exhibition running right now. Once you've had your cultural fix you can keep the date rolling with a glass of wine at a nearby bar. Bitter Phew and Rambling Rascal are walking distance from the AGNSW, while Opera Bar is a stone's throw from The Calyx and The Glebe Hotel's beer garden is calling out for a post-Powerhouse beverage. SARAH TEMPLETON: Associate Editor, favourite rom-com is Crazy Stupid Love I'm not really a huge Valentine's Day person for a myriad of reasons, the main one being that being out and about for dinner and drinks on V-Day is slightly embarrassing in a way I can't quite put my finger on. It gives me the same feeling as being on a nice walk and then having to turn around and head back in the same direction I came from. Why is that always slightly embarrassing? Anyway, I digress. The last few years my boyfriend and I have done the same thing and it's become my favourite V-Day tradition. We find a mountain (read: small hill of some description) and head up it to watch the sunset with a bottle of wine and a pack of filthy fried chicken. A big bucket of KFC Wicked Wings is my personal pick, but you can also support local by getting some gourmet Korean-style fried chicken, some spicy Mexican wings, or whatever your bag is. Take a speaker and play some tunes, drink Shiraz out of plastic cups and enjoy the cute romantic vibes without having to fight for a 7pm booking somewhere.
Feel like experiencing live performance on your own terms? Day for Night is a durational work boasting a killer lineup of Australia's most intrepid queer artists and put on by Performance Space. Then, at sunset on February 15, Day for Night will transform into an electrifying dance party. Set against a score produced by leading electronic musicians Stereogamous (Paul Mac and Jonny Seymour), audiences will experience each work in an inspired new context. Part performance, part exhibition, part dance partay, Day for Night is a fusion of dance, sweat and sound, and one of the key cultural events of this years Mardi Gras Festival. Want more Mardi Gras events? Check out our top ten picks of the festival.
What do women really want? Sydney is about to find out — with All About Women returning in 2014. Entering into its second year, this is a whole-day festival, presented by Ideas at the House and Daily Life and devoted, solely, to the ladies. Roping in international names and local personalities, the festival speaks to a diverse range of ideas important to women of the millennial, from modern parenting and workplace issues to illuminating perspectives on the goings on in Egypt and Somalia. Featuring talks with the likes of Alison Bechdel (inventor of the 'Bechdel test' for movies and writer of comic Dykes to Watch Out For) and British environmentalist Lucy Siegle, All About Women will also feature panel discussions and a clothes swap, while home-grown heroes Annabel Crabb, Cassandra Kelly and Kaz Cooke conduct 'how to' sessions. In a year where we've been led to reflect women's experience in public life, All About Women provides a safe, dynamic and inclusive platform to get roaring (think Helen Reddy circa 1970 and not that terrible karaoke scene in Sex and the City 2). Tickets are on sale from February 3.
Guess who’s back? Back again. That's right. This ain’t just an excuse to quote Eminem unnecessarily. The Rubber Duck is back with a splash for Sydney Festival 2014, and this time it is bigger and better than ever. Okay fine, it's exactly the same size as last year. But hey, in 2013 The Duck was something of a celebrity, giving a fresh perspective to Sydney's Darling Harbour and hogging Instagram feeds throughout January. This time, Florentijn Hofman's enormous, inflatable urban sculpture is bound for Parramatta River in Parramatta Park. At five storeys high and five storeys wide, 'The Duck' is the acclaimed artist’s most popular work, appearing in cities all around the world since 2007. And its tour is not looking to slow down anytime soon. The artist says that the Duck does not discriminate and has no political connotations. "It relieves everyday tensions, as well as defining them. Its purpose is to do no more than amaze." Whether you’re into novelty-sized inflatables, aquatic birds, the colour yellow, art — okay, seriously, everyone loves the Duck — you'll be made happier by a squiz at him in January. Want more Sydney Festival events? Check out our top ten picks of the festival. Image by Prudence Upton.
We can't all live in a world where a newspaper columnist pens one article about her love life a week, gets paid enough to wear Manolo Blahniks and spends most of her time drinking cocktails with her best mates — and coming up with amorous fodder for her next pithy essay. But, thanks to 1998–2004 series Sex and the City, we can all watch that fictional world, which is actually partly based on the experiences and New York Observer columns of writer Candace Bushnell. As everyone with even the slightest pop culture knowledge already knows, Sarah Jessica Parker plays fashion-loving writer Carrie Bradshaw, who has given plenty of viewers a sizeable case of wardrobe envy over the years. She's joined by Kim Cattrall, Cynthia Nixon and Kristin Davis, in a series that pushed the boundaries when it came to both sex and friendship. Just ignore the 2008 and 2010 movies
What is more real and more hilarious than life experience? Nothing. Which is why Sydney should brace itself for The Horse's Mouth. For the second time ever, Tamarama Rock Surfers Theatre Company has secured a killer group of local, interstate and international artists for the return of Sydney's only festival of autobiographical performance. Packed full of weird and wonderful tales, the festival will showcase the (sometimes) deeply personal and (usually) hilarious genre, at the Rock Surfers' home, The Bondi Pavilion. Perhaps the most anticipated performance of the festival will be Nassim Soleimanpour's White Rabbit Red Rabbit: a show performed cold, by a different actor each night. That's right, each ballsy actor will open the script for the very first time in front of an audience, with talent such as Alan Flower, Zoe Norton Lodge and Sopa Enari set to take on the challenge. A fascinating concept? Or a disaster waiting to happen? "I actually have no idea what this play is about. Absolutely no idea," says Norton Lodge, who'll be performing on Saturday 7th. "I have an intense child in me who wants to Google the shit out of it, but I haven't." Preparing for the play you're not allowed to prepare for can be pretty absurd. "I don't even know what I should wear," she says. "My method so far has been to have a protracted panic attack. But that's pretty stupid. It’s very pointless to worry about something you cannot control or prepare for in anyway. So that brings me to phase two. Sweep it under the rug and pretend it's not there." And really, what's the worst that could happen? "I come from a comedy background, so I'm a bit worried about having to get mega in touch with some serious feelings. But who knows, it could be racist. That would be worse. Why am I doing this...?" And with The Horse's Mouth marking its Sydney premiere, White Rabbit Red Rabbit is sure to deliver, having already received rave reviews worldwide. But it certainly won't be the only work exploding onto the Bondi stage. Award-winning comic David Quirk presents his part-tribute, part-confessional Shaking Hands with Danger, and The Wild Finish is a mesmerising work from New York theatre-maker Monica Hunken. Ado Saves the Gay World is an intimate musical comedy by Adriano Cappelletta, while Jimmy Dalton delivers All Made Up, an unusual show performed backstage in the Pavilion dressing room. "I am really looking forward to seeing Bron Batten's Sweet Child of Mine," says Norton Lodge. "It's amazing. It's got everything. Dancing. Extreme Braveness. Actual Parents. Actual Butt. I am really excited to see it again." Batten's play — which sees the artist's 60-year-old father appear on the stage with her — is among the six fresh and highly unique pieces on offer over the two-week period. In Norton's words, "There is only really one story you can tell better than anyone else. It's yours, baby ... All the crippling feelings, mangled memories and intricate detail are all there in your brain, waiting to blossom out of the caterpillar of your mind into the butterfly of your play." And who doesn't want to watch that happen?
When Netflix first revived The Addams Family via Wednesday back in 2022, it did so with help from a familiar face that knows more than a little about pop culture's creepiest, kookiest, most mysterious and spookiest family: Christina Ricci (Yellowjackets). She doesn't play the show's namesake, of course — enter: Jenna Ortega (Scream VI) with the black attire and bleak attitude — but her presence was both felt and welcome. And when season two hits, she won't be the only cast member from the 90s films that's been a part of this series. Wednesday was renewed for a second season in early 2023 — Netflix is so keen on the show that there's talk of an Uncle Fester-focused spinoff, too — and now, post-last year's strikes, production has commenced. Along with that development, the streaming platform has announced which actors will be joining the series this time around. One of them, as a guest star: Christopher Lloyd. [caption id="attachment_954276" align="alignnone" width="1920"] Helen Sloan/Netflix © 2024[/caption] Adding to a recent resume that includes Hacks, Knuckles, Self Reliance and The Mandalorian, Lloyd won't be reprising his work as Uncle Fester from The Addams Family and Addams Family Values given that Fred Armisen (Fallout) is Wednesday's take on the character. Still, the Tim Burton (Dumbo)-executive produced series continues to throw love at past iterations of the residents of Cemetery Lane. Season two of Wednesday doesn't have a release date as yet, but it will also feature more of Catherine Zeta-Jones (National Treasure: Edge of History) as Morticia, Luis Guzmán (Justified: City Primeval) as Gomez, Isaac Ordonez (Color Box) as Pugsley and Luyanda Unati Lewis-Nyawo (How to Date Billy Walsh) as Deputy Ritchie Santiago, all getting meatier parts than in season one. New to the cast are Steve Buscemi (Curb Your Enthusiasm), Billie Piper (Scoop), Evie Templeton (Criminal Record), Owen Painter (Tiny Beautiful Things) and Noah Taylor (Foundation), as well as Joanna Lumley (Fool Me Once), Thandiwe Newton (Big Mouth), Frances O'Connor (Erotic Stories), Haley Joel Osment (What We Do in the Shadows), Heather Matarazzo (Wish) and Joonas Suotamo (Willow) joining Lloyd as special guests. In season one, Wednesday's titular figure had been terrorising her way through various educational facilities, hopping through eight of them in five years. That's how she ended up at Nevermore Academy, where her mother introduced her with an apology: "please excuse Wednesday, she's allergic to colour". Morticia actually met Gomez at the school, and thought that their eldest would love it there as they did, but Wednesday's storyline was never going to be that straightforward. With Burton behind the scenes, and also sitting in the director's chair for the first four episodes — in the job the Frankenweenie, Beetlejuice and Edward Scissorhands filmmaker was clearly born to have — cue high-school chaos, a monstrous murder spree to stop and a supernatural mystery linked to Wednesday's parents a quarter-century ago to solve. Oh, and a killer goth wardrobe, naturally. Wednesday unsurprisingly proved a smash, breaking the Netflix record for most hours viewed in a single week, then doing so again — notching up 341.23-million hours viewed in its first week, then 411.29-million hours viewed in its second. All things Addams Family have always found an audience, with the Ricci-led 90s films beloved for decades for good reason, and the 1960s TV show and 1930s The New Yorker comics before that. Check out the season two cast announcement video for Wednesday below: Wednesday streams via Netflix, with season one available now and season two arriving at a yet-to-be-announced date. We'll update you with further details about season two when they're revealed. Read our full review of Wednesday season one. Images: Netflix.
Every suburb needs a bistro. Not just the Australian bistro found inside pubs, but a neighbourhood restaurant, serving simple French-inspired food. The kind of place where people can rest their arms on white tablecloths, drink French wine and sink their spoons into souffles. The 'go-to' restaurant to suit any occasion and welcome you with open arms. And most importantly, it should be as comfortable as your own home. Macleay St Bistro in Potts Point is the essence of the neighbourhood restaurant. It's been open for nearly 30 years and is still going strong thanks to new owners (and Potts Point locals) Mark Campbell and Phillip Fikkers. Walking inside from the bustling Macleay Street, it feels as though you're entering someone's home. The lighting has a warming glow with the mood casual. Diners sit fairly close to each other and there's a calming hum coming from the kitchen while waiters are darting around tending to guests. The menu is short and straight to the point. The rock oysters with eschallot and champagne vinaigrette ($4 each) and the half-shell scallops with saffron chive and caper butter ($5 each) are a promising start. The accompaniments don't steal the thunder from the headline acts of oysters and scallops, which are incredibly fresh. The special of fried lamb's brains with celeriac pepperade ($18) is excellent. The crispy batter acts as the perfect coat for the soft brains, which had a similar consistency to the inside of a croquette. Combined with the celeriac sauce, it is magic. The organic grass-fed eye fillet with wilted silverbeet and sauce soubise ($38) was enjoyable but promised so much more. The steak lacked a touch of seasoning but this was saved by the beautifully rich sauce. To finish, the hazelnut mille feuille with coffee anglais ($15) reminded me of a dessert sandwich. Delicate cream was sandwiched by crunchy sheets of rich pastry and rested on a sauce with a hint of coffee. Instead of tasting an intense espresso, the mille feuille harmonised flavours of hazelnut and coffee with the rich cream and pastry. Although none of the dishes we tasted had the three-hat knockout punch, Macleay St Bistro consistently exceeds expectations in every department. The food, the service and the ambience make for an enjoyable evening.
The Justice and Police Museum is part of Sydney Living Museums, a collection 12 unique historic houses and museums telling the story of the city. This museum will capture your imagination as it takes you through the city's history of crime, punishment and policing. Explore the chilling 1890s holding cells of this heritage-listed courthouse, once graced by some of the areas most infamous criminals, then cast your eye over genuine weapons used over the years. The museum is also home to the remarkable New South Wales Police Forensic Photography Archive, which is made up of around 130,000 negatives, taken between 1910 and 1964. Image: Wiki Commons
There is something to be said in this modern age for a bookstore that is filled with customers at all times of the year, not just at peak present-buying periods. Independent bookstore Better Read Than Dead is one such store. The shop, which has been in Newtown since 1996, is one of the most revered literary lands in Sydney and arguably a strong factor in why the city's literary community is thriving. The seemingly never-ending walls of books seem like a positive challenge to explore rather than a daunting one. The shelves are lined with little place-cards that highlight staff recommendations; the fact that there are so many glowing reviews indicates the quality of titles that are stocked. It regularly hosts literary events from book launches to high tea with authors. Soon to come are literary tours where book-lovers will take expertly-guided tours in key literary gems around the world, from Paris to America's Deep South, retracing famous authors footsteps and immersing themselves into the local culture. Image: James Horan
There's toying with horror film tropes, and then there's It Follows. Fans of the genre have undoubtedly seen all the scary movies where the characters get it on, only to be nastily dispensed with not too long after. Even those not so fond of big-screen frights have probably watched the flicks that call attention to and make fun of the cliche, such as Scream. Well, here, that convention isn't just a routine inclusion — it's the film. When hormone-fuelled teens have done the deed, something evil comes calling. That, folks, would be the titular 'it', a presence that can take the guise of a parent, friend or stranger. It follows its victim with a focus and perseverance most movie killers could only dream of. Once it sets its sights on the latest sexually active person to catch its attention, it won't stop walking and stalking until it strikes them down — or until the unlucky soul in question passes it on by sleeping with someone else. After getting intimate with her boyfriend, Hugh (Jake Weary), for the first time, that's the situation 19-year-old Jay (Maika Monroe) finds herself in. It takes some time to convince her sister Kelly (Lili Sepe), friends Yara (Olivia Luccardi) and Paul (Keir Gilchrist), and neighbour Greg (Daniel Zovatto) of such a strange predicament, but they're soon helping her try to outrun her sinister, unceasing, supernatural pursuer. There might be more than a hint of picking off the promiscuous at play here, even if getting physical is a clear substitute for fears of growing up in general, but thankfully that outdated attitude doesn't dampen the film. Instead, It Follows flies by thanks to its genuine chills, using its style to unsettling effect. If ever there was a movie that stacked up familiar horror elements and made them its own in the canniest fashion possible, it's this one. Think you've seen that fondness for symmetry before? And heard something similar to that electro score? Well, if you're familiar with the work of Stanley Kubrick and John Carpenter, that's not at all surprising. This isn't a case of blatant copying of parts of movies like The Shining and Halloween, but of affectionate nods to obvious influences. Writer/director David Robert Mitchell takes his cues from the master filmmakers he loves, his enthusiasm ensuring It Follows is never anything less than hauntingly atmospheric and spine-tinglingly creepy. So, there's sex and death, a gimmick that might get you watching. Plus, there's an unshakeable air of unease, which will probably keep you glued to your seat. It's actually the performances that will get you really engrossed in the film, however, refreshingly showing teens acting their age. Monroe is a certain star in the making, and the rest of the cast are just as great at getting to the heart of what it must be like to be scared out of your wits while still awkward, vulnerable and uncertain. As It Follows follows them coping the best they can, it also follows in the footsteps of horror greats gone by, proving a striking and sincerely scary addition to the genre. Read our feature on the history of sex in horror movies.
Next time you swing past your local petrol station, you might be able to pick up more than just questionable coffee and Cadbury chocolate bars. In fact, you may be able to leave with a full tank, a rotisserie chicken and some luxe mac 'n' cheese. David Jones and BP have teamed up to open 31 super-fancy convenience stores across Sydney and Melbourne by the end of 2020. The duo has already opened ten trial stores across the two cities, with the first opening in Melbourne's Bayside back in November 2019. The new stores are set to open in Merrifield, Clyde, Epping, Caroline Springs, Eltham, Greenvale and Kingsway in Victoria, as well as in NSW's Kellyville, Marsden Park, Seven Hills, Willoughby, Caringbah, Mosman, Sydenham, Penrith, Thornleigh, Asquith, Engadine, Peninsula, West Ryde and Ourimbah. And they'll each be selling more than 350 different products. As well as top-shelf groceries, such as meats, fancy olive oil and peanut butter, they'll be home to a heap of ready-to-eat and heat-at-home meals. Pick from the likes of salads, sandwich and pastries — all David Jones quality, of course — and meals like green curry chicken, butter chicken, lasagne, mac 'n' cheese and free-range rotisserie chook, which are prepared on site each day. Because we live in pandemic times, each store will also offer a range of items for delivery via UberEats. Called Everyday by BP X David Jones, the delivery service is already available from Sydney's Artarmon, Ashfield, Kingsford and Rozelle, and Bayside, Brighton, Clarendon, Greensborough, Ringwood and Tally Ho in Melbourne. On the menu: pulled pork empanadas, haloumi fritters, bolognese and passionfruit cheesecake mousse. For more information about BP X David Jones stores, head to the BP website.
Whether tearing up football fields across during his 372-game stint for the Sydney Swans, or standing up against prejudice both in the AFL and in Australian in general, Adam Goodes' name has been splashed across the headlines plenty of times over the past two decades. That's not going to change in 2019, but for a different reason — the dual Brownlow medallist and 2014 Australian of the Year is the subject of two documentaries, with each exploring his story on and off the field, including the racism he endured over his 17-season playing career. The first film, The Final Quarter, just launched at the Sydney Film Festival, premiering to a packed house on Friday, June 7 and receiving a standing ovation from the lively audience afterwards. Directed by Ian Darling, and solely compiled from archival material — in a technique reminiscent of another great sports doco in recent years, Senna — it's a powerful and impassioned chronicle of the treatment Goodes received from crowds and commentators alike. Unsurprisingly, it's also both moving in displaying the AFL champ's dignified response to such horrors, and infuriating in its thorough examination of his ordeal. As the name suggests, The Final Quarter focuses on the last stages of Goodes' time in the AFL — when he was verbally attacked by spectators and high-profile media figures, relentlessly booed at games, put under immense scrutiny for celebrating his Indigenous heritage, accused of staging for free kicks and ultimately chose not to play for a period due to the toll he was under. As Darling astutely realised, the footage says it all. The documentary intertwines media clips from Goodes' games, general AFL coverage, news stories, press conferences and interviews from the era to paint a heartbreaking picture of the ex-Swans captain's experiences. As essential for the broader public as it is for football fans, the film is set for both a cinema and television release later this year, Just hours before the premiere — but nearly four years after Goodes retired at the end of the 2015 season, notably — the AFL and its 18 clubs released a long-overdue statement that apologised "unreservedly for our failures" in not standing up for him during his career. The second Goodes-focused doco, The Australian Dream, will surface in August. It's written by acclaimed journalist Stan Grant, and will open the Melbourne International Film Festival before hitting theatres around the country. Check out the trailer for The Final Quarter below: https://www.youtube.com/watch?v=q9C8JaJxoYU The Final Quarter will release in Australian cinemas later this year. We'll update you with a release date when one is announced.
Just like Ron Swanson and Leslie Knope, whisky and dessert is a power duo for the ages. Sipping a single malt and snacking on a deliciously rich sweet treat is one of life's great pleasures — and if you're going to indulge in that particular pairing, you may as well aim high. Enter Glenmorangie, purveyors of top-notch single malt from the Scottish Highlands. The label is creating a pop-up that all whisky lovers and sweet tooths will want to get behind. Arising in Sydney for just three days in late September, the pop-up will see Glenmorangie join forces with pastry chef Reynold Poernomo (aka Masterchef dessert king and founder of KOI Dessert Bar) and three top Sydney bars (Smoke, Button Bar and Kittyhawk). This bonanza of good things will celebrate Glenmorangie Signet, the first single malt Scotch whisky to use high roast 'chocolate malt' barley in its production. The high roast barley brings with it that beaut flavour of roasting coffee and mocha goodness — so, it's halfway to dessert heaven already. So why not honour it with an entire bar devoted to it, hey? Featured on a menu carefully designed to explore the chocolate, espresso and mandarin flavours at the heart of Signet, Poernomo has created three bespoke desserts to perfectly complement the whisky. You can opt for a dessert 'flight' for $36, featuring mini versions of all three desserts. Or get a full-size serving of the Nomtella for $30. Both options come with a Signet neat, on ice or in a cocktail (+$3). To help with the decision-making, here's some insight into the recommended pairings: the Fire and Ice, featuring mandarin mousse and milk chocolate ganache, works well with Kittyhawk's mandarin curd old-fashioned. Meanwhile, the espresso mousse in the Nomtella is an obvious pairing for Button Bar's espresso martini, and Barangaroo House's jaffa sour cocktail complements the nutty Chocolate Delight. The Glenmorangie Signet x KOI Pop-Up Whisky and Dessert Bar will run across September 26–28 from midday to 10pm, on a walk-in only basis.
It's an interesting experience to watch a film when you know exactly how it's going to end. And when that end is tragedy, it's more interesting still. In the case of Fruitvale Station, Ryan Coogler's debut feature film, we're aware from the word go that the film culminates in the fatal shooting of a young man. Don't fret, it's not a spoiler: the movie opens with the camera phone footage of the shooting captured by witnesses. It's an interesting way to open the film, as you become instantly aware of the gravity of the movie. You have just witnessed a man die, and you are about to see why. Twenty-two-year-old Oscar Grant (Michael B. Jordan) was shot in the back by police officers in the early hours of New Year's Day, 2009, and Fruitvale Station lays out his final hours. The film tracks Grant's relationships with the major players in his life — his mother, his girlfriend, his daughter. The audience is allowed, in a somewhat voyeuristic way, to look into the life of a regular guy. A life that ends up being cut far too short. The film itself is beautifully made. It's filmed entirely with a handheld camera (much like another Sundance Winner, Beasts of the Southern Wild), which adds to the effect of the audience bearing witness to a life, not a story. The camerawork also mimics the actual footage at the start of the film, lending a certain truthfulness to the entire piece. The score is played down and sombre, and so doesn't detract from the dialogue, the plot and the actors at all, while still building a mood of dull dread. The actors are phenomenal, with Jordan (from The Wire and Friday Night Lights) tenaciously capturing the character of a young man yearning for a second chance. In support, The Help's Octavia Spencer is the perfect picture of a concerned and loving mother, and 29-year-old indie star Melonie Diaz is beautifully heartbreaking as Grant's girlfriend, Sophina. The film was produced by screen legend Forest Whitaker and has cleaned up on the awards circuit, including taking out the Grand Jury prize at the Sundance Film Festival. The events that transpired at Fruitvale Station featured heavily in the US headlines, detailing the questionably unsubstantiated murder of a young man by law enforcement officers. Oscar Grant's death was a terrible tragedy, and Fruitvale Station carries that emotion onto the silver screen. A film of unmet redemption, it's a stunningly made, deeply emotional story that will have you glued to your seat and, perhaps, wiping away tears. https://youtube.com/watch?v=ceVVVils8z4
Trading Hamilton for Fortitude Valley, Brisbane Plastic & Cosmetic Surgery has recently revealed its brand-new flagship clinic in the heart of the James Street precinct. Yet it's more than just a new look. Guided by interior design firm Studio Collective, this considered space aims to redefine healthcare interiors through the lens of boutique hospitality design. In practice, that means saying goodbye to cold, austere waiting rooms and harsh lighting that makes you feel under the spotlight. Instead, Studio Collective have replaced the clinical cues with a softer design language, where warmth, tactile materiality and human-centred design help foster an experience that aspires to be the antithesis of traditional healthcare design. "We were very clear that we didn't want the space to feel clinical," says Studio Collective Director Casey Talbot. "Our aim was to create an environment where people feel at ease the moment they arrive, more like stepping into a private home or hotel than a medical facility." And it's not just patients who see the benefits. With the clinic's support staff making the move across town, the back-of-house areas match the quality guests experience. According to Brisbane Plastic & Cosmetic Surgery Business Manager Lauren Dinneen, the calm and welcoming space "has a real impact on how our team feels at work and how patients experience their visit." To shape the experience, each material was carefully selected for its sensory effect. Here, softly rendered walls, silver travertine, and warm timber tones establish a restful base, while soothing lighting and layered textures evoke an ambience that reassures rather than intimidates. Meanwhile, mid-century furniture and finishes further enhance the space's character. However, these design-led details remain thoughtfully proportional to stringent healthcare and commercial standards. Bringing over a decade of experience designing for aged care and retirement living, Talbot says striking the balance between beauty and performance was essential. "People expect spaces that support emotional wellbeing as much as clinical outcomes. This project sits right at that intersection, and it's a direction we're excited to continue exploring." Brisbane Plastic & Cosmetic Surgery is now open at 151 Robertson St, Fortitude Valley. Head to the website for more information or check out Studio Collective for more design-led spaces. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox.
The nightclub bathroom is a sacred space. Friends have been made and lost within those hallowed walls. Who among us hasn't had a life-altering experience in the bathroom at Soho or World Bar. This is what the new play taking residency at the Kings Cross Theatre is all about. Hot Mess is the latest production from The General Public and Bakehouse Theatre Company that peers into the lives of six twenty-somethings on a night out and their interactions in a public bathroom. Directed by Tasha O'Brien (Playlist), the play stars six of Sydney's most promising comedic actors: Jenna Suffern (Two Queers Walk into a Bar), Courtney Ammenhauser (FBi Radio), Mây Trần (Playlist), Jessica Adie (Sydney Comedy Festival), Alicia Dulnuan-Demou (Good Enough Show) and Hannah Grace Fulton (Noughty Girls). After originally premiering at Old 505 Theatre in 2019, the return of Hot Mess at KXT has been two years in the making. The show provides a hilarious and nostalgic look at rowdy nights out while centring female and queer experiences. It'll have you reflecting on all your favourite memories, or lack of, from nights out clubbing and reaching for your phone to message that one person you met at Good God Small Club back in 2015. Tickets for the show are $35-42, and if you're under 30 you can nab a discount on tickets every Thursdays.
They're called twin films: two movies with a similar idea that reach screens around the same time. Think Deep Impact and Armageddon, Dark City and The Matrix, and The Prestige and The Illusionist — plus The Raid and Dredd, Upgrade and Venom, and Skate Kitchen and Mid90s. Yes, the list goes on (and on and on). The same concept applies on the small screen, too, as two of 2020's new shows are demonstrating. Earlier in the year, Netflix debuted Space Force, which starred Steve Carell as a military man tasked with establishing the space-focused new branch of the US armed forces. Now, via US network Showtime — and streaming service Stan in Australia — Moonbase 8 is also trying to turn the quest to leave earth into a sitcom. Featuring Fred Armisen, John C Reilly and Tim Heidecker, and set to start dropping from Sunday, November 8, Moonbase 8 follows three men who are eager to take part in a lunar mission. Skip (Portlandia's Armisen), Rook (Tim and Eric Awesome Show, Great Job!'s Heidecker) and Cap (Reilly) are the epitome of enthusiastic, in fact, and they're doing their absolute best to complete their training at NASA's Moon Base Simulator in the desert in Winslow, Arizona. But whether they'll stay sane through the process is another matter entirely. The show's three stars also serve as Moonbase 8's executive producers, while the series is penned by Heidecker with Portlandia and Tim and Eric Awesome Show, Great Job! writer — and Baskets creator — Jonathan Krisel. And, based on the just-dropped first trailer, the new comedy promises plenty of stir-crazy silliness between three characters living in close quarters — something immensely relatable in 2020, obviously. Check out the trailer below: https://www.youtube.com/watch?v=KECl99n-DI0 Moonbase 8 starts streaming in Australia via Stan on Sunday, November 8. The New Zealand streaming date is yet to be confirmed — we'll update you with further details when they come to hand. Top image: Courtesy of A24 Films/SHOWTIME.
Folks can't stop talking about Christy Tania. Not only did the renowned dessert chef bend minds with her 'Floating Ice Cream' creation on MasterChef earlier this year, but she has also launched her own permanent dessert shop. Opening its doors on Windsor's Peel Street, Tania's new sweet wonderland offers artisanal frozen treats for eating in and taking away. Fancy ice cream stores mightn't be a rare occurrence these days; however, as Tania's first permanent solo venture, Glacé is every bit as impressive as the rest of her artisan treats. The contemporary space offers a hefty range of frozen desserts and innovative flavours, crafted with local ingredients — such as her trademark ice cream push pops, with their layers of cake sponge and ice cream. Diners will find ice cream eclairs and ice cream macarons on the menu, because every dessert is better in ice cream form. When it comes to flavoursome scoops themselves, think creative concoctions such as boozy date (sticky date pudding soaked in rum with vanilla ice cream and salted butterscotch), coffee caramel (caramel milk chocolate ice cream with Kahlua and orange cinnamon crumble), and lamington (coconut ice cream and chocolate brownie with a swirl of raspberry sorbet), plus the zig-a-zig-ah-inducing ginger spice (vanilla ice cream with salted butterscotch and gingerbread crumble). Those keen on something more traditional can try the likes of 72% dark chocolate ice cream, strawberry passionfruit sorbet and coconut ice cream with pure coconut droplets. The fixed digs come hot on the heels of successful pop-ups in Sydney and Melbourne in May, which gave sweet tooths a taste of the flagship store's range. As for Tania herself, the chef first popped up in 2013, after famously steering Melbourne dessert bar Om Nom into its first chef's hat within just two months of heading up the kitchen. Since then, her inspired sweet treats have continued to dazzle and astound, both out of the Om Nom kitchen and during a host of MasterChef guest judge appearances, making jealous messes of audiences across the country. Find Christy Tania's Glacé at 1A Peel Street, Windsor. For more information, check out the eatery's website. By Libby Curran and Sarah Ward.
For eight years, Pilu Kiosk — the café-shack at Freshwater attached to the eponymous double-hatted restaurant — has been a Northern Beaches go-to for coffee and panini. Now, it's closing its doors for a revamp, before reopening in March as Pilu Bar and Kiosk. For you, that'll mean Italian wines, cocktails and just-cooked, Sardinian dishes within view of beautiful Freshwater Beach. "We've been thinking for a while about how cool it'd be for people to come straight off the beach and sit down to Negronis, spritzers, oysters and salumi," says Marilyn Annecchini, who operates Pilu alongside her husband and business partner, Giovanni Pilu. "It's the perfect location and we've been working on it for a couple of years." Pilu Bar and Kiosk will continue to serve the café-style fare for which it's so popular – takeaway included – but will be redesigned to offer a "more extensive menu". Most importantly, the shack will score an onsite kitchen. "In the morning, it'll still be an espresso bar, serving coffee and muffins and the like, but we'll have cooked breakfast options, too," Marilyn says. "For example, we already have egg and pancetta rolls on the menu, but they'll be made to order." At lunch and dinner, you can expect oysters, salumi and traditional Italian dishes with a twist, as well as fresher, fancier panini. Match your choices with Italian wines by the glass, craft beers and creative takes on classic cocktails. Design-wise, the kiosk will keep its beach shack look and feel, with the addition of a copper-topped bar, timber surfaces, greenery and seating along the existent hedge, overlooking the water. There'll be room for about 35 people. What's more, hours will be extended. Pilu Bar and Kiosk will open from 7am seven days a week all year round. During daylight savings time, and between Thursday and Monday outside of daylight savings, it'll stay open till 9pm. Image: Pilu at Freshwater.
Come with us on now, on a journey through time and space, to the world of Behind The Boosh. You may not hear those words spoken aloud when you walk into the exhibition celebrating British comedy troupe The Mighty Boosh, but fans will think them. When you're peering at behind-the-scenes peeks into Julian Barratt and Noel Fielding's hilarious and surreal creation, as snapped by fellow group member Dave Brown, that's the very first thing that should come to mind. A part of all things Boosh since the troupe was first formed in the 90s, Brown played Bollo the Gorilla, Naan bread, Black Frost and Australian zookeeper Joey Moose. He's also taken care of tour posters, DVDs, set graphics and merchandise; compiled and designed The Mighty Book of Boosh; and had a hand in Boosh music and choreography. And, he's been snapping away with his camera — the results of which are gracing this photography showcase. There aren't enough elbow patches in the world for this exhibition, or shoes filled with Baileys. Whether or nor you can find either — or the black hair dye and strong hairspray needed to get Vince Noir-style locks, green Old Gregg-esque body paint or 60s-era suits that look like they've been taken straight from Howard Moon's wardrobe — heading to Sydney's M2 Gallery and Melbourne's North Gallery this August means getting a glimpse into the minds behind The Mighty Boosh's stage shows and radio series, and obviously the three-season TV gem also called The Mighty Boosh. Brown's two decades of images traverse a history that saw The Boosh become a live smash at the Edinburgh and Melbourne Comedy Festivals, then a 00s cult hit on the small screen. These days, Fielding might co-present The Great British Bake Off and do team captain duties on Never Mind the Buzzcocks, while Barratt has been playing a part in The Great, but they'll always been known for The Boosh. "These images are like children to me, badly behaved children with no manners but also beautifully funny, insanely dressed up children that are two dimensional and don't move," explained Brown of his Behind The Boosh photos. "I love these pics, incredible memories of a special time with my Boosh band of brothers and sharing them with our beautiful Aussie Boosh fans is long overdue." "The love The Mighty Boosh still has to this day is comparable to legendary acts such as Monty Python and continues to draw in people of all ages. It was such a bonus to have a great photographer who was part of the show; Dave never missed anything! I almost find it difficult to look at them because it takes me back immediately to that time, and because Dave was always taking photos, the snaps are genuine; they're not posed," said Fielding. "Dave is a lens with legs! Ever since I have known him, he's had a camera strapped to his face. I have a terrible memory which is why Dave is my saviour, if we are our memories then without Dave Brown I simply would not exist," added Barratt. Brown is also in Australia with the exhibition, which runs from Wednesday, August 2–Sunday, August 6 in Sydney and Wednesday, August 16–Sunday, August 20 in Melbourne. In both cities, on the Saturdays in each, he's doing an artist talk to chat through his work — and being part of a troupe, plus their various onstage and on-screen shows, where anything could happen. In Sydney as well, Brown will hit the decks at Redfern Surf Club's Surfapolooza festival on Saturday, August 5. BEHIND THE BOOSH AUSTRALIAN DATES: Wednesday, August 2–Sunday, August 6 — M2 Gallery, 4/450 Elizabeth Street, Surry Hills, Sydney Wednesday, August 16–Sunday, August 20 — North Gallery, Level 1/55-57 Gertrude Street, Fitzroy, Melbourne Behind the Boosh displays in Sydney and Melbourne in August 2023 — head to the exhibition website for further details. Images: Dave Brown.
During Vivid, three local party-starting collectives are pulling together killer dance music lineups for a series of studio parties. Local independent record label Future Classic has helped foster some of the country's most beloved dance music acts and some of our biggest musical exports. Acts like Flume, Flight Facilities, Ta-ku, G Flip and Methyl Ethel have all come through with support from the label. As part of the Sydney Opera House's Vivid Live lineup, Future Classic is throwing one of their renowned parties inside the iconic Circular Quay venue. This time around the night will be headed up from a set by resident bass-loving Pizza Guy Touch Sensitive, alongside appearances from Tseba, Ayebatonye and Deepa. Inner West DJ crew Mad Racket will also be jumping in on the action with a lineup featuring Ken Cloud, Simon Caldwell and Natalie Slade. While the final two parties are courtesy of Astral People — with an all-night-long set from Barcelona's John Talbot — and Picnic, who have enlisted Wax'O Paradiso, Adi Toohey, Kali, Evie and Hyfe. Each event kicks off around 9pm and will stretch until the early hours of the morning, with music blaring past 2am. https://www.youtube.com/watch?v=16psgxa-OR8 Top image: Jordan Munns
Much that Jimmy Barnes has uttered, sang and screamed is immortalised in Australian history. His discography, both as the lead singer of Cold Chisel and as a solo artist — and via his many collaborations — has echoed across the nation and soundtracked this sunburnt country since 1973. "Oh, my soul" now ranks up there. Those were the three words that he exclaimed to Triple J announcers Zan Rowe and Lucy Smith when he heard live on air that 'Flame Trees' had come in at number seven in the first-ever Hottest 100 of Australian Songs — a chat that he was doing because 'Khe Sanh' had just placed eighth. Australia demonstrated their appreciation for Barnesy's contribution to local music with their votes, including for 'Working Class Man' at number 56, and he clearly, audibly, emotionally appreciated that love in turn. "We've had a lot of awards and all that sort of stuff, and big claims to fame over the years, and we've always been a bit 'nah, you can't say this is the best song ever', because everybody has their own taste," Barnes tells Concrete Playground. "But for me, the best thing about that top 100, the top 200 even, was the fact that a radio station — which Cold Chisel literally helped start, we were playing when they were Double J, Live at the Wireless, when it was a scrambling little station, we helped get them set up — but there's a station that's become our national carrier, that is the only really, truly national radio station for kids in this country. And there's times when I listen to it and I go 'I don't get it. I don't really get what you're playing here', but they're the only station that still plays a load of Australian music. And the fact that on that day they celebrated Australian music and played 100 Australian songs, which were a collection of songs that had moved and affected the punters in this country — just to be a part of that was a good thing for me, and to be a part of that group of songs." Barnes himself joined in with selecting his favourites, entering his picks in the poll. "There's a lot of great songs in this country. I voted for 'Eagle Rock' myself," he advises. He's passionate about shining the spotlight on Aussie tunes — "it's very cool. And the thought that they were celebrating Australian music was the best thing ever. That was the best part about it. I think they should do it more often," he offers — and also equally as enthusiastic about the fellow local acts that earned a place in the countdown. "You look at that that top five or whatever it was, whether it's INXS' 'Never Tear Us Apart' — I think that besides it being a great song and beautiful film clips and all that, we have that loss, that sad loss of Michael [Hutchence], who was such a dear soul and just a magnetic frontman. The band were just unique the way they played, and they couldn't play it like that without Michael. So there's a tragedy to it," Barnes continues. He collaborated with INXS on 1986 single 'Good Times', which featured on The Lost Boys soundtrack. "You have The Veronicas, who are these little intense pop girls who are just incredible," Barnes says. "They were all from different worlds. There was all sorts of stuff. There was Kylie. There was all sorts of stuff in the top 20, it was so eclectic and so mixed that I just thought 'I'm glad to be a part of that group of songs, doesn't matter where I am in the chart as long as we're in amongst it all, then it's a good thing'. There were acts with more songs than us, but it wasn't that sort of competition. It was just great. I'm listening to the top 100 and I hear Jet come on with 'Are You Gonna Be My Girl' and I go 'what a great song. Jesus, who wrote that? That's really cool'." [caption id="attachment_1018404" align="alignnone" width="1920"] Sam Tabone/Getty Images[/caption] Long before the country spent a day revelling in the best 100 Aussie tunes — and a week afterwards enjoying the next 100, too — Barnes was already in deeply reflective mode. Almost a decade ago, in 2016, he released his first memoir Working Class Boy, which saw the rocker lay bare his traumatic childhood. Focusing on his adult years, Working Class Man as a book hit shelves the following year. 2018 then brought Working Class Boy to cinemas as documentary, premiering at the Melbourne International Film Festival. Now, seven years later, Working Class Man is also a film and also debuting at MIFF. Between the page and the screen, Barnes has taken his excavation of his upbringing, life and career to the stage as well. Australians have been embracing Barnes on every step on this journey. In their printed guises, Working Class Boy and Working Class Man both became bestsellers, and each also won the Australian Book Industry Award for Biography of the Year. Crowds flocked to see Barnes talk about his experiences live. Viewers did the same with the first doco, which notched up a spectacular array of feats at the time. It played on the largest amount of screens, 220, for an Aussie doco; took over $500,000 in its opening weekend to top that period for a local documentary; and it scored the biggest opening for a doco in Australia since This Is It, 2009's Michael Jackson concert film. [caption id="attachment_1018405" align="alignnone" width="1920"] James Gourley/Getty Images for TV WEEK Logie Awards[/caption] As a movie, then, Jimmy Barnes: Working Class Man is a highly anticipated sequel. With Andrew Farrell (How Australia Got Its Mojo) in the director's chair after executive producing Jimmy Barnes: Working Class Boy — which veteran filmmaker Mark Joffe (Spotswood, Cosi, The Man Who Sued God) helmed — it traces the impact of a childhood of neglect, abuse and poverty upon Barnes as he became a rock star, all as it charts his time behind the microphone from joining Cold Chisel onwards. In the film and in conversation chatting about it alike, the man who'll also be forever known as the voice of 'Breakfast at Sweethearts', 'Choirgirl', 'Cheap Wine', 'You've Got Nothing I Want', 'Saturday Night', 'No Second Prize' and so much more is candid as well as relaxed, even about the darker days that he's been unpacking in his memoirs and their documentary adaptations. "All that stuff was pretty raw and fairly emotional, but because I've been through writing the book and obviously the process of, I guess, detraumatising myself from it all over the few years after that, and then going through the Working Class Man spoken-word tour, which we based this doco on, it gave me time to process it all," Barnes notes. "So there's stuff there that every time I look at it, I go 'ouch, I wish I could have not done that', but I've learned to live with everything I've done." [caption id="attachment_1018401" align="alignnone" width="1920"] Daniel Boud[/caption] Of Jimmy Barnes: Working Class Man, he says "they've done a fabulous job". Of Farrell: "we've known each other for a long time and I trusted him completely with it". That act of reflecting the past has also been driving some of Barnes' live tours, with Cold Chisel taking to the stage around the country to mark their 50th anniversary in 2024, and the 40th anniversary of 'Working Class Man', the song — and album For the Working Class Man that it's on as well — the reason for his next tour in November 2025. Barnes is currently as prolific as ever: alongside the new documentary and the two tours mentioned above, he opened the 2025 Logies, June was all about his Defiant tour, he's released seven albums in the past decade as well as six books so far, and has his second recipe book with his wife Jane, Seasons Where the River Bends, hitting stores in October. From whether he had any inkling that his memoirs would strike such a chord, their leaps to the screen and how he feels about his part in inspiring men to be emotionally open in a way that isn't usually part of Aussie masculinity, through to everything in his life being a family affair, boasting a catalogue of songs that's engrained in Australia's identity and his career longevity, we also spoke with the icon who'll always be known as Barnesy about plenty more. On Whether Barnes Had Any Idea of What Might Follow Working Class Boy — and the Impact That It Has Had Personally "No, not really. But I did get a feeling pretty soon after I wrote it — it was so liberating to sit and write the book. It was something, at the time, doing it was very painful. And every day I wrote — this is the first book — every day I wrote, it would open up a new can of worms that I had to deal with. And there was obviously a lot with childhood trauma. There's a lot of stuff you just block out, and you forget details and all that sort of stuff. And so I'd be writing it and then I'd remember all the stuff that I hadn't thought about for 50 years, 40 years or whatever. And it'd come back to me, and I'd have to process it and deal with it. So the during the process of it, it was sort of a heavy time, a heavy burden on my shoulders. But every day I'd end up and I'd feel like something has been lifted off. And most days I'd finish writing, and I'd ring up my therapist and talk to him about stuff, and then he'd put more weight back on my shoulders and tell me more things to look for. [caption id="attachment_1018398" align="alignnone" width="1920"] Jess Lizotte[/caption] So the process of doing that, it was dark and hard to deal with, but it was also enlightening at the same time. And so by the time I'd finished the book, I just felt that I'd learnt a process, a way to process the past and my childhood, without having to sit and actually not physically allow it to overwhelm me. I could do it and walk away from it and process it a bit and breathe, and come back and then write again. And every time it got too overwhelming, I could stop. So I learned how to process — and that went along with a lot of help that I got from various psychotherapists and rehabs and all that sort of stuff. I had enough tools to be able deal with it. So I really enjoyed it. In the end, I really enjoyed the process of writing. And that made me just think — I'd sort of half-written Working Class Man while I was writing the other one. The thing was, the publishers and everybody that was on the commercial side of the book was really wanting the rock 'n' roll, sex, drugs and rock 'n' roll story. And I'm going 'I think this is much more important for me to write, that I write the first one first'. And so when I did it, I wasn't going to sit down and write about sex, drugs and rock 'n' roll, and brag about being wild and all that sort of stuff — because a lot of that stuff, it just is what it was, but a lot of it was as painful as when I was a child. And by the time I finished writing the first book, I realised that my behaviour as an adult, which I obviously, as I say in the book and on the show, I take full responsibility for, but it was heavily influenced by that trauma and that stuff that I just dealt with in the book previously. So it gave me an opportunity to to look at not only the mistakes my parents made and the mistakes that we made as children, how we were brought up and all that sort of stuff, but also how that affected me and how I moved on as an adult, and how the impact of childhood trauma kept knocking on the door — it kept, every time I'd get over one thing, something else would reveal itself until it became so entwined with addiction. And you turn into the parents, and I ended up with the same problems as they had, because I hadn't really — before I'd gotten that heavily into alcohol and drugs and that, I hadn't dealt with any of this stuff. So it was interesting. It was a really good process. [caption id="attachment_1018397" align="alignnone" width="1920"] Jess Lizotte[/caption] And the other thing I liked about it was I could sit sitting down after spending years of singing, going out on stage and literally reaching out to people and going 'look at me, look at me, look at me', I could sit — writing books I'm sitting at a desk and just going back into my mind. It gave me a lot of freedom to, like I said, to not cherry pick but go in and look at things and get out of there before it was too heavy. And it allowed me to do the same with my imagination. When I started writing fiction or more towards fiction, I just found it was really enjoyable. I could sit in my own head and just disappear into my own worlds there. So writing that first book has opened up this whole new, not career, but a new chapter in my life — no pun intended — that I really enjoy. I can still go out and make music and feel that emotional response with people, or I can just bury myself in my own head and dig out stories, which I really enjoy almost as much as singing." On What It Means to Barnes to Help Inspire Men to Be Emotionally Open in a Way That Isn't Usually a Part of Aussie Masculinity "Well, it wasn't something that I did myself. It was the start of real growth of men. We'd all been brought up, everybody that I knew had been brought up, with 'men don't cry' and 'you've got to hold your emotions in' and 'don't you don't admit you're wrong', all that bullshit. And I think part of that was just — like when my parents, when my dad was alive, he had to be strong just to survive. He was fighting. He was a prizefighter. My grandfather was fighting bare knuckles in the alleys of Scotland so that he could feed his family, and they had to be tough. They couldn't cry. They couldn't let people know they were weak. But I could look back on them though — and now I remember how scary my grandfather was, I thought he was very scary and that whole image I built up of him was scary — but I look back at it now and I think 'he's probably the same as me, just terrified the whole time'. I know I spoke to my brother John about it — John was a dangerous guy, he was wild and he could fight like hell, and him and I spoke about it. And he said 'I only fought because I was so scared, and I had to be hypervigilant, hyperaggressive. I had to win because I didn't want to be hurt'. And I realised that they were like that. So I guess writing these books, I was never looking for blame, to blame anybody, but in the process of writing them, there were times where I was really angry with my parents and angry with my family and all that sort of stuff. And in the process of the first book, I got angry. With the second book, I realised that I fell into the same patterns and I fell into the same traps, and I was trying the best I possibly could but it just wasn't good. And so I learned about forgiveness for my parents in the process of writing those first two memoirs." [caption id="attachment_1018406" align="alignnone" width="1920"] Sam Tabone/Getty Images[/caption] On Sharing Barnes' Story, and the Path to Working Class Boy and Working Class Man Receiving the Documentary Treatment "I realised when I started writing Working Class Boy, in the process of writing, I realised that my story wasn't that unique to me. It was a common story that a lot of people went through. A lot of people went through the same things as me. And that was one of the reasons why I put the book out. When I was first started to write, I was thinking I'd just write and when it's all finished, I could burn it and that'd be okay. It'd have done its job. But everybody I let have a look at it went 'oh, I can relate to this. I can relate to that'. And I realised that there were people who were going to be touched or see themselves in it, and maybe get a window of hope from it. And so I wanted to film the shows — and one of the reasons I wanted to film the shows was because every night, when I go up and talk about all the stuff that I had written, something else would reveal itself to me. I'd be up there talking about my mum being angry and storming around and dragging us through the streets and stuff, and then I go 'oh geez, I remember this now'. I'd remember something else that she did. There was a point where I remembered, I realised that as scary as my mum was, and as wild and all that sort of stuff, and she neglected us, but actually I realised that the only time I ever felt safe was when she held me in her arms, when I was a baby, when I young. And I realised that and I thought 'oh, man, all of this stuff, I've just kept thinking all the bad stuff. You've got to remember the good stuff, too'. So things would reveal themselves as I wrote them. And I thought — and doing the stories, more would reveal, more detail, I'd think of more things. There's times when I'd be telling the stories — so it's sort of half-rehearsed, but I got pretty good at it after the first ten shows or so — and then suddenly I'd be telling the story and all this new stuff information would come to me. And so it was really, I wanted to film the shows then, because I wanted to see how far that went and see if it could — I didn't know how, if it was going to be a documentary or a movie or what we were going to do with it, it was more to have in case I needed it as another tool to deal with my own shit." [caption id="attachment_1018399" align="alignnone" width="1920"] Jess Lizotte[/caption] On Ensuring That the Documentaries Were Always the Films That Barnes Was Comfortable With — Including No Dramatisations "Mark was a dear friend of mine, and I love Mark's work as a filmmaker, anyway. I've known him for a long time. And one of the deals we did when he said he wanted to make it, one of the deals we made was that it had to be the story we wanted to tell. It wasn't going to be glamorous or dramatised — I didn't want to have people acting as us and all that sort of shit. Which you could do. And I was getting people, literally even once I started writing the book, I was already getting offers to have movies made with actors. And I'm going 'no, this is too close to the bone' and I didn't want dramatisations of it. I wanted it be real. And Mark was really sympathetic to that, and he made me really comfortable. He said 'we're only going to reveal and open up things, wounds, that you think you need to or you think you can learn from or you think that need to be told to tell the story'. So he was very close to me about it. And Andrew was actually, as a producer, was involved working with Mark all the time on that. The first one, I was 'hmm, I don't know if I want to put this out', and then the book seemed to really connect with a lot of people. So that was really a good outcome for me and allowed me to let even more of that stuff go. The second one, I just figured that because everybody had watched me growing up in public onstage, I thought because a lot of those people had read the first book, they would want to see how that affected me — and what effect that had for the good and the bad. I wouldn't have been the wild rock 'n' roll singer I was had I not been brought up that way. Everything about being abused and unwanted and poor, and the violence and the alcohol in the house all the time, everything that happened to me made me the perfect melting pot to make me a rock 'n' roll singer. [caption id="attachment_1018403" align="alignnone" width="1920"] Daniel Boud[/caption] I got there and all I wanted — even before I was in bands — all I wanted to do was for people to like me so I felt safe. And what better way for people to like you than to make the whole bloody country like you? I get up on stage and people go 'yeah, Jimmy, you're okay' — and I go 'yeah, I'm all right'. I'd be falling apart, but it would make me feel safe. And as a traumatised child, to get people to like you they had to look at you. So I'm on stage going 'look at me. Look at me. Look, I can do this — like a monkey, I can do tricks'. And so I wanted people to see what I worked out was actually going on behind the pictures, behind the story that that we all knew that and that I'd created really as far as just being a rock 'n' roll singer. And I wanted to prove that as bad as all that upbringing was, you've got to be thankful for who you are. If you can learn from it and grow from it, then you can learn to be thankful for all the gifts that were given to you in amongst all that shit — and it doesn't seem that bad anymore." On Working Class Man Being a Family Affair, Like Everything in Barnes' Life "They were always there — all the way through my life, my grown life, Jane was there. And she was just waiting for me and she was trying to keep me in the straight and narrow. And at times I drove her into the wild side with me, and there were times where it got out of control, but she was always just trying to keep things and be there for me as long as she could. I think as much healing as I got from writing the first two books, I think the family got it, too. So as soon as I started to get myself together and started to deal with this, my family blossomed. They've always been very supportive. Always there. The kids were always singing with me. I used to take the kids on tour with me all the time, and Jane on tour with me — we'd get teachers and tutors and nannies and stuff to bring them on the road, so we wouldn't be apart, because I was just afraid I was always going to lose them. And as that changed and I started to become a better human being, started to understand my own life, I wanted them there for much better reasons: to share the joy of it with me. And so they went from going — they were always there, but the reasons for them being there and what they were getting from being there changed dramatically. And so, in the end — because my kids naturally grew up and went into music, and Jane became a musician and a singer as well, but they learned that it was all about the joy, and not about the running and the hiding. And it wasn't just about the wildness and about bravado; it was about growing up and baring your soul to people, and making a connection with someone and walking away feeling like you belong. And for me, for my children, for Ruby [Rodgers, who also appears in Future Council], my grandchildren, to feel that connection with an audience is, I think, it's probably one of the best gifts I could have given her in life — to feel that she can connect to people and connect with her own soul. When she started singing, she's done her first record, and it was nothing like any of us singing. It's just really sweet and beautiful. But we weren't all pushing her and telling her what to do. She just did it on her own. And she's found his voice, and she's found this direction that she wants to sing and the way she wants to communicate, which is really beautiful. But it was just because she was allowed, nurtured and it was encouraged that she find her own voice. And I think that's one of the great gifts that we've been able to share in this family. And so they're all a part of this film, because they're all a part of my life and our lives are so entwined. Sometimes, for a while it was unhealthy, but now I think it's very healthy. I used to want Jane to be with me, of course because I love her, but also because I didn't ever want to lose her and I didn't want to be away and I didn't want to forget about her. Now it's just because I just adore her and we just want to be together all the time. So the reasons sorted themselves out. And I realise that being together even through the adversity, there was times where it was probably more dangerous than doing good, but it also helped keep us together." On How Barnes' Period of Reflection Has Inspired New Projects "For a start, being healthier and straight and focused, I just have so much time. I'm hyperactive anyway, but obviously when I was medicating myself and drinking myself to a standstill all the time, it was hard to pick myself up to just even sing. Nowadays, I'm so healthy. I was up at 7am this morning swimming laps. But I feel so healthy and so good. I just wake up and go 'right, what am I going to do now?'. And I've got the cookbook coming out this October. I've written two kids books in the last few months for a couple of my grandkids, in at the publishers now. I've started writing more short stories. I've also started, last year or the year before, I started writing a novel, which I'm in the process of rewriting that. I've got new songs that I've written for the next record. I have to slow down because you really can't put three records in a year. People will go really crazy. But I'm just enjoying having the time and the energy to focus and do things that are creative and that are inspiring." [caption id="attachment_1018402" align="alignnone" width="1920"] Daniel Boud[/caption] On Making Music That's Built Into Australia's Identity "I think we're very lucky that we're a pretty real working-class band, really. It's a mixed bag actually, like Steve [Prestwich] and myself and Ian [Moss] — Ian comes from Alice Springs, he's a country boy; Phil [Small] was sort of middle working class; Steve and I were real working-class families. Don [Walker] was sort of the outsider. His family were writers and are writers, and were really beautiful writers. But Don wrote, he was a voyeur a bit, of life. And he looked at life and the lives that we had and wrote songs about them. So I was lucky enough and we were lucky enough as a band that we wrote songs, that he was writing, that were influenced by us and influenced by what he's seeing around him. And those songs were so good they've connected with people. Our songs aren't about driving in your limousines or whatever. They were songs that were real earthy, and people connected to them. And I found songs like that, songs like 'Khe Sanh', songs like 'Flame Trees' — I could go on, there's a list of them all the way through. 'One Long Day'. Songs about people who just work in an office trying to get through the week, so they can have a nice time of the weekend with their girl or something. Those songs connected with people. And over the years, the songs have become part of people's lives. We've been around for 50 years. We never changed. Cold Chisel was always a band, and same with me, people can walk up and say hello to you. We don't have security. For a while I had security, because it was to keep me from people, because I was too wild. But Cold Chisel have always been approachable. They're always a meat-and-potatoes band. We're like the people we play for. And I think that made us connect with, that band, with those people. And the songs are just — sometimes it really it brings tears to my eyes, because people come up and say 'I buried my father to your songs', 'I danced at my wedding to 'Flame Trees'', 'I danced at my bar mitzvah', whatever it was. All these different things and people, these songs were part of their lives, and that's something that we don't take for granted. That's something that anytime we start to get a bit uppity, we remember this is why we play — to be connected to this society, to the people that we love so closely. And I think a lot of that has to do with the quality of songs." On Barnes' Longevity, Including His Current Prolific Period "I think it's a real blessing. I think one of the reasons why that happens is, as much as Cold Chisel went away for a while, we always all worked. We always stayed connected to our audience, to the music we love. And one of the things I tell young musicians is just 'keep doing it because you love it. Some things are going to be successful, some things aren't. And if you just keep doing them, people connect, come and go'. And I feel, we've made maybe 50 records or something, or something more, and they've not all connected. But some of the ones that haven't connected are really special to me. So if you make music for the right reasons, and you put your heart into it and you put your soul into it, and you're committed, people connect with you and I think you'll always have a career. And the thing is, I'll always have a career because I'll sing till the day I die. Whether I'm selling records or not is another story, but that's what brings me joy, is singing." Jimmy Barnes: Working Class Man screens at the 2025 Melbourne International Film Festival. MIFF 2025 runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, visit the MIFF website.
It's fifteen years since Elefant Traks started putting their weight behind independent Australian hip hop. In that time, the label has released scores of albums, organised a smorgasbord of gigs and taken home the Best Independent Label at the Independent Music Awards 2012. In October, Jimblah put out his first Elefant Traks album, Phoenix, to critical acclaim; Hermitude played New York City's CMJ Music Marathon; and both Urthboy and Horrorshow were nominated for ARIAs. To celebrate their 15th birthday, Elefant Traks will be hosting two massive, two-night parties in Sydney and Melbourne this month, featuring a selection of their favourite artists, including Horrorshow, Hermitude, The Herd, Jimblah and Sietta. In both cities, the second evening will be held in limited capacity venues (Melbourne's Northcote Social Club on 23 November and Sydney's Red Rattler on 30 November), so two-night tickets have already sold out. However, they're still on sale for the Corner Hotel (22 November) and the Metro (29 November).
For almost two decades, 2005 film Mr & Mrs Smith has been best remembered as the movie that started Brad Pitt (Babylon) and Angelina Jolie's (Eternals) time as a couple. The action-comedy cast the pair as a bored married duo who didn't know that they were actually both assassins, let alone that they'd each been tasked with killing the other. The flick wasn't particularly memorable, but Brangelina clearly was. In 2024, Mr & Mrs Smith will also become a TV series, because the path from the big to the small screens just keeps proving popular (see also: Dead Ringers, Irma Vep, A League of Their Own and Interview with the Vampire, to name a mere few recent examples). This time, Donald Glover (Atlanta) and Maya Erskine (PEN15) are strangers who have to pretend to be married as part of their job. So, that's how Glover becomes John Smith and Erskine becomes Jane Smith — and how the two embark upon a high-risk espionage life together. The tradeoff for faking a romance: the lucrative gig, money, travelling the world, a dream Manhattan brownstone and, in this take on the premise, these strangers actually falling for each other. Pretending to be a couple but seeing sparks fly is one of Hollywood's current obsessions, with rom-com Anyone But You taking the idea to the big screen — without spies or anything to do with Mr & Mrs Smith, however. Adding another TV show to his resume, Glover co-created the new Mr & Mrs Smith with Francesca Sloane (also Atlanta), with the end result set to drop all eight episodes at once on Prime Video on Friday, February 2, 2024. And if you have vague memories of Phoebe Waller-Bridge (Indiana Jones and the Dial of Destiny) being involved, she was initially slated to play Jane until Erskine took over her role. There's no trailer yet for the Mr & Mrs Smith TV series, but here's the trailer for the film instead: Mr & Mrs Smith will stream via Prime Video from Friday, February 2, 2024.
As it speeds towards notching up two decades of superhero movies and TV shows, the Marvel Cinematic Universe has experienced both ups and downs — but in 2025, it's finally getting fantastic. This is the year that the Fantastic Four joins the franchise, stepping back to Mister Fantastic, The Invisible Woman, The Thing and The Human Torch's beginnings in the 1960s in The Fantastic Four: First Steps. The movie hits cinemas in July; however, you can get your first sneak peek now courtesy of the just-dropped teaser trailer. Before there was a MCU, there were Fantastic Four movies. The initial two to earn a big-screen release arrived in 2005 and 2007, with the latter hitting the year before Iron Man kicked off the Marvel Cinematic Universe. As Deadpool and Wolverine did 2024's Deadpool and Wolverine, the Stan Lee- and Jack Kirby-created superhero quartet now join the list of characters who are being brought into the MCU fold, as has been on the cards ever since Disney bought 20th Century Fox. Stepping into Reed Richards, Sue Storm, Ben Grimm and Johnny Storm's shoes this time, as first revealed for Valentine's Day 2024 in the US: Pedro Pascal, who adds the MCU to his resume alongside the Star Wars realm (thanks to The Mandalorian) and game-to-TV smash The Last of Us, as stretchy group leader Richards; Vanessa Kirby (Napoleon), who is bending light as one of the Storm siblings; Joseph Quinn (Gladiator II) proving fiery as the other; and Ebon Moss-Bachrach (The Bear), who is no one's cousin here, instead getting huge, rocky and super strong. In The Fantastic Four: First Steps' debut sneak peek, the focus is on family: family dinners, as cooked by Grimm; family connections and quirks; and the strength of family helping the titular crew with existence's challenges. "Whatever life throws at us, we'll face it together — as a family," Sue notes in the trailer. Pascal and company are taking over from two batches of past movie takes on the superhero team. In the 2005 and 2007 movies, Ioan Gruffudd (Bad Boys: Ride or Die), Jessica Alba (Trigger Warning), a pre-Captain America Chris Evans (Red One) and Michael Chiklis (Accused) starred. Then, in 2015, Chronicle filmmaker Josh Trank gave the group a spin — still outside of the MCU — with Miles Teller (Top Gun: Maverick), Kate Mara (Friendship), a pre-Black Panther Michael B Jordan (Creed III) and Jamie Bell (All of Us Strangers). Directed by WandaVision, Monarch: Legacy of Monsters and Succession's Matt Shakman, The Fantastic Four: First Steps pits Pascal, Kirby, Quinn and Moss-Bachrach against Ralph Ineson (Nosferatu) as space god Galactus and Julia Garner (Wolf Man) as the Silver Surfer. Also co-starring: Paul Walter Hauser (Cobra Kai), John Malkovich (Ripley), Natasha Lyonne (Fantasmas) and Sarah Niles (Fallen). Check out the first teaser trailer for The Fantastic Four: First Steps below: The Fantastic Four: First Steps releases in cinemas Down Under on Thursday, July 24, 2025. Images: courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © and 2025 MARVEL.
Since starting up in 2017, Sydney's first vegan market has held countless successful events. Luckily for all of Sydney's vegans, it's continuing through the COVID-19 pandemic — but, of course, virtually. The idea is similar, but instead of filling the Entertainment Quarter with over 100 stalls, Sydney Vegan Market, together with the Newcastle Vegan Market, is offering its curated selection of snacks, homewares, fashion, art and skincare online. It has launched Vegan NSW Marketplace: your one-stop-shop for all of your plant-based needs. For the most part, is all about food. Across the website, you can expect to see Sydney's most popular vegan brands, peddling everything from croissants and baked goods to lasagne, garlic bread and 'bolognese'. A lot of the food 'stalls' are offering free delivery, too, you'll just need to order in advance and, in some cases, give 48 hours notice. Also available to peruse are candles, eco shopping bags, essential oils, reusable makeup wipes and shoes. And gifts for mum, if you're thinking about Mother's Day (May 10, btw). Other items on the agenda include a free talk series, cooking demos, workout classes and more every Sunday from 12–2pm via Vegan NSW TV (VTV), which is streamed on the marketplace website. [caption id="attachment_764567" align="alignnone" width="1920"] Oh My Days' vegan croissant.[/caption] Top image: Milad K
After 14 years, Kylie Kwong's days of serving up her brand of locally grown, oft-boundary-pushing Chinese fare to a Crown Street crowd are coming to a close. The chef's much-loved eating house, Billy Kwong, is moving to a new Potts Point location — in a partnership with restaurateur and owner of enoteca 121BC Andrew Cibej and Kwong's colleague David King. The new restaurant promises all the bursting-with-flavour vibrancy and ethical sustainability of the Kwong cuisine you know and love, in a smart, brand spanking new setting on Macleay Street, Potts Point. The sharp, 130-seat fit-out is being specially designed by local designer George Livissianis. "The new venue will have the DNA of Billy Kwong Surry Hills but will also be the very modern model of a meeting place for eating and drinking in 2015," says Kwong. The Surry Hills restaurant isn't going out quietly, though. The last meal will be served on October 19, and from October 1 up until close patrons will be able to order from a special menu bound to please the sentimental tastebuds of BK regulars. It will feature some of the classics — like steamed scallop dumplings with Sichuan chilli oil dressing, hiramasa kingfish sashimi, and caramelised pork belly with Chinese coleslaw. Diners will be able to order a la carte or banquet-style — at $95 a pop for 10 courses, the latter sounds like a pants-stretchingly delicious feast that might just keep you full and fuelled until the new restaurant opens. Visit Billy Kwong before October 19 at 3/355 Crown St, Surry Hills.
There are few Sydney bars with the same cult status — or, indeed, square meterage — as Cantina OK!. Tucked down a nondescript, blink-and-you'll-miss-it CBD laneway, the six-seater sliver of a bar is famous for its world-class mezcal program, hand-shaved ice and one of the most celebrated margaritas on the planet. It's also just unveiled a brand-new menu, which, in keeping with the rest of the cocktail list, is as conceptual as it is delicious. Themed around rituals, the menu taps into familiar everyday and universal acts, from the ancient — like ceremonial wood burning or cooking with hyperlocal ingredients — to the more contemporary — like logging off and touching grass. The menu reimagines these small, grounding acts as sensory experiences delivered in cocktail form, with ingredients like wood-washed tequila, burnt chilli sorbet and grass jelly. The new menu — named Ritual — consists of three headline cocktails, each drawing on an element of symbolic or cultural significance. Opening proceedings is the the Nevada OK!, a bright, fragrant yet earthy mix of tequila, vetiver soda and lemongrass over pandan ice and grass jelly. Inspired by the modern ritual of reconnecting with the ground after a day online, this drink is described by group Creative Director Jeremy Blackmore as "a silly, serious and very delicious combination". Next up, the Sour OK! is inspired by the cross-cultural practice of wood burning, from Day of the Dead offerings to tea ceremony incense. This silky, aromatic sipper stars a cherry wood- and palo santo-infused tequila, with solid support roles from coconut, egg white, tapioca pearls and nata de coco for a delicate hit of texture and depth. [caption id="attachment_1005251" align="alignnone" width="1920"] Dexter Kim[/caption] Rounding out the set is the Whip OK!, a smoky, spicy and sweet riff on recado — the rich spice paste made from blackened chillies that anchors much Yucatecan cuisine. Here, tequila and mezcal are layered with burnt chilli, lime and an intriguingly bright blackberry sorbet. It's finished with a shimmering spray of silver-coloured olive oil, itself a nod to the ancient superstition of blessing liquids with silver and moonlight. "We are celebrating some of life's little rituals," says Blackmore about the new menu. "Cantina OK! is built on them — from the way we greet every guest to the hand-drawing of each weekly special. It's about celebrating the 'right now', and being part of the bigger ritual of a night out in a garage down a dimly lit alley." [caption id="attachment_1005287" align="alignnone" width="1920"] Dexter Kim[/caption] [caption id="attachment_1005288" align="alignnone" width="1920"] Dexter Kim[/caption] [caption id="attachment_1005290" align="alignnone" width="1920"] Dexter Kim[/caption] Cantina OK!'s new Ritual menu is available now. Find it at the end of Council Place, Sydney CBD. F0r more information, head to the Cantina OK! website. Top image: Dexter Kim.
You've heard it before: how you choose to ring in the new year is a sign of how you'll spend the rest of the year. If you would like to spend 2024 sipping top-shelf champagne and snacking on oysters and caviar (you bougie thing, you), we have just the thing. Dear Sainte Éloise is hosting a special New Year's Eve party so you can bid adieu to 2023 in style. The Potts Point diner will be open from midday, serving a seafood-heavy menu and hard-to-find wines. The set menu ($130pp), designed by DSE's new head chef Elias Selloum, kicks off with small bites like kangaroo tartare and buckwheat blinis topped with caviar and crème fraîche. And, because no summery celebration is complete without them, there'll also be oysters with a Sichuan mignonette. Next up, enjoy heirloom tomato salad with Meredith Dairy goat's curd, nori and basil oil, and house-whipped foie gras parfait served with Fabbrica sourdough. The main is French Provençal-style bouillabaisse, stuffed with seafood galore — think John Dory, blue-eye trevalla, clams and mussels. It'll all wrap up with a classic summer dessert: roasted peaches with lavender crumb, salted caramel and yoghurt. Sample drops throughout your meal from DSE's well-curated wine cellar, like pineau d'aunis, a rare red wine from France's Loire Valley, and Brisson-Lahaye champagne. Dear Sainte Eloise will be open on December 31 from 12pm–12am (last available booking is 8.30pm). Bookings are essential and can be made via the website. Images: Trent van der Jagt
