What do Euphoria, Yellowjackets, Wednesday, Atlanta, Mr & Mrs Smith, Dark Matter, The Umbrella Academy, The Penguin, Overcompensating and Sirens all have in common, other than being TV shows? Next, what do they also share with Beyoncé's online footprint? Music supervisor Jen Malone is the connection between all of the aforementioned television series, with the four-time Emmy-nominee working on each of them. Then, SXSW Sydney 2025 links Malone with Dr Marcus Collins, Beyoncé's former Digital Strategy Director — because the two have just been announced on the event's Music Festival speaker lineup. When April was coming to a close, SXSW Sydney started dropping its first music acts for this year's fest. A month later as May winds down, it has now revealed the initial list of folks who'll be getting chatting as part of the conference side of SXSW Sydney 2025's Music Festival. How do you stack TV and streaming hits — and movies, too — with the exact-right songs? Malone will take to the stage to spill the details. How should you approach marketing strategy in the music business, and what can you learn from doing just that for megastars ? That's where marketing professor, For the Culture: The Power Behind What We Buy, What We Do, and Who We Want to Be author and ex-Beyoncé team member Collins will come in. Both Malone and Collins are on the bill when SXSW Sydney returns for its third year between Monday, October 13–Sunday, October 19, 2025. As it tends to each year, the festival has been unveiling its latest lineup in bits and pieces, after also revealing that there'll be more free programming and an initial look at the overall speaker lineup in recent months. "SXSW Sydney is about big ideas, bold conversations and unexpected connections. It's a chance to hear directly from the people who open doors — the buyers, curators and deal-makers — and to better understand how to cut through, stay independent or scale globally. Whether you're building a team, exploring how AI can support your creative and business goals, or just looking for inspiration from other creative industries, this is where the conversations start," said SXSW Sydney's Head of Music Claire Collins about the first round of Music Festival speakers. "We're proud to bring this talent to Sydney, and to connect them with the broader SXSW Sydney community. It's a week packed with fun, discovery, and opportunities to connect, collaborate and imagine what's next for music in our region and around the world." Malone and Collins will have company from a wide array of other SXSW Sydney Music Festival guests, such as Brian Hobbs, SXSW in Austin's Director of Music Festival Programming; Patrick Daniel from Reeperbahn Festival in Germany; Airing Your Dirty Laundry podcast host Daphne Berry; Alex Berenson, the All Flowers international label group's Senior Director of A&R; and Justin Sweeting, the founder of Hong Kong's Clockenflap Festival. Also among the names on the program so far: Hallie Anderson, who co-founded Rareform marketing team, Ode strategic agency's Jashima Wadehra, Mardi Caught from marketing and artist services outfit The Annex, music networking platform GigLifePro's Priya Dewan and Pal Norte Festival's Macarena González. If you missed it, the roster to date of musicians that'll be showing off their talents spans both international and local acts. In the first camp: Jasmine 4.t, Freak Slug and Ristband + Pivots from the UK; Slowwves from Thailand; Japan's Suichu Spica 水中スピカ; New Zealand's Serebii and Tusekah; and Cardinals from Ireland. Flying the flag for Aussie acts to begin with: Jamaica Moana, JJ4K, RICEWINE, Sacred Hearts, Swapmeet and BADASSMUTHA. In total, this year's fest is due to feature more than 300 music performances. And, that's just the live tunes side of the event. Across its 1600-plus sessions, SXSW Sydney 2025 will also boast over 550 conference and professional development sessions, 90-plus movie screenings and over 150 games. [caption id="attachment_984093" align="alignnone" width="1920"] Nina Franova/Getty Images for SXSW Sydney[/caption] [caption id="attachment_965208" align="alignnone" width="1917"] Jaimi Joy[/caption] [caption id="attachment_953711" align="alignnone" width="1920"] Jaimi Joy[/caption] SXSW Sydney 2025 runs from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details. Top image: Brendon Thorne/Getty Images for SXSW.
It’s only January, but already 2016 is shaping up to be a really good year for art in Australia. Melbourne's NGV is currently showing the epic Andy Warhol | Ai Wei Wei exhibition and a collection of Australian surrealist works with Lurid Beauty, with a tight line-up of Degas, surrealist works and Whistler’s Mother coming to the gallery later this year (not the original of course, we all know Mr Bean has that). Sydney is currently being graced by The Greats, Grayson Perry and will soon get to enjoy a more contemporary exhibition by Tatsuo Miyajima. Known for his immersive and dramatic tech-inspired pieces, the Japanese installation artist will be bringing his work to the Museum of Contemporary Art this November as part of the 2016-17 Sydney International Art Series (pencil it in, guys). It's his first solo exhibition in Australia, and it will include all of his significant pieces as well as some video and performance works. While Miyajima's work may appear slick and futuristic, his philosophy incorporates some really profound ideas about life and death. As he summarises it: "Keep changing, connect with everything, continue forever". His installations largely feature LED lights and counters that countdown from one to nine. However, they never reach zero as Miyajima believes zero is a meaningless, Western concept. As he told Frieze back in 1992, there is no physical zero. Buddhist philosophy is also a major influence on his art, as well as his ideas about zero and nothingness. "In Buddhist philosophy we have the word ku, which means emptiness — which is very different from zero," he says. "The word ku is realistic emptiness, physical emptiness…ku contains the cycle of life and death." His work is best consumed as a spiritual experience, and we've got plenty of time to prepare for it. The MCA's 2016-2017 International Art Series featuring Tatsuo Miyajima will run from November 3, 2016 – March 5, 2017. FOr more info, visit the MCA website.
Another day, another new Netflix show. This time, the streaming platform seems to be taking its cues from one of 2018's big-screen surprises. Two women met, became friends despite having very little in common, helped each other with their daily lives and then found themselves immersed in something murky in A Simple Favour — and now they're doing the same in TV series Dead to Me. Arriving in early May, the new ten-episode show stars Christina Applegate and Linda Cardellini, with the former playing a just-widowed woman trying to cope with losing her husband in a hit-and-run incident, and the latter popping up as a positive-thinking free spirit. They cross paths at a grief counselling session, and it's a definite odd-couple situation — which isn't helped by more than a few surprises. A dark comedy with plenty of twists, as based on the just-dropped first trailer, Dead to Me also features James Marsden among its cast, with the show created by 2 Broke Girls writer Liz Feldman. The series marks Applegate's first lead TV role since 2011-12 sitcom Up All Night, while it's a return to Netflix for Cardellini, who starred on the streaming platform's drama Bloodline — and also featured in A Simple Favour. Check out the first trailer below: https://www.youtube.com/watch?v=BwYBw1raC2o Dead to Me hits Netflix on May 3. Images: Saeed Adyani / Netflix.
Forget celebrating Christmas in July — when the middle of the year hits, it's time to start working yourself up to the best occasion of the year. If you like scary movies, candy and dressing up in costumes, then you know the occasion. And in 2022, Halloween is almost here in more than a few ways. In just a few months, the spooky celebration itself will indeed arrive. Also hitting in October: the latest film in the Halloween franchise. A sequel to last year's Halloween Kills, as well as the third film in the trilogy within the broader saga that started with 2018's Halloween, it's been dubbed Halloween Ends. To that, we have two questions: will it really, and do we want it to? The just-dropped trailer for the new film certainly wants audiences to believe that this will be the last time that Laurie Strode (Jamie Lee Curtis, Everything Everywhere All At Once) and mask-wearing villain Michael Myers do battle. If the movie is a box office blockbuster, though, that might prove otherwise. Nothing ever truly dies these days in the pop-culture realm, especially successful big-screen series — and, since debuting back in 1978 with John Carpenter's OG masterpiece, the Halloween franchise has come back 11 other times before now. Story-wise, Halloween Ends will pick up four years after Halloween Kills, and see Laurie still processing the fallout — and living with her granddaughter Allyson (Andi Matichak, Foxhole) while writing her memoir. She wants to move on from Michael Myers, who hasn't been seen since the events of the last movie. Then, a young man (Rohan Campbell, The Hardy Boys) is accused of killing a boy he's babysitting. As well as Curtis and Matichak, Will Patton (Outer Range) will return as Officer Frank Hawkins, and Kyle Richards does the same as Lindsey Wallace — a part she also played back in the very first film. David Gordon Green (Stronger) is still in the director's chair for the third Jason Blum-produced Halloween entry in a row (and his third, too), and co-wrote the screenplay with Danny McBride (The Righteous Gemstones), Paul Brad Logan (Manglehorn) and Chris Bernier (The Driver). If the Halloween saga really does end here after 44 years, it'll wrap up one of horror's best franchises — albeit a series that also varies wildly from movie to movie. Again, the first flick is an absolute masterpiece, as well as one of the best horror films ever made. Since then, the slasher saga has delivered excellent and terrible sequels, veered into remake territory, both killed off and brought back its heroine, and completely erased parts of its own past several times. Check out the Halloween Ends trailer below: Halloween Kills will release in cinemas Down Under on October 13.
Perhaps you're an outdoorsy type who's never visited a local gallery, or maybe you're a foodie who's never ventured on a local bushwalk. Now we're in the swing of 2021, it's time to step out of your comfort zone. And we're here. Whether you're local to Chatswood, or just visiting, there's more to do in the lower north shore suburb than you might think. From beautiful green spaces to hidden art galleries, Chatswood has a lot to offer if you want to press refresh on your weekend plans. In partnership with Willoughby Symphony Orchestra, we've compiled a list of things to do when you want to try something new to you, in and around Chatswood. [caption id="attachment_796617" align="alignnone" width="1920"] Willoughby Symphony Orchestra[/caption] HEAD TO A SHOW AT THE CONCOURSE The Concourse is the leading entertainment venue on the north shore. Showcasing a dynamic range of productions, including stand-up comedy, musicals, and classical music, The Concourse is where you'll find upcoming shows like Willoughby Symphony Orchestra's Gala concerts, featuring romantic melodies such as Delibes' 'Flower Duet' and Tchaikovsky's 'Waltz of the Flowers' from The Nutcracker. Tickets for the weekend concerts start from $25, and if you've never experienced an orchestra live before this is an affordable way to tick it off your must-see list. Grab a mate, or a date, and book tickets to see Willoughby Symphony Orchestra playing Saturday, February 13 or Sunday, February 14. Aside from classical music, you can also catch The Marriage of Figaro and Lunar New Year Comedy, both coming up at The Concourse over the next month. SEEK OUT THIS INTIMATE ART GALLERY If you want to do more to support the work of local artists this year, then make your way to the intimate and inspiring Art Space gallery located on the ground floor of The Concourse. The gallery holds monthly exhibitions from a diverse group of artists. From February 3–28, you can soak up Resonant Flows, featuring drawings and video art by Sydney-based artist Cindy Yuen-Zhe Chen. The free exhibition explores the interdependent relationship between our bodies, places and water. Stop by for the afternoon before heading to a matinee performance upstairs. [caption id="attachment_798067" align="alignnone" width="1920"] Willoughby Council[/caption] STRETCH YOUR LEGS ON THIS RIVERSIDE WALK Up for spending a little more time outdoors? Strap on your walking shoes and try the Railway to River Walk — a trail that takes you from Chatswood Train Station to Lane Cove River. On the 3.5-kilometre track, you'll be surrounded by woodland and riverside plants, making you feel worlds away from the busy shopping centres. Pack a picnic and follow the signs to the river where you can soak up the views as you tuck into lunch. From here, the adventure continues into Lane Cove National Park, or you can turn around and head back to Chatswood Station on foot or via bus. EAT YOUR WAY AROUND CHATSWOOD MALL MARKET Chatswood is full of great places to eat and drink, but if you want to try something new then check out Chatswood Mall Market on Thursdays and Fridays. Located on Victoria Avenue from 9am–9pm, the outdoor marketplace has stallholders peddling hot treats inspired by cuisines from all over the world. Pick up a couple of plates to share and dive into a dish you've never tried before. Stallholders include Macedonian-style pastries from Alexander's Bakery, noodle soups and dumplings from Bao Dao Taiwanese Kitchen, chorizo rolls and garlic prawns from Mojo Picon and baklava and lamb skewers from Greek Corner. There are also craft stalls that are great places for finding a handmade gift. [caption id="attachment_798064" align="alignnone" width="1920"] Willoughby Council[/caption] TAKE A PICNIC TO BEAUCHAMP PARK Found in the back streets of Chatswood, Beauchamp Park is the perfect spot to stop and take a moment, especially if you've spent half the day on your feet exploring the area. Roughly a ten-minute stroll from Chatswood Station, the park has a rose garden, public artworks and picnic areas as well as a dog-friendly area where your four-legged friends can run amok free of their leash. With accessible concrete pathways, play equipment, sports courts and cool, shady spots under gum trees, the sprawling parkland has something for everyone. While away an afternoon here before seeing a show at The Concourse. Score ten percent off tickets to Willoughby Symphony Orchestra's Gala Concert over here.
With 2012's Wadjda, Haifaa al-Mansour became the first female filmmaker from Saudi Arabia to make a full-length movie. Fittingly, she achieved the feat via a powerful tale about a girl breaking boundaries — by fighting to ride a bicycle in the street, an activity that's by no means routine in the Middle Eastern country. A hopeful yet truthful film that depicts the present-day reality for Saudi women, while also remaining committed to dreaming of a different future, al-Mansour's directorial debut marked the first-ever feature shot entirely in her homeland, too. Accordingly, she smashed barriers in multiple ways, including both on- and off-screen. Nine years later, she demonstrates the same spirit again with The Perfect Candidate. After exploring another female trailblazer in 2017 biopic Mary Shelley, then pondering the beauty standards imposed upon women in 2018 rom-com Nappily Ever After, al-Mansour delivers the ideal companion piece to her applauded first picture — this time focusing on a young Saudi doctor who tackles her town's misogynistic and patronising attitudes by running for local council. No matter the day or situation, the ambitious Maryam (debutant Mila al-Zahrani) is repeatedly reminded that women aren't considered equal in her community. In one of The Perfect Candidate's early scenes, an elderly male patient writhes in agony, but is more upset about the fact that she'll be treating him — until Maryam's condescending boss proclaims that male nurses can easily step in and do the job for her. When her recently widowed musician father Abdulaziz (Khalid Abdulraheem) goes away on tour, she attempts to fly to Dubai for a medical conference and subsequent job interview that would see her move to Riyadh. Alas, she's stopped from departing because her dad hasn't updated her travel permit, and she can't leave unless he rectifies the paperwork. A male cousin (Ahmad Alsulaimy) in a role of authority within the government might be able to assist, but even the bonds of blood aren't enough to get her through the door to his office. He's interviewing and approving candidates for the municipal election, so Maryam puts her name forward just to progress past his secretary. That still doesn't help her make her flight, but it does send her in a different direction. While already struggling to convince her employers to pave the road to the town's emergency medical clinic, she decides to run to fix that specific problem — and the more backlash she receives for putting herself in contention, the more determined she is to campaign for change. The Perfect Candidate is filled with moments that convey Saudi Arabia's strong and strict gender divide. The film might start with Maryam driving — a right that was only granted to Saudi women in 2018 — but engrained patriarchal attitudes nonetheless shape every aspect of the character's life. "Keep her away from me! Don't look into my eyes!" the aforementioned patient screams, and horrifyingly so. The reactions from airport staff and bureaucrats when she tries to travel without her legal guardian's approval aren't as blunt, but they still infuriatingly endeavour to put Maryam in her societally deemed place. When she releases a video announcing her candidacy, even her younger sister Sara (Nora al-Awad) is mortified, not to mention embarrassed by the scathing comments sent Maryam's way by women and men alike. During a TV interview with a male journalist, she's asked if she cares about female issues, such as gardening. Naturally, she isn't impressed. And at an event to sway male voters — one where tradition dictates that she can't address them directly, forcing her to rely on new friend Omar (Tareq Ahmed al-Khaldi) to play host — she's instantly dismissed because she's a woman and mocked because her late mother was a wedding singer. When Maryam is glaring daggers at dismissive colleagues from beneath her niqāb, swapping fierce words with her public detractors or doing her best to care for patients that abhor her presence simply because she's a woman, first-timer al-Zahrani is a furious force to be reckoned with. But again and again, she also relays the weariness that lingers beneath every concerted effort to overcome the boundaries applied to Maryam due to her gender. Indeed, two of the film's very best scenes — and two of al-Zahrani's firm highlights — swing from one extreme to the other. The ferociousness that echoes from the screen during Maryam's television appearance sits in stark contrast to the baked-in exhaustion and exasperation that's evident when she's sitting alone in her family's courtyard on election night. Al-Mansour guides nuanced and multi-layered performances out of the bulk of her cast of newcomers, and constantly has Patrick Orth's (Toni Erdmann) naturalistic cinematography peer at them closely, but she has unearthed a powerhouse portrayal from her magnetic lead performer It would've been easy for al-Mansour and al-Zahrani to lean exclusively on anger, dismay and indignation — Maryam's, as well as the audience's — to fuel The Perfect Candidate, but that's not the only approach they take. The sights seen, attitudes expressed and scenes witnessed also help dive into the daily minutiae for Saudi women, including glimpses of the rare occasions when they're permitted a reprieve from male oversight. Both heated and warm exchanges between Maryam, Sara and their elder sister Selma (Dae al-Hilali) are intimately observed. So too are the wedding receptions and parties that the latter sibling stages in her job as an events planner. And the film provides broader context as well, by also spending time with Maryam's worrying father during his travels. He isn't simply concerned about his daughters' choices, but also about the need for him to even play the culturally demanded role as their guardian. Abdulaziz doesn't ever steal the movie's focus, but his subplot does make it plain that the oppressive status quo is also unwieldy for those who just want the best for their children. As penned by al-Mansour and producer/co-writer Brad Niemann, The Perfect Candidate's script may hit plenty of foreseeable narrative beats; however, this rousing, spirited and gripping feature equally unpacks life in Saudi Arabia today, avoids painting it as straightforward or clear-cut, and agitates passionately for change. https://www.youtube.com/watch?v=0GC--RZ3jOo
Fans of The Handmaid's Tale have had to wait longer than expected for its fourth season, with the dystopian series' next batch of episodes among the many things that were postponed due to the pandemic. But, this coming week, that delay will come to an end — and yes, the word you're looking for is 'finally'. The new season will kick off Down Under on Thursday, April 29, airing weekly on SBS and streaming episodes via SBS On Demand in Australia and Neon in New Zealand. Based on the three trailers so far — a first teaser last year, a second glimpse early in 2021 and a third back in March — you can expect your anxiety levels to ramp up several notches while you're watching. Of course, viewing The Handmaid's Tale has never been a stress-free experience. Given its storyline, that was always going to be absolutely impossible. As seen in the sneak peeks so far, season four will see June (Elisabeth Moss, The Invisible Man) still battling against Gilead after season three's cliffhanger ending. In fact, after everything that the oppressive regime has done to her and her loved ones — and the ways in which it has changed life for women in general — she's firmly out for justice and revenge. That'll involve taking new risks, but that's what a rebel leader has to do, even if it threatens the relationships that she holds dear. So, that's what you'll be seeing play out on-screen when the new season hits. Fans will be watching where the show's narrative heads for some time to come, too, with a fifth season of The Handmaid's Tale green-lit before the fourth even airs. Toppling a totalitarian society that's taken over the former United States, tearing down its oppression of women under the guise of 'traditional values', and fighting for freedom and equality doesn't happen quickly, after all. Neither does exploring the tale initially started in Margaret Atwood's 1985 book via an award-winning TV series. Check out the latest season four trailer below: The fourth season of The Handmaid's Tale will hit start airing in Australia and New Zealand on Thursday, April 29 — on SBS TV, and to stream via SBS On Demand and Neon, with new episodes arriving weekly.
Founded in the late 80s, the Boomalli Aboriginal Artists Co-operative exists to celebrate, promote and support Aboriginal artists from all over NSW. The Leichhardt space showcases an original collection of works from artists both experienced and emerging. Each exhibition shares a special part of Aboriginal history and connection to Country, through multidisciplinary art forms including painting, ceramics and screen printing. We suggest visiting Boomalli for one of its regular openings, which you'll find details of on its Facebook page. Enjoy a glass of wine, check out the art at your own pace, connect with the artists and learn more from the passionate team who run the space. Images: Sharon Hickey
There's never a bad time to bust out the lyrics to 'Footloose', the Kenny Loggins-sung, Oscar-nominated theme to the film of the same name that helped Kevin Bacon dance to fame four decades back. Still, although the track doesn't get a spin in X, Pearl or MaXXXine, its opening line feels particularly relevant to the trilogy, which Bacon has now joined. Since coming up with the idea for three horror movies inspired by pornographic film classifications in the US in 2019, writer/director Ti West (The House of the Devil, The Innkeepers, The Sacrament) has been working so hard to bring a unique slasher saga to the big screen. Working so hard to chase a dream and do more than punch a card has also throbbed within every instalment. Before it had Bacon (Beverly Hills Cop: Axel F) as a sleazy private detective and Australia's own Elizabeth Debicki (The Crown) as a film director, the franchise first had X initially mark the spot in 2022, with the New Zealand-shot feature kicking it back to 1979, to a Texas farmhouse where a porn production featuring an aspiring adult-film actor turns bloody. The talent: Maxine Minx, a force of nature in the movie played by Mia Goth, the X series' own force of nature. Fresh from stealing scenes in Emma, and with standout roles in Nymphomaniac: Vol II, A Cure for Wellness, Suspiria and High Life also on her resume, Goth cemented herself as the consummate horror star in two X roles. She captured Maxine's lust for a life worthy of her ambitions and desires, shooting her shot in the X-rated game, and for survival. She also made the elderly Pearl, one of the remote property's owners, an unforgettable adversary. When X reached audiences, splashing around gore like it truly was a 70s horror flick — and styled playfully to look the part, as if it'd just been unearthed in a dusty barn or basement — good news already beckoned when the film hit the spot with viewers. West and Goth had shot a sequel immediately after the first film, stepping back to 1918 when Pearl was a young woman with her own hopes for the future that spanned far beyond rural life. This time, as the movie's eponymous figure covets chorus-girl gigs and also gracing the pictures, West also took cues 50s-era musicals and melodramas. He didn't hold back in getting bloody, though, and nor did Goth for even a second. Again, viewers lapping up Pearl knew that more was coming. MaXXXine brings the trilogy to a close by once more exploring the pursuit of a Hollywood-tinted dream, also paying tribute to everything that gives movies that I-want-to-be-in-them sheen and equally championing a woman who isn't going to settle for anything less than her fantasies by choice. It's now 1985, Maxine has made it in porn, but she wants to move out of skin flicks and go legit, winning a role in — what else? — a horror sequel. The timing steeps the picture in the backlash against supposedly inappropriate pop-culture wares, while also setting it against the Night Stalker killings, all as someone begins taking a literal stab at Tinseltown's starlets and others in Maxine's orbit. [caption id="attachment_965315" align="alignnone" width="1917"] Stewart Cook/Getty Images for A24[/caption] West and Goth's three films haven't ever lacked name power. West has been a genre favourite ever since 2009's The House of the Devil, which also gave a slasher a satanic panic spin. Goth's stature was rising already in 2022, and fast. Jenna Ortega (Scream VI) and Scott Mescudi (Silent Night) were among X's other actors, while Pearl precedes the next Superman — playing the Man of Steel, too — on David Corenswet's (We Own This City) resume. But it's the 80s in MaXXXine, so everything is bigger, including the film's array of familiar faces. Cue not just Bacon and Debicki cutting loose in the franchise, but also Giancarlo Esposito (The Boys), Lily Collins (Emily in Paris), Bobby Cannavale (Bupkis), Michelle Monaghan (The Family Plan) and Halsey (Americana). With Bacon, who visibly relishes getting shady as questionable detective John Labat, MaXXXine's love of the 80s and its cinema couldn't be paired with a better icon from the period. With The Night Manager, Widows and Tenet's Debicki as Elizabeth Bender, the female filmmaker helming The Puritan 2 — Maxine's hopeful big Hollywood break — the movie earns another opportunity to explore the expectations enforced upon women and the battle to buck them. Ahead of MaXXXine reaching cinemas Down Under on Thursday, July 11, 2024, we chatted with Bacon and Debicki about joining the trilogy, covering Debicki's admiration for Goth, the full-circle feel for Bacon and another way that the feature wears its love for cinema on its frames: multiple scenes set on the Universal backlot on the Bates Motel set from Psycho. On Sliding Into a Franchise with Such Commanding Performances by Mia Goth at Its Centre Maxine Minx will not accept a life that she does not deserve in MaXXXine. That isn't just an observation — it's a mantra. If it was revealed that Goth had been uttering the same words IRL but about starring roles, in fact, it wouldn't come as a surprise. In the saga's latest chapter, nothing is going to get in Maxine's way, not a serial killer, not a private detective rifling through her past, not the weight of expectation when it comes to her first chance in Hollywood. How does acting against a performance like that help Goth's co-stars? Debicki, who also shares Everest on her filmography with Goth, has nothing but praise. "I think she's phenomenal and she's quite mesmerising. She's really a unique creature. She occupies a very interesting energy field. And I felt that when I watched the two films. I've been a fan of hers for a long time because I think what she's been doing in this genre is really kind of radical — she's amazing to watch on screen," Debicki explains. "So it was really just delightful for me, because the first thing I shot was the golf cart monologue and I spent maybe eight hours talking. We were just going round and round in a golf cart, and I was just chewing her ear off, and she was a very good sport about it." "But she exudes Maxine energy. There's no other way to put it. And so because she's the centre of the film and we all come in and out and shoot however many days, she's the vibration — in a way — that you meet, and each character meets and reflects off. I don't know how else to put it. She's the thing we all orbit around. So she really has to hold that space, and she does it amazingly well." Debicki knows Bender's perspective on Maxine, too, as any actor playing a part should of their on-screen alter ego. "I found her kind of maddening, as in the character. She's so on another stratosphere that as Liz Bender, I want rip her down to earth and get her to react the way I want her to. But also, you know that Liz Bender knows her value is that she's kind of on another planet." Seeing MaXXXine's finished product only cemented Debicki's appreciation, however. "I just think she's amazing in this film. And I felt that watching it too — a mesmeric performance that really holds you for the whole thing. I'm a big fan." On Throwing It Back to Footloose-Style Pop-Culture Backlashes, Getting a Start in Horror and All Things 80s From the instant that X started flickering, West's commitment to revelling in the film's period setting was as clear as the determination in Goth's eyes that she, like Maxine, wasn't going to let anything that she wanted pass her by. The years changed, but that era-appropriate dedication didn't fade in Pearl. MaXXXine makes it three for three, while expanding the movies beyond the farm that was so pivotal to the initial two instalments. That sense of immersion isn't just about aesthetics, either. It must've felt that way on paper, and it definitely plays like it on-screen: casting Bacon is a stroke of genius, especially in a feature arriving 40 years on from Footloose that places him in another picture where music and entertainment is considered evil by some. He's also in an 80s-set slasher film after the OG Friday the 13th, an 80s slasher film, was one of his early on-screen credits. Ask Bacon if being in MaXXXine feels a bit like a full-circle moment and of course he sees it, too. "You know, it really does. It's also 40 years since Beverly Hills Cop, and I'm in the new Beverly Hills Cop. And MaXXXine takes place in 85, which is a year hence from when both of those movies came out," he tells Concrete Playground. "I think it really hit me — there's a scene out on Hollywood Boulevard at night. And I walked up there and I saw all the period cars, and I saw that the sets were dressed and the stores, things that were all super, super authentic, and the way that people were dressed. And I went 'wow, this is really like time traveling'." On the Layers of Mythology, Horror Love and Film History That Come with Shooting on the Bates Motel Set Still on blasts from the past, MaXXXine nods back further than the 80s (or even the 70s, when mentions of X's events pop up). Not once but twice while she's on the Universal lot making The Puritan 2, including with Bender and then Labat for company, Maxine walks in the footsteps of Marion Crane. As immortalised by Janet Leigh — mother of Jamie Lee Curtis, for more horror ties — the character's mid-shower fate in one of Alfred Hitchcock's masterpieces gave cinema the definitive slasher sequence. West doesn't dare attempt to recreate the scene, even if the 1998 remake with Anne Heche (All Rise) did, but love for Psycho is splattered on welcomely and gloriously thick. Accordingly, MaXXXine is well-aware of film history, and strengthens its homage to filmmaking at every possible point, with working in the set to one of the earliest slasher flicks while making a slasher flick one such tactic. Yes, that adds another layer to the picture's cinema worship — and swirls in more meta hijinks for Bacon, more eeriness for Debicki and more fun for both. "I think that the two times that we shot on the lot, for me, were very meta in a way. Not even just the Bates Motel horror movie part, but just the whole making of films and running through the flats, and going in and out of these fake buildings — it was great. That was some of the most fun I've had making a movie in a really long time," Bacon advises. "And certainly to end up with that chase scene at the Bates Motel, to walk up those steps and, you know, knock on that door — great, great moment for me." "The same for me," Debicki adds. "There's a very specific — I'm very esoteric today — but there's a very specific energy off that set. I think it's what you bring. It's a pretty creepy place. Would you agree, Kevin? Like it's got a super creepy, it's a creepy vibe." "It does," Bacon concurs. "So you feel it," continues Debicki. "It's something about how it's sort of exactly how you remember in the film, but really kind of dilapidated. Some of the crew were going in and out of the actual rooms in the motel, and someone was like 'come and look at this'. And I was like 'I am not'. Because actually it feels super weird to me." "So I loved it. It really helped me, again, to have that scene where we drive up and we land in this place that's steeped in this mythology. It's just really fun, actually, to have that. And it really helped me. If we'd been shooting off a mockup of that set, it wouldn't be the same performance, I don't think, from either of us." MaXXXine opens in cinemas Down Under on Thursday, July 11, 2024. Read our review.
Does this represent a work of genius, or has Frankenstein lost control of the monster? In the eyes of Harvey Moon, 'drawing machines' are fascinating, not only for the work they produce, but also for the processes involved in their acts of creation. 'That loss of communication and that failure for a machine to communicate properly is what I find exciting and the randomness in which it produces these results,' he told the creators' project last month. Made of motors and servomechanisms, Harvey's machines act according to algorithms. However, despite our expectations that robots follow logical sets of rules, the responses are not always reliable. Unpredictable artworks are often the result. With one particular machine, titled 'Bugs draw for me', Moon has taken the concept further, by adding a cricket to the mix. Yes, one of those lively, chirping, hopping creatures that you wouldn't invite to your picnic. As a camera records the insect's movements, the machine lays them down visually. Apart from enjoying the suspense involved, Moon has also developed an interest in what the machines reveal about human behaviour. 'It plays with a different way of producing work, where we don't have to rely on our own physical bodies to produce art,' he explains. 'We can extend our system beyond our own hands.' [via the creators' project]
Surfers Paradise is known for many things — sun, surf, sand, Schoolies and tourists, mainly — but there's one thing that the Gold Coast strip hasn't had for more than 20 years. That's a cinema, after Hoyts shut up shop back in 1995. Local cinephiles and holidaying movie buffs can rejoice, however, with Palace announcing plans to open a 12-screen complex later this year. Coming to the corner of Surfers Paradise Boulevard and Elkhorn Avenue as part of the X Galaxy Centre redevelopment, the cinema will feature multiple lounge and bar areas, plus views over the city, all a mere block away from the beach. It'll form part of an extensive retail and dining precinct, and will be serviced by the light rail system. Patrons can expect the usual array of Palace bar offerings when the cinema opens — with an exact date yet to be announced — plus the chain's mix of art house and mainstream titles. Other than the Home of the Arts cinema (formerly known as the Arts Centre Gold Coast), the area is underserved when it comes to anything other than blockbuster and multiplex fare, making Palace a welcome addition. The Surfers site will bring the company's Queensland locations to three, with Palace operating 22 in total across Australia. They're certainly busy — as well as opening a 13-screen, pink-hued cinema in Sydney's Chippendale last year, new sites in Double Bay and Melbourne's Old Pentridge Prison and Moonee Ponds are also in the works.
Even speaking as a big West Wing fan I never expected to be hooked on a Danish political drama that hinged on delicate coalition negotiations and that educated me about Greenland. But that’s exactly what the three-year-old, UK-captivating, Danish drama Borgen manages to do. If you saw Daniel Day Lewis’s turn as Lincoln, you’d have some idea about how much drama can be twisted out of the politics of the middle ground. That film has a moment in which the future of the slavery debate hinges on one famously unswerving character’s ability to compromise. Will he or won’t he? Borgen gives its lead character that same moral dilemma and it spreads it over years. “Borgen” means “castle”, and is shorthand for the Christiansborg Palace in Copenhagen where the Danish Parliament sits. The show follows Birgitte Nyborg (Sidse Babett Knudsen), the leader of a small political party, as she’s unexpectedly thrust into the role of Prime Minister (well, stats minister) at the head of a coalition government. Around her, in Denmark’s complex parliament, political rivals jockey — some are in her cabinet, some outside — a 7.30-style news shows keeps watch and her family gets slotted into her diary around it all. Both Aussie and British coalition experiences seem to inform the political setup, but the politics of the show are all Nyborg. Nyborg is no Gillard. On the day of the election, she bicycles to work. When her spin doctor offers her a game-changing leak from a shady connection to the government, she refuses. Later that night, her husband Philip (Mikael Birkkjær) offers to take their kids home from the election party. And he’s ok with that. Nyborg is the politician that we want. She’s the sort of politician we most likely already have, quietly, at many levels of government, but in Borgen we get to watch from behind the scenes. We see her wrestle with her own intentions, her “team of rivals” cabinet and the whole road to her political wrangling’s public results. But these compromises begin to take a toll on the forthrightness that propelled her to office in the first place. And, as time goes on, her marriage as well. Nyborg’s marriage isn't the typical TV marriage of a career woman in dilemma. In many ways, it’s the same marriage that TV has always reserved for men, only better drawn. Nyborg’s career so dominates her family’s life that her husband Philip sacrifices his own career to look after the kids. Their connection has a powerful warmth and consideration, which give real scary weight to the tensions as the pressure increases over the course of the series. So much so that, despite the arresting politics, news and betrayals, this layered portrait of marriage quickly becomes the centre of program. It’s a program that gives real vulnerability to its men, too. Philip's feelings are as much a focus of the show as Nyborg, and even Nyborg’s sharp, devious spin doctor, Kasper (Pilou Asbæk) shows a strongly vulnerable underside as the series progresses. It’s a vulnerability is made all the more powerful by exactly how bruising the Machiavellian politics in the show are. It's a politics that Nyborg, clear-talking compromiser though she is, has little hesitation wading into. Does that tip her over the edge into exactly the sort of political arrogance that typified her rivals as the show begins? That’s the work of the series. Watching the political and the personal in Borgen unfold is gripping. And, in Australia, it’s a balancing act that feels very, very real indeed. Borgen starts on SBS tonight, screening at 9.35pm on SBS1 and via SBS on demand. You can skip ahead via the ABC Shop DVD. Photographs by Mike Kollöffel, Courtesy of DR TV.
You've filled your house with their minimalist designs and homewares, and dreamed of living in their flat-pack homes and tiny pre-fab huts. MUJI fans, your love affair with the Japanese home goods giant isn't over yet. Next on the retailer's agenda is their own range of hotels, with sites slated for Shenzhen in China and Tokyo in Japan. Construction on a retail and hotel complex in Tokyo's Ginza began in June, working towards a 2019 completion for the 13-floor building. It'll be comprised of three levels below ground, and ten — including a two-floor penthouse — above. Seven storeys will feature shops, including MUJI's global flagship store, while five will boast their first Japanese hotel. Concept and interior design managed by MUJI-owning company Ryohin Keikaku. The Tokyo digs will join a previously announced location in Shenzhen, which is reported to include 79 rooms spanning five different types of accommodation. A store and cafe are also planned for the Chinese hotel, as are recycled wooden interiors and spaces filled with plenty of MUJI furniture. Yes, your travel bucket list just notched up two more entries. Via Dezeen. Images: Mitsui Fudosan Co Ltd
It's time to get the word "Jellicle" stuck in your head again: to mark 40 years since it first hit the stage in Australia, Cats has locked in a new season Down Under. Back in July 1985, Aussie audiences initially experienced Andrew Lloyd Webber's acclaimed production, which turned a tale inspired by poems from T.S. Eliot's Old Possum's Book of Practical Cats into an award-winning theatre hit. The place: Sydney, aka where Cats is heading again from June 2025. Four decades ago, the show pranced and prowled through Theatre Royal Sydney — and the new season will scamper across the boards there again, too. There's no word yet on whether the show's 2025 Australian run will make stops in any other cities, so if you're keen for some new Cats memories, booking a seat in the Harbour City is your only current way of guaranteeing them. "Cats is a legendary show that I've admired for over 40 years. A sparkling fusion of music, dance and verse, it was revolutionary when it first opened and enticed new audiences into the world of musical theatre," said producer John Frost for Crossroads Live about the new Aussie performances. "I can't wait to bring the original production of Cats back to Australia where it all began, at Theatre Royal Sydney, to celebrate its 40th anniversary in Australia." If you're new to Cats, it spends its time with the Jellicle cat tribe on the night of the Jellicle Ball. That's the evening each year when their leader Old Deuteronomy picks who'll be reborn into a new Jellicle life by making the Jellicle choice. And yes, "Jellicle" is uttered frequently. Of late, audiences might be more familiar with Cats as a movie. In 2019, the musical made the leap from stage to screen with a star-studded cast including Idris Elba (Hijack), Taylor Swift (Amsterdam), Judi Dench (Belfast), Ian McKellen, (The Critic) James Corden, (Mammals) Jennifer Hudson (Respect), Jason Derulo (Lethal Weapon), Ray Winstone (Damsel) and Rebel Wilson (The Almond and the Seahorse) playing singing, scurrying street mousers. If you ever wanted to see Swift pouring cat nip on a crowd of cats from a suspended gold moon, or were keen to soothe your disappointment over the fact that Elba hasn't yet been James Bond by spotting him with whiskers, fur and a tail, this was your chance. For its efforts, the Tom Hooper (The Danish Girl)-directed film picked up six Golden Raspberry Awards, including Worst Picture. But while the movie clearly didn't hit the mark, you can see why this feline-fancying musical has been such a huge theatre hit when it makes its Aussie stage comeback. View this post on Instagram A post shared by Cats Australia (@catsthemusicalau) Cats will play Theatre Royal Sydney, 108 King Street, Sydney, from June 2025. Head to the musical's website to further details and to sign up for the ticket waitlist. Images: Alessandro Pinna.
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.
With the festive done and dusted, and the new year well on its way, Hartsyard 2.0 has opened in Enmore. Say goodbye to the deep frier, and hello to the charcoal grill. Behind it, chef-owner Gregory Llewllyn is busy creating dishes he's long been dreaming of, such as scampi and prawn tartare with salt and vinegar crisps and tobiko, and chocolate with macadamia and miso caramel. Working alongside him is head chef Jarrod Walsh (ex-Automata). "For years I've had all these dishes in my head and we simply decided it was time to move on and put them on a menu," Llewellyn said. "As everyone knows, I'm into comfort food, but I'd call this more contemporary-style comfort food." That means the eatery's famed fried chicken has gone. In its place is a seafood- and veggie-driven menu, including tomato with barbecued calamari with pickled seaweed, duck leg with prickly ash and vinegar jus, and brewery bread, which is made with spent grains from local breweries Young Henrys and The Grifter. The desserts have also had a shake-up — along with the chocolate and miso caramel creation is a cherry blossom ice cream served with fresh cherries. The drinks menu has had a bit of a revamp, too. Look out for local craft beers, a bunch of natural wines, a handpicked selection of sake and signature cocktails, such as the Mr White (white rum, toasted coconut, lime, coriander) and Honey Bunny (rye, creamed honey, salt, lemon verbena). You'll notice that the interior has kept its simple charm, but is definitely brighter than before — which is a real plus. Llewllyn and partner Naomi Hart worked with Reso & Co. and Martin Taylor Made, to create a fresh, white space, splashed with oak, tan, black steel and greenery. The marble bar is still in place and now has a terracotta wine feature. By the way, if you're craving that fried chicken, you can still get it down the road at Llewylln and Hart's other, much-loved venue, The Gretz. Hartsyard is now open at 33 Enmore Road, Newtown. For more info, visit hartsyard.com.au. Images: Alex Mayes and Caroline McCredie.
Yearning to create pop music that has a little more depth than your standard dancefloor anthem is Sydney's Catcall. Catherine Kelleher, the woman behind the name, speaks to Kirstie Sequitin ahead of her debut album release and upcoming performance at Surrealism Up Late. How's The Warmer Side coming along? Yeah, it's good! We're kind of in the process of mixing it at the moment. There'll be a new single out in August, September hopefully. How long has that process been going for? It seems like you've been working on it for a while now. I put the EP out around 2008, and then I started writing for the album around the end of that year. Since then I've been kind of writing and recording and working on it. It's just taking a long time for the songs to develop to a point where we're all really happy with them, and then there was a lot of demoing done and a lot of songs disposed of. Then we had to work out how the record was going to be tied together and produced and recorded. All that kind of stuff just took a while to kind of grow into something strong, but now it's all kind of come together quickly in the last couple of months and it's at that point where we're just locking mixes off and whatnot. When it comes down to the writing process - I guess that was a while ago now - but do you focus on lyrics first or do you focus on the backing stuff first? I usually collaborate with people who start off by sending me either a simple thing with a bass line or some keys, and that inspires the vocal melody. They'll normally ask me, "What do you want to make?" and I usually tell them to make whatever they vibe. I don't like sending refs or anything saying "I want you to create me this!" It's not about creating the most interesting or exciting work; usually I just want the other person to do what they do best. They usually send me a beat or something and I'll write something over it and that'll always start with a vocal melody. From there the hardest part is basically just nutting out the lyrics and that's usually where all the time is spent, getting the lyrics perfect, because you need your meanings and you need to sing it and make sure it sounds good. Then we record and mix and get the production worked in. Do you have a specific vision in mind? I know that you said that you don't tell the collaborators what to do but do you have a template of how you want them to sound? Hm… not really - they've usually already heard something I've done. With Youth [Brisbane's Luke Foskey], he knew all of it, so he would just send me stuff. But with more recent collaborations in the past six months they do normally ask for refs and ask things like "What are you listening to at the moment?" and I'll say, "Oh, I'm really into Fleetwood Mac". But you can't get someone to truly create something that's like Fleetwood Mac, so I'll just tell them what I'm listening to, and send them stuff that I've already written and that usually forms what they'll do. Most of the time I just want them to do what they already do, and I collaborate with them because I've already heard their stuff. But they do always ask those kinds of questions like "What are you writing? Are you writing something slow or are you writing something fast?" because they want to know a point to start. Then I think, "Maybe we will go fast, maybe we'll go up-tempo" but usually I stop there because I want them to do what they do, because that's when the most exciting stuff happens. I've read that you have an emphasis on making things imperfect, can you elaborate on that? I don't want things to be necessarily perfect but just as strong as they can be, I guess. In terms of the quality of work, the show… I just want everything to have the best that I can bring it. I don't like the idea of putting something out there that's half-assed. Well, not half-assed but just something that feels like it's not finished, or complete, you know? Because I've already done that, I've put out work that's not complete, I've performed shows that have been really incomplete. Now this is my first record, and I'm going to start putting on a live show and playing regularly. I'm not a complete perfectionist but I just want everything to be the best that it can be. What it seems like to me is that you're trying to work on something that's a little more wholesome than other pop music that's coming out. Yeah, yeah, I want it to be substantial. I was at the APRA Awards the other day and I remember there were eight songwriters on one Katy Perry song and I was like, "That's why these records come out so quickly! There are eight people working on this!" It's like, there's a real formula with the production and it just feels really empty. I just want things to be soulful; I want people to connect with it and I don't think you can just do that if you do it without putting any thought or care into it. It takes a long time to write a really good record. It's so much harder than people assume. Pop records especially. I mean, good pop records. Not really forgettable, flimsy, soulless pop records. You've changed a lot in the past couple of years, how would you describe your developments? Your music style, how has that developed? I think I've become a better singer, a better vocalist, and that's opened up a lot more possibilities for me for what I can write. I've started paying more attention to song lyrics and what makes a really good song. Bry Jones and Toni Toni Lee, I think working with them has really helped me develop, and being open to criticism of what I'm doing and performances and writing. And spending a lot of time rewriting and looking at what I've done and thinking about what I've done and trying to make it better, rather than being satisfied with the first thing I put down, which is what I used to do. I used to be like "Yep, that's what we're going to do" and never edit myself or look back and think, "Hang on a second, there's so many different ways I can make this better". I think that has definitely made me a better songwriter and a better singer and a better performer all round. Catcall plays Surrealism Up Late at the Gallery of Modern Art on July 29. Thanks to GoMA we've got three double passes to give away - e-mail brisbane@concreteplayground.com.au with the subject line 'Water in my veins' by Monday July 25 for your chance to win.
When you travel the world, you take your tastebuds on a journey with you, with trying local delicacies all part of the experience. If you find yourself at Sweden's new museum, however, you might not want to get adventurous with your eating — it's completely dedicated to disgusting foods. Of course, what one person considers gross, another entire country might slather on toast for breakfast. Yes, the Malmö-based Disgusting Food Museum will feature Vegemite when it opens on October 29. Other items don't include much-loved but highly polarising Australian spreads, but everything within the site's walls is considered food somewhere. Think Sweden's own surstömming, aka fermented herring; cuy, the Peruvian roasted guinea pigs; casu marzu, a maggot-infested cheese from Sardinia; hákarl, the Icelandic dish comprised of well-aged shark; and Thailand's notoriously pungent durian. In total, 80 foods from around the world will be on display until January 27, with liquorice, jell-o salad, fruit bat and bull's penis among the other exhibits. For an entry fee of 185 Swedish krona (approximately AU$29), visitors will have the opportunity to smell and taste selected items. The museum will also hold 'taste one for the team' sessions for groups of six or more, where you can challenge your friends to the kinds of tastings that you don't get every day. If you're currently asking yourself the obvious question — not 'what's wrong with Vegemite?', but rather 'what would inspire someone to open this kind of place?' — the Disgusting Food Museum is all about challenging accepted ideas of what's edible and tasty. It recognises that what one person finds delicious, another might find revolting and vice-versa. Speaking to Vox, curator and 'chief disgustologist' Samuel West uses Vegemite as an example, explaining that it initially tastes awful, but you can learn to like it. Find the Disgusting Food Museum in Malmö, Sweden from October 29. For more information or to buy tickets, visit the museum's website or Facebook page.
Bangladesh born and raised head chef Tapos Singha (ex Est, Bills, Lucio’s and Gowings) is revisiting his roots, cooking up traditional Bangladeshi street food for Sydney at his brand new venture Bang Street Food. A breezy, exposed-brick heavy space on Surry Hills' Crown Street, the just-opened Bang is filled with Eames-like chairs and long wooden benches to promote solid socialising and sharing. With a bustling open kitchen and plates that spell out the word 'bang', this is one fun new eatery Sydneysiders are sure to jump on. Singha's nibbles include sand-roasted shell peanuts ($2) with all proceeds going to relief aid in Bangladesh — a good start. Then there's traditional starters like the BANG Bhaji (fried fritter, cherry tomato, coconut chutney, $8), Fuska (spiced potato, coriander, green chilli, shaved egg, tamarind water, $8), and a Bengali potato chop with mustard seed and yogurt raita ($8). Smaller sharing plates are on offer, from the elegant cobia tartare with fennel pollen, coriander seed and tapioca pappadam ($22) to a duck egg omelette with blue swimmer crab, green chill, grape tomato and garlic chives ($23). For the seriously hungry, there's ample feasting to be done on the large plates. There's tandoori quail with dutch carrots, eggplant bhorta and pomegranate ($35), Wagyu tri tip curry with satkora ($32), and Kacchi Biryani with goat, kalizera rice and saffron ($32). But we're leaving room for dessert; the rum drunk doughnuts with caramelised peaches, milk powder crumb and saffron crème fraiche ($15) are our wildest, most aromatic dreams realised. Featuring an all-Portuguese wine lineup, the drinks menu has been crafted down to the last drop. There's the restaurant's own Bang Pale Ale fronting a local-heavy beer selection. Or for something a little more traditional, there's Bangladesh-inspired cocktails and three tasty-sounding lassis on the table — including the BANG Lassi, with fresh mint (in place of hemp), honey, cinnamon, cardamom, star anise, yoghurt and rum. Rum. Find Bang Street Food at 3/410 Crown Street, Surry Hills. Open Tue - Thu 6pm - 12am, Fri - Sat 12 - 3pm, 6pm - 12am. For more info head to www.bangstreetfood.com.au.
As if Bill Murray's moustache wasn't excitement enough, the entire soundtrack to Wes Anderson's new film, The Grand Budapest Hotel, is currently streaming ahead of its release at Pitchfork. And true to the director's form, the 32 songs have enough whimsy and intrigue in them to knock Jude Law on his pipe-smoking, tweed-wearing back. Unlike Anderson's more gutsy early offerings like Rushmore and The Royal Tenenbaums, the Grand Budapest soundtrack easily favours Russian folk songs over anything like The Ramones or The Velvet Underground. In that way, it's much more akin to the music found in Moonrise Kingdom or Fantastic Mr. Fox — one could easily imagine the characters scurrying around while looking at ornate objects from above. In fact, that's what the film looks like as a whole. From the trailers already released it seems much less like Wes's early, thoughtful character studies, and much more a madcap reunion of his on-screen favourites. Not that we're ones to complain about another opportunity to see Jason Schwartzman with cigarettes morosely hanging out of his mouth, or Bill Murray in high-waisted pants. Like all things Wes, this soundtrack is an acquired taste. If you're already a fan, the music has the ability to transport you — its folksiness is almost otherworldly. If you're not, we recommend you stay clear of it. If Wes couldn't win you over with The Beatles and Elliott Smith, I doubt the Osipov State Russian Folk Orchestra is going to do the trick. The Grand Budapest Hotel will be released in Australian cinemas on April 10. Stream the soundtrack here.
You've heard the old adage that it's the little things in life that make us happy, right? Well, something as simple as a cheap but damn fine coffee certainly fits that bill — and given that new cafe Little Evie Redfern roasts theirs in house and charges an affordable $3 per cup, they must agree. Setting up shop on Bourke Street, the inner west's latest boutique coffee spot will satisfy your daytime caffeine cravings every day or the week. They'll also serve up homemade cakes to go with it, because taking care of business on the premises is what this new eatery is all about. Fancy a just-baked peanut butter cookie with your fresh-roasted cuppa, anyone? If you're after something more substantial food-wise, expect banana bread with ricotta and strawberry, breakfast bruschetta with horizon and haloumi, and lemon myrtle-cured salmon with scrambled eggs on Little Evie's all-day brekkie menu. Lunchtime options include sandwiches, salads, burgers and soups, aka the perfect kind of homemade fare. And if you're not a coffee fiend — because they do exist — then jugs of house-made soda, six types of cold-pressed juices, a range of shakes and smoothies, a sizeable wine and choice of four Aussie beers should satisfy your thirst.
You might recall Londoners basking under a giant artificial sun in the turbine hall of the Tate Modern, or an installation at the Hayward Gallery comprising strobe lights and fountains, arresting streams of water in mid-air like glittering beads of solid glass. The unique magnetism of Danish-Icelandic artist Olafur Eliasson is in his harnessing of light, space and temporality. He is engaged with the fabrication of natural phenomena, the optical mechanics of the human eye and questions of how we occupy and experience space. Eliasson's upcoming Cubic Structural Evolution Project will incite a more 'hands on' approach. Presented with thousands of blocks of Lego, the viewer will assume the role of architect. Whether you lay the foundations of your own miniature skyscraper or elaborate on a pre-existing one, a small metropolis is expected to blossom over the exhibition period. The finished (or unfinished) product may suggest the cityscape of the modern world is just as much an organism as we are.
Sydneysiders can now sip some of the world's best cocktails from 22 stories up thanks to the opening of a new cocktail bar inside the A by Adina Hotel. Dean & Nancy on 22 is the latest opening from the team behind Maybe Sammy, Sydney's award-winning cocktail bar previously named one of the top 50 bars in the world. The new Hunter Street spot plays on the idea of a hotel bar. Inventive cocktails in line with the theme include the Rolling A Double cocktail, combining Havana 3, pineapple shrub coconut water and rhum agricole, with a pair of dice. Roll a double on the dice and you'll receive a free champagne upgrade. Equally as unexpected is the coffee champagne, containing champagne, Mr Black, vodka and peach wine, as well as a house-made vanilla and coffee hand cream on the side. "Apply the cream to your hands and every time you sip the cocktail, you'll be treated to a waft of the scent," Dean & Nancy co-founder and Creative Director Andrea Gualdi says. "After we take the glass away the essence will remain and every time you use the cream, we hope you'll remember your time at Dean & Nancy and smile." Inside the hotel, a curved brass staircase leads you up to the venue where patrons are greeted by a panoramic view of the Sydney cityscape and a decadent 1950s-style hotel bar designed by architect George Livissianis. Livissianis has previously designed the likes of Chin Chin Sydney, The Dolphin Hotel and Maybe Sammy's other recent CBD venture, Sammy Junior. The 120-seat space is full of gold-veined marble tables accompanied by subdued black leather chairs. Each seat offers up show-stopping city views, so no-one has to cop the dud spot. As with both Maybe Sammy and Sammy Junior, snacking is encouraged at Dean & Nancy. In fact, on the menu created by Executive Chef Jane Strode (Bistrode, Rockpool, Langton's), you'll find a special selection of mini combos if you're looking for a light drink and bite to eat. Combine the mini martini with oyster nan jim, or mini adonis with rhubarb cheesecake. Larger meals are on hand, however, including a prawn risotto made with Meredith goats cheese and harissa made in-house. Dean & Nancy on 22 is located at Level 22, 2 Hunter Street, Sydney, 2000. It's open 4.30-midnight, Wednesday–Saturday. Bookings are available online, however bar stools are not reserved so walk-ins are available. Images: Steven Woodburn
If you were planning to get around on trains this festive season, you might have to rethink your plans. Transport for NSW has announced that sections of three Sydney train lines and one intercity line will close from Tuesday, December 24 to complete upgrades to the network. Which means, lots of replacement buses. Sections of the T3 Bankstown, T4 Illawarra Line and Blue Mountains Line will close temporarily over the holidays, while the T6 Carlingford Line will close permanently from Sunday, January 5 to make way for the new Parramatta Light Rail. The light rail will connect Carlingford to Westmead via Camellia and Parramatta's CBD, but it isn't set to launch until 2023. So, in the interim, Carlingford residents wanting to board the T1 or T2 will need to jump on a bus — the new 535, which will travel from Carlingford to Parramatta. https://twitter.com/T3SydneyTrains/status/1209051055490772992 On the T3 line, buses will replace trains between Central and Campsie from December 24–28 and between Campsie and Sydenham from December 28–January 5, while the train line is upgraded for the second stage of the Sydney Metro project. Together with the Metro North West railway line, that launched back in May, the Metro City and Metro South West will see a new railway linking Rouse Hill to Chatswood, travelling under the Sydney Harbour to the city, then down to Bankstown. Metro West will link the city to Parramatta. Track maintenance will also be performed on the T4 line, causing temporary closures between Hurstville and Central from December 24– 28. The Blue Mountains Line between Penrith and Bathurst will also close from December 26–30, and, currently, buses are replacing trains between Mount Victoria, Lithgow and Bathurst due to damage to rail infrastructure caused by the bushfires. https://twitter.com/TrainLinkWest/status/1208983251760500736 Transport for NSW Coordinator General Marg Prendergast says while upgrades are being carried out over the summer break to "minimise disruption to the community", commuters should plan ahead and allow extra travel time. To find out more about the changes and replacement buses, head to Transport for NSW. For the latest updates on traffic, including impacts from the bushfire season, head to Live Traffic NSW.
A few people are saying the Simon Pegg/Nick Frost/Edgar Wright partnership is getting tired. There might be some truth to that, but it isn't tired yet. The World's End — the third film in their 'Three Flavours Cornetto Trilogy', a series of comic genre mash-ups that also happen to feature a random Cornetto ice-cream in each one — is a whirlwind of exuberant humour it's easy to get swept up in. Sure, some of the surprise of the mash-up twist has faded since 2004's breakthrough Shaun of the Dead, but the team has also matured as actors, filmmakers and observers of the human condition. The particular human condition they're concerned with this time around is the sad state of being stuck in one's halcyon days, particularly when they're situated in high school, particularly when you're now nearing 40. Pegg plays the thusly afflicted man-child, and it's far from the loveable, self-effacing type of loser character we're used to seeing him be. As Gary King, he is a real loser, still sporting his teenage sludgy black hair and greatcoat, still driving 'The Beast' registered in someone else's name, still embarrassingly overconfident and still sleazing onto women in the loos. He's so close to being unlikeable, yet there's just enough good in him — and just a smidge of relatability — that we want him to win on his ridiculous quest to unite his high school buddies and claim the victory that should have been theirs 20 years earlier: completion of a 12-stop pub crawl known as the Golden Mile. Gary's more capably adult friends — Andrew (Frost), Steven (Paddy Considine), Oliver (Martin Freeman) and Peter (Eddie Marsan) — want out of the caper not long after arriving back in their insular home town, Newton Haven. But then they discover the place has gone Invasion of the Body Snatchers in their absence, and fighting off invading alien robot hordes takes precedence over fighting each other. All the while, following some spectacular drunk-person reasoning, they continue the course of their pub crawl to the mythic World's End bar. In some ways, The World's End doesn't feel like the final movie of the trilogy; it has the anarchic, careening, appropriately drunken energy of an early oeuvre picture, but one suspects that mood is actually harder to control than it looks. The movie is also unexpectedly mature in its human drama, teasing out the fraught relationship we have with our histories and ultimately encouraging us to go a little less hard on our past selves. There's great joy in watching The World's End, and plenty of rewards in the team's signature brand of comedy. Maybe it is time to move on from the genre mash-up, but this is a thundering way to go out. https://youtube.com/watch?v=7ibQvQUpMTg
Buckets of lilac hydrangeas, peach colombian roses and tubs of aromatic rosemary stand proud outside this Glebe Point Road store, which grabs your attention from across the street. This local florist has 25 years of experience serving passersby with freshly cut flowers to take back to their homes, or a potted plant to brighten up an office desk. The store is brimming with such reasonably priced blooms that if you're there to pick up a gift, it's likely you'll add a cluster of lavender or a single protea to your order especially for you. [caption id="attachment_776151" align="alignnone" width="1920"] Cassandra Hannagan[/caption] Head right into the back of the store for a shelf of nonliving gifts, such as soaps and candles from the French brand Sea Salt or hand creams from Panier Des Sens. There's a wall of greeting cards with Aussie themed fauna, which make for a quick add-on purchase when you're shopping for colleagues or last-minute thank yous. And if you can't make it to the store, they're more than happy to arrange for local deliveries.
The newest addition to Sydney's annual blockbuster cultural and arts festival, Vivid Food has just dropped its full program, announcing a slate of events celebrating the best of New South Wales' culinary scene — and pulling together big-name chefs from Sydney, Australia and beyond. As with the previously announced lights, music and talks programs, Vivid Food will run across the duration of the fest between Friday, May 26–Saturday, June 17. "This is a celebration of NSW food culture. If tourists are not coming to NSW for our food, they should be," said Minister for Jobs and Tourism John Graham. The lineup is multi-faceted, headlined by a two-week residency from New York chef Daniel Humm at Matt Moran's Aria. Humm, the owner of the three Michelin-starred Eleven Madison Park, a restaurant that has previously sat at number one on the World's Best 50 Restaurants list, will take over the Aria kitchen between Tuesday, June 6–Saturday, June 17. Humm and company will be offering a nine-course tasting menu for $550, and a reduced lunch menu for $395. If you want to secure your spot, tickets go on sale on Friday, April 28. Similarly, international chefs will be taking part in a range of collaborations as part of the Vivid Chef Series. Singapore's Rishi Naleendre (Cloudstreet) is working with boundary-pushing plant-based fine diner Yellow, London's Jackson Boxer (Brunswick House) teaming up with Fred's, and Jeremy Fox (Rustic Canyon and Birdie G's in Los Angeles) cooking up a series of dinners at the Ace Hotel's new sky-high Mitch Orr-led eatery Kiln. The Vivid Fire Kitchen will be keeping you toasty throughout the winter festival with a selection of the world's best pitmasters including Firedoor's Lennox Hastie, Jess Pryles of Aussie Barbecue Heroes, Dave Pynt of Singapore's Burnt Ends and Byron Bay's Pip Sumback all cooking up a storm at The Cutaway in Barangaroo. Following a successful debut edition as part of last year's Vivid, the Vivid Sydney Dinner will return to the Ivy Ballroom in 2023. Eddie Perfect will host the night with performances from Montaigne, Julian Belbachir, Christine Anu and Kate Monroe being paired with eats from Merivale Executive Chef Ben Greeno and Danielle Alvarez (ex-Fred's). Rounding out the program is Chefs on the Harbour, a view-heavy overwater dinner on the luxury superyacht The Jackson with Nel's Nelly Robinson, plus popular chefs Khanh Ong and Mark Olive; Carriagework's Warakirri Dining Experience, at which the founder of Mudgee's Indigiearth Sharon Winsor will take you through a five-course meal celebrating Gadigal ingredients; Mary's Group's one-day HERE NOW food, wine and music festival; and the Vivid Rooftop Experience 32 floors up at Aster Bar. [caption id="attachment_898422" align="alignnone" width="1920"] Aster Bar[/caption] Vivid 2023 runs between Friday, May 26–Saturday, June 17. Browse the full program at the Vivid website.
When Surry Hills' Golden Age Cinema and Bar peers backwards into film history, Sydney cinephiles should take notice: whatever it finds, curates and fashions into a new retrospective movie program, it's always a treat. The latest impressive blast from the past: Japan Underground, aka a deep dive into Japanese cinema's cult classics. J-horror? Tick. An ace recent Godzilla flick? Tick again. The most hallucinogenic forest you've ever seen, on-screen or IRL? Keep ticking. Kicking off on Friday, August 11 and screening on various dates until Saturday, October 28, this lineup is a treasure trove of Japanese features that everyone needs to watch once. Ringu, Ju-On: The Grudge, Audition, Pulse, Retribution: they all have the thrills and scares covered (and if you've only caught the English-language remakes of some of them, this is your chance to enjoy the originals). The Japan Underground program also heads back to the 60s with Funeral Parade of Roses, Branded to Kill, Tokyo Drifter, Youth of the Beast and Kwaidan. Love kaiju? Shin Godzilla and Shin Ultraman have that part of Japanese cinema covered, both sending the genre roaring into the 21st century. Also recent-ish: Beyond the Infinite Two Minutes, Funky Forest: The First Contact and its pseudo-sequel The Warped Forest, Pornostar and Videophobia. Spanning iconic directors such as Takashi Miike, Seijun Suzuki, Masaki Kobayashi and Kiyoshi Kurosawa, every title here is a must-see.
As fear grows that our professions are soon to be wrestled from us by robots, it's interesting to consider other staples of the human experience that our technological leaps are changing. Love, for instance. Griffin Theatre's final play of the year is a turbulent and madcap exploration of romantic connection — what it asks of us and what, in the current day and age, we're prepared to give. Kimberly prides herself on her self-control — she's not usually one to be sideswiped by love. So, when she meets Miles and falls completely into his thrall, several parts of her life start to catch fire at an alarming pace. This isn't a story about sweet head-over-heels love; it's an eye-opening lesson on the danger of infatuation and the importance of finding your voice. The premise is a familiar one, but writer Nick Coyle has given it more than a couple of twists and turns. Barging through genre and style boundaries, there are very few places The Feather in the Web will not go to critique society's continued obsession with coupling. See it with your partner, by all means, but be warned that you may leave alone. Feather in the Web will run from October 5–November 17 at SBW Stables Theatre. Tickets can be purchased via the Griffin Theatre website.
Sydneysiders love a market — especially one that specialises in top-notch pre-loved clothing. There's nothing like finding a quality item at a clothing market. There's the thrill of searching through the racks to stumble upon the piece, plus shopping second-hand and upcycled clothing is more sustainable than buying your clothes new. If this all sounds entirely relatable to you, head to the Second Life Markets, when the popular pop-up returns to Darlinghurst on Sunday, December 4. The event will host 100 pop-up stores boasting vintage, second-hand and upcycled clothing. Nab a Prada purse, vintage Carhartts or a pre-loved 90s tee. The stores will span all ranges of clothing with masculine, feminine and unisex pieces. The Second Life Markets run successful quarterly events across Sydney, Perth and, as of October, Melbourne. The seasonal events bring together local sellers and independent designers, as well as a heavy dose of good vibes. Check out all the exciting stallholders over at the Second Life Instagram. The market will run from 10am–3pm. Entry is $10 and in the sustainable spirit of the market, it's asked that you bring your own reusable shopping bag(s) with you on the day.
Another year, another new version of Cinderella. Some stories just can't stay away from the screen, and this is one of them. Filmmakers have been drawn to the fairy tale since the silent era, resulting in beloved animated flicks, playful takes on the tale such as Ever After and Ella Enchanted, and Disney's 2015 live-action adaptation. Arriving next, and soon: a new musical that combines glass slippers and pining for a better life with singing, dancing and a fairy godparent named Fab G — with the latter played by Pose's Billy Porter. This version of Cinderella stars singer Camila Cabello as the titular character, while The Craft: Legacy's Nicholas Galitzine plays Prince Robert. Also popping up: Idina Menzel (Frozen II) as Cinders' stepmother, Minnie Driver (Starstruck) and Pierce Brosnan (Eurovision Song Contest: The Story of Fire Saga) as the king and queen, and Romesh Ranganathan (Staged) and James Corden (The Prom) as both footmen and mice. The latter is a producer, too, and came up with the idea for the film, while Pitch Perfect writer and Blockers helmer Kay Cannon sits in the director's chair. Clearly, if a new version of Cinderella doesn't hit the screen every few years, Hollywood must turn into a pumpkin. While musical takes on the tale aren't new — see also: the stage version that's slated to hit Australia — this one is set to feature pop songs. So, you'll be seeing Cabello, Menzel and company singing tracks you know, as well as crooning their own new original tunes. Just how that'll turn out will be revealed on Amazon Prime Video on Friday, September 3, with the film originally slated for a cinema release, but then snapped up by the streaming platform instead. In both the initial first-look trailer and a just-dropped first new sneak peek, there's plenty of songs, colour and empowerment. Cinders won't stand for her stepmum's terrible treatment, or for simply being a dutiful princess when she hits it off with Prince Robert. There's also humour in this version, crucially, including around Fab G and the abilities that come with being a fairy godparent. "Do you want to go to that ball?" asks Fab G, to which Cinders replies: "yes, I was just crying and singing about it like two minutes ago". Check out the latest Cinderella trailer below: Cinderella will be available to stream via Amazon Prime Video from Friday, September 3. Top image: Kerry Brown.
Winter is upon us, the gloves and beanies are out of storage, and it's time to start loading up on sweets and carbs. That's how every June starts — and, this year, Krispy Kreme wants to help with the latter. How? By giving away an extremely excessive number of doughnuts. You're probably now wondering what constitutes an excessive amount of doughnuts. No, polishing off a packet by yourself doesn't count, at least in this instance. Krispy Kreme's giveaway is going big, with the chain slinging 10,000 original glazed doughnuts on Friday, June 7 in conjunction with National Doughnut Day. Whether or not you're a big fan of food 'days', we're guessing you are quite fond of free doughnuts. To snag yourself a signature glazed freebie, head to your closest Krispy Kreme store, with Sydneysiders able to hit up 18 spots stretching from Penrith to the CBD. The National Doughnut Day deal isn't available anywhere other than Krispy Kreme stores, or via online orders or third-party deliveries. There's also a limit of one freebie per person, and the giveaway only applies to the original glazed variety. The 100,000 doughnuts will be spread across the participating stores around the country, so you'll want to get in relatively early if you want to kick off your Friday with a free sweet and doughy treat. Obviously, whether you nab one or not is subject to availability.
Almost five years after the NSW Government first announced the Powerhouse Museum's potential move to Parramatta, the new Western Sydney museum's designs have been revealed. Featuring rooftop greenery and two rectangular white towers, the winning design is a collaboration between French architect firm Moreau Kusunoki and Australia's Genton. It was chosen by an international jury from a pool of 74 designs, submitted from 20 different countries. Set to be part of an expansive new 24-hour arts and cultural precinct beside the Parramatta River, Powerhouse Museum 2.0 already has a short history tarred by controversy. A 2017 parliamentary inquiry into the Ultimo museum's relocation labelled the move an "act of vandalism" and there has been community uproar about the decision to demolish two heritage-listed buildings to make space for the new museum. While the Parramatta Museum will predominantly be built on the site of a disused car park, according to the ABC, an 1800s heritage villa and and St George's Terraces will also be razed for its construction. NSW's Shadow Minister for the Arts Walter Secord has also labelled the new design a "monstrosity on stilts". Initial estimates for the museum's controversial relocation and construction have been set at around $645 million, although the SMH has reported that figure is more likely to be $1 billion. Despite the controversy and hefty price tag, the government is forging ahead with the museum's relocation, which Minister for the Arts Don Harwin is calling "the largest investment in arts and cultural infrastructure since the Sydney Opera House". It'll be the first major NSW cultural institution based in Western Sydney, too, and it's hoped 60 on-site residential studios will attract leading scientific researchers from across the world. When plans for the new museum were first announced last year, they included 18,000 square metres of exhibition and public spaces, dedicated play areas and education labs, state-of-the-art exhibition halls and the country's largest planetarium, clocking in at 30 metres wide. We're hoping the latter has made it into the new design. The Powerhouse Museum isn't Sydney's only major arts organisation undergoing a major shakeup, either — the Australian Museum is in the midst of a $57.5 million revamp, and is set to reopen in mid-2020. The Powerhouse Museum, at 500 Harris Street, Ultimo, will remain open to the public until June 30, 2020, with staged closures running thereafter. The new Parramatta museum is slated to open in 2023.
They played a couple in Drive opposite Ryan Gosling (The Fall Guy). They bickered their way through New York's 60s-era folk scene in Inside Llewyn Davis, too. Now, after teaming up for acclaimed filmmakers Nicolas Winding Refn and the Coen brothers, Oscar Isaac (Spider-Man: Across the Spider-Verse) and Carey Mulligan (Spaceman) are reuniting on-screen again, this time to lead the cast in Netflix's feuding anthology series Beef. A second season of the acclaimed show is officially on the way, so get ready for more grievances. This time, the new eight-episode run will focus on a young couple who sees a fight between their boss and his wife, and the aftermath, which takes the drama into a country club as well. Everyone has petty feuds. That's one of the truths behind the the Golden Globe-, Emmy-, Gotham, Screen Actors Guild Award-, Independent Spirit Award and Producers Guild Award-winning series, which brought squabbling strangers into everyone's streaming queues in 2023 and became one of the best new shows of the year in the process. Beef was initially meant to be a once-off, but plenty more people could always disagree, argue and hold grudges on-screen — and, soon, some more will. Earlier in 2024, Jake Gyllenhaal (Presumed Innocent) and Anne Hathaway (The Idea of You) were rumoured to be starring in Beef's second season, which would've been a reunion for them as well — see: Love & Other Drugs and Brokeback Mountain — but Isaac and Mulligan are doing the honours instead. Back then, it was also reported that Cailee Spaeny (Priscilla) and Charles Melton (May December) could be among the cast that's taking over from Steven Yeun (Nope) and Ali Wong (Paper Girls), with that part still happening. If you missed season one of the Lee Sung Jin (Dave)-created Beef, it followed Danny Cho (Yeun) and Amy Lau (Wong) after they got in a fender bender, then neither handled it well. Cue a feud that they can't shake, infiltrating their lives and relationships. If their quest for revenge each other just fizzled out, there obviously wouldn't be a series. Part of Beef's ongoing beef in season one stemmed from a comedy staple: putting opposites together and seeing what springs. Danny is struggling as a contractor and isn't happy about it, while Amy lives a seemingly idyllic life thanks to her success as an entrepreneur. They both share a need to get back at each other, though — and to see through their clash to the end. Lee is back for season two as the show's creator, while Yeun and Wong are onboard as well as executive producers. There's obviously no trailer yet for the second season, but check out a clip from Beef season one below: Beef season two doesn't yet have a release date — we'll update you when more details are locked in. Beef season streams via Netflix — read our review. Top image: The Card Counter, courtesy of Focus Features / ©2021 Focus Features, LLC.
'Nduja, chestnut puree, Kakadu plum hand cream, red gum smoked salt — they're not the types of products you'd normally expect to find in a local grocer. But you can at this Surry Hills institution. The family owned store has been servicing the neighbourhood for over a decade. It prides itself on stocking gourmet varieties of some of your pantry staples, plus a few harder-to-find or rare items from local and international producers. It's only a small space on the corner of Crown and Foveaux Streets, but it certainly jams as much as possible in. You'll find everything from fresh fruit and veg, premade meals and Iggy's Bread to aisles of dry products — think pasta, sauces, tea and coffee. And in a cosy corner up the back is the deli, which stocks imported European cheeses and an impressive range of cured meats. Images: Cassandra Hannagan
It's not every festival feels like a country weekend fete that just happens to be headlined by say, Courtney Barnett. Fairgrounds, Australia's country boutique camping festival descends on the small NSW town of Berry each December. Taking over the local Berry Showgrounds, Fairgrounds boasts all the trimmings of a major music festival with the essence of a local fair. And this December, it's back for another two-day round. Running over November 30 and December 1, the two-day festival is making a triumphant return. In a huge coup for the small festival in its third year, they've secured big time festival favourites Courtney Barnett and Vance Joy to headline, alongside local legends Pond, Winston Surfshirt and more. Oh, and British punk poet Billy Bragg, US alternative rock band The Breeders and Zambian hip hop singer Sampa the Great will also join the lineup from across the globe. With a strong focus on the local NSW South Coast area, Fairgrounds isn't just about the tunes. Last year local nosh, market stalls and the local swimming pool played equally starring roles at this multifaceted festival — something we're sure made Berry residents pretty happy. Between dips in Berry's local pool (within the festival grounds), punters feasted on local delights, including fresh rock oysters harvested less than half an hour from the festival site. The festival's super-popular long-table dinners will return, too, which take place overlooking the live music. But we know what you're here for. Here's the full lineup. FAIRGROUNDS 2018 LINEUP: Vance Joy Pond Rolling Blackouts C.F. Saba Body Type Oh Pep! Tia Gostelow Courtney Barnett Billy Bragg Winston Surfshirt The Breeders Sampa the Great The Teskey Brothers Waxahatchee Kevin Morby Maddy Jane Carla Geneve Fairgrounds runs November 30–December 1 at Berry Showgrounds, NSW. Tickets on sale from Moshtix at 10am, Monday, August 13. Festival entry starts at $110, with camping $230. Image: Ian Laidlaw and Gabriel Vallido
The year of the tiger is almost upon us (goodbye year of the ox, go sleep it off), and the festivities are starting to pick up. And what's the best way to partake in the celebration? We've got it right here — and it'll make you happier than a hungry big cat. From Monday, January 24, dumpling master Din Tai Fung is offering new limited edition chocolate and biscoff tiger buns and, like the chain's usual annual Lunar New Year special, they're ridiculously cute. They're buns with little tiger faces — how could they be anything other than adorable?. Din Tai Fung is famous for its dumplings, and is known to release eye-catching novelty varieties for special occasions (check out these adorable little monkey buns from 2016, pig bao from 2019 and masked ox buns from last year). The new tiger buns are stuffed with a sweet filling of molten chocolate, which oozes out when you squeeze them, and the cookie crumb spread that is biscoff. The tiger buns are available for $8.80 for two at Din Tai Fung restaurants and food court outlets in Sydney, so you'll want to hit up its World Square, Westfield Chatswood, Westfield Miranda, Westfield Sydney, Broadway Shopping Centre, Gateway Sydney, The Star, Greenwood Plaza, Martin Place and Marrickville venues. In Melbourne, you have one spot to head to, with the buns on offer at Emporium Melbourne. They're also available for delivery both separately (for $12 for three) and in the chain's big frozen Lunar New Year hampers (for $108) — also from Monday, January 24. The only problem we can foresee with the cute Din Tai Fung dish? Eating those sweet little tiger faces may be hard… but we're sure you'll manage it. Chocolate and biscoff tiger buns are available from Din Tai Fung's stores in Sydney and Melbourne, and also via delivery, from Monday, January 24. Head to the chain's website for further details or to order.
Baz Luhrmann, the internet's current poster boy for excess and anal-retentiveness, thinks so. It came as no surprise to the millions of die-hard Gatsby fans that the bloke who made Moulin Rouge! (and oh did that film earn it's exclamation mark) and this scene was going to make something bordering on the bombastic and the flamboyantly camp. And with the film already finding itself in the firing line for its "flimsy phantasmagoria" and resemblance to a "Macy's Thanksgiving Day Parade as staged by Liberace", it seems fair to say that The Great Gatsbywill fit like a glove within Luhrmann's filmography. Yet for a man that seems to have spent his career baulking at the notion of "subtlety", Luhrmann is capable of some surprising poignancy. Take for instance this little gem taken straight from the horse's mouth, about his decision to employ walking billboard and hip hop demigod Jay-Z as his soundtrack producer: "In our age, the energy of jazz is caught in the energy of hip hop." In vintage Luhrmann style, Baz has taken this assumption to its most extreme realisation, with a soundtrack that includes the likes of Fergie, Andre 3000, Nero and (cue the sounds of a thousand sinking hearts) will.i.am. But is Luhrmann onto something here? Is hip-hop the 21st Century equivalent of jazz music? In a recent Flavorwire article, Tom Hawking answered this question with a resounding 'oh hell yeah'. He argued that regardless of what you may think of the quality of the film's music, the soundtrack manages to encapsulate what an extravagant Gatsby party might actually feel like if it was thrown today — completely overblown, obsessed with its own sense of retro-ness and filled with the sort of mega-sized beats that are sure to get any self-respecting 19-year-old gyrating. There are some other obvious parallels between F. Scott Fitzgerald's jazz age and Luhrmann's hip-hop generation. Most notably, both these musical styles are deeply rooted in black culture and history, originating in the clubs, ghettoes and basements of Harlem and the Bronx. Yet from these humble beginnings, both jazz and hip hop have suffered a similar process of bastardisation, transforming from black cultural icons, into packageable, mass-producible commodities that rich white folk can consume. And it is here that Luhrmann might be right on the money. Not only has Luhrmann's soundtrack got all the hallmarks of a cashed-up, Long Island party but it has all the vapidity and disposability of such a party as well. Take for instance Beyonce and Andre 3000's aping of Amy Winehouse's darkly melancholic 'Back to Black' into an overproduced mess of showy vocals and grizzly bass lines. In this song alone we have both the success and failure of the soundtrack all contained in one. While the song is initially gratifying, it is ultimately empty and insubstantial. And this is exactly what Gatsby taught us about the opulence and decadence of the jazz age. It was beautiful and incredibly intriguing but ultimately fleeting and meaningless. The perfect analogy for what Fitzgerald saw as the great American lie: the American Dream. As such, The Great Gatsby soundtrack is big, it's bold and it's infrequently magnificent (Jack White's cover of U2's 'Love Is Blindness' manages to grip at your nerve ends and give them a toe-curling squeeze) but just as often it is just plain dumb. So in answer to our original question, is hip hop the 21st-century equivalent to jazz music? Yeah, Jay-Z may be the closest thing we have to a modern-day Jay Gatsby, but in a much darker vein perhaps it is the decline of these genres from cultural icons to products of a commercialised and materialistic society that makes them so alike. How very Gatsby that is. https://youtube.com/watch?v=5snA5TEse9w
Comedian Kyle Ayers was enjoying the view from the rooftop of his New York City apartment one day with some neighbours when a couple in the midst of a heated squabble suddenly appeared. So what did Ayers do? Politely look the other way and mind his own business? Of course not. Like any good social (media) Samaritan, he whipped out his smartphone and started tweeting about the whole ordeal. His series of live-tweets of the couple's retorts caused quite a buzz in the Twittersphere and was traceable by the fitting tag, #roofbreakup. He started the sequence on Saturday evening, saying "A couple is breaking up on my roof right now. I was just trying to enjoy the view. Now I will live tweet the breakup." Rapidly reporting the exchange between 'guy' and 'girl' (who we later learnt was named Rachel), Ayers captured their dislikes of friends, questions of moving in together and accusations of infidelity. Highlights include: "Say something else about my fucking wardrobe" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "I'm not looking for marriage, just what's right below marriage" -girl #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "Your roommates are fucking assholes" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "You think I'm immature? Calling people immature is immature!" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "Do you love me?" -girl (OH BOY HERE WE GO, PEOPLE) #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "My roommates are always like 'wheres your boyfriend?' And I'm like 'hmm' and stuff." -girl #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 This guy is four cigs deep right now. #roofbreakup #teamrachel — Kyle Ayers (@kyleayers) November 17, 2013 "I don't think we need to talk about this up here with some random guy over there." -guy (uh oh, I'm that guy over here) #roofbreak — Kyle Ayers (@kyleayers) November 17, 2013 "He's just sitting on his fucking phone he doesn't care (talking about me). Answer my question." -girl (hahahahahahaha) #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 and the royal cherry on top: "Are we getting pizza or what? I don't mean to change the subject but are we?" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 The guy, who was furiously chain-smoking the entire time, finally declared "I'm not talking about love on a roof in Brooklyn." Clearly, this is the 21st century's adaptation of Clark Gable's famous retort, "Frankly, my dear, I don't give a damn." How debonair. Read the full #roofbreakup tweets on Storify. Via Huffington Post.
One-stop shopping. Other than 'Christmas cocktails', these might be the best words anyone can come across during festive season. Here's one way to make that glorious phrase even better: one-stop shopping that covers every different type of friend you have. Because everyone likes making the merriest time of year as stress-free as possible — yes, even gathering gifts for the gang — we've teamed up with the MCA Store at the Museum of Contemporary Art Australia to create a one-stop shopping list for all your mates. The pal who doesn't even remember it's Christmas? Yep, they're covered. The friend who won't stop telling you about everything they've cooked this year? Them too. Art lovers of all tastes and interests? Sorted. And, if you get in quick, you can score a 15-percent discount during the MCA Store's holiday shopping weekend happening in-store and online between Friday, November 26–Sunday, November 28 (and online only on Monday, November 28, too). [caption id="attachment_834238" align="alignnone" width="1920"] More than Memory, MCA Store, 2021. Photograph: Anna Kučera.[/caption] YOUR FRIEND WHO NEVER REMEMBERS ANYTHING: MORE THAN MEMORY ($34.95) Whether it's coming from your mum or a self-help book, the best advice for improving one's memory is simply to use it — and often. So, for that friend who is happily defined by their forgetfulness (happily for them, at least), this ten-in-one games kit is an ace way to give their grey matter a nudge. More Than Memory features 72 cards all decked out with 36 vibrant Shirley Purdie artworks stemming from Goowoolem Gijam – Gija plants (2013–16). And, as the name makes plain, your pal won't just be shuffling them around, placing them on the table and playing the obvious game. This pack also comes with instructions on how to play Counting Cards, Create a Story, Describe & Draw and Finding Colours, as well as Guessing Games, Identifying Plants, Quick Draw and Sequence Master. FOR YOUR FRIEND WITH A CAMPERVAN: WELCOME TO COUNTRY: A TRAVEL GUIDE TO INDIGENOUS AUSTRALIA ($39.99) If your friend is planning to get motoring in their very own campervan this summer, then they're probably intending to hit up more than just the usual tourist spots. You don't commit to living the van holiday life if you're just going to head to the same old beaches. Professor Marcia Langton's Welcome to Country won't just send your pal off the beaten track. The award-winning travel guide will also help them pair their trips with knowledge about whose Country they're on as they travel. The respected elder has penned a thoughtful exploration of Indigenous culture, and compiled a handy state-by-state (and territory) rundown of First Nations tourism experiences. Galleries, festivals, tours, performances — they'll all be on your mates' holiday list now. [caption id="attachment_834245" align="alignnone" width="1920"] Dolly Parton brooch, MCA Store, 2021. Photograph: Anna Kučera.[/caption] FOR YOUR MATE WHO IS DOLLY PARTON-OBSESSED: DOLLY BROOCH ($29) Next time your bestie tumbles out of bed, stumbles to the kitchen and pours themselves a cup of ambition — on their way to working nine to five, naturally — help them do it while wearing a Dolly Parton brooch. Handmade on the south coast by Emma Lee, this bamboo piece features the Nashville icon's shimmering likeness, so the whole world will know just how much your pal adores Parton. There's never a bad time to literally wear your love of Dolly on your person. Plus, if your friend happens to be named Jolene, you obviously have to buy them this. Do it and they'll always love you. [caption id="attachment_834233" align="alignnone" width="1920"] Hightide Hourglasses, MCA Store, 2021. Photograph: Anna Kučera.[/caption] FOR YOUR FRIEND WHO IS ALWAYS LATE: HIGHTIDE HOURGLASSES ($19.95–49.95) Everyone has one: the pal whose relationship with time resembles something out of a sci-fi movie. You can't buy them a time-travelling car or phone booth, of course, but you can gift them a Hightide hourglass. These glass pieces make a stunning addition to any shelf or coffee table. And, as well as coming in different hues to match most decorating schemes, they also span four sizes, with the small version filled with three minutes worth of sand, the medium covering five minutes, the large hitting 15 minutes and the extra-large whiling away half an hour. With this gift, they'll have no excuse to rock up late to Friends-mas dinner next year. [caption id="attachment_834236" align="alignnone" width="1920"] Printworks Sweden[/caption] FOR YOUR FRIEND WHO LOVES THE QUEEN'S GAMBIT: CHESS SET ($49.95) This time last year, we all binge-watched The Queen's Gambit, found a drama about chess far more thrilling than we initially expected and also wondered if we were secretly chess grandmasters ourselves. One of your friends went further than that, though, didn't they? Got a mate who organised a boozy chess party or kept talking about their moves during your lockdown zoom calls? This one's for them. Buying them a chess set might sound like the most straightforward option there is, but if you pick a stylish board, you're getting them a gift that's both practical and elegant. Printworks Sweden's blue-and-white solid-wood set ticks those boxes. So, you now have chess games by the pool in your future since your friend will need someone to play with, obviously. [caption id="attachment_834246" align="alignnone" width="1920"] Tjanpi Desert Weavers, Learn to Weave Kit, MCA Store, 2021. Photograph: Anna Kučera.[/caption] FOR YOUR FRIEND WHO ALWAYS NEEDS TO KEEP THEIR HANDS BUSY: LEARN-TO-WEAVE KIT ($49.95) You know that mate who organises every group hang? Who mastered ten new skills during lockdown? Who just can't sit idly by, and always has to be doing something? We'd bet they'd love to learn to weave. This is the kind of gift that really does keep giving, because you're helping your pal discover a new talent and giving them a pastime they can practice for life. And yes, it does mean that you're likely to be given handmade baskets as presents in return next Christmas. The Tjanpi Desert Weavers kit will teach your friend to weave just like the artists from the First Nations-owned social enterprise, and comes with everything they need to embrace their new hobby. That includes raffia — both in a natural hue, and in different colours — and an industrial sailmakers needle. They'll even get access to a weaving tutorial video to get them started, too. [caption id="attachment_834247" align="alignnone" width="1920"] Wah-Wah X Kaylene Whiskey, image courtesy Iwantja Arts. Photograph: Simon Eeles.[/caption] FOR YOUR FASHIONABLE FRIEND WHO THINKS COMFORT IS KEY: WAH-WAH X KAYLENE WHISKEY JUMPER ($260) When is a jumper more than a jumper? When it's also a piece of art. And, when it comes to this striking number, it's also a celebration of an Indigenous artist — that'd be Kaylene Whiskey of Iwantja Arts, which is located in the remote Indulkana Community on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands of South Australia — and her eye-catching images of strong women and pop icons. Fashion enterprise Wah-Wah has taken Whiskey's designs, emblazoned them across Aussie merino wool and turned the whole thing into a limited-edition piece. Sure, summer isn't traditionally the season for woollies, but with the expected cooler summer that's about to hit, this piece might come in handy sooner than expected. [caption id="attachment_834672" align="alignnone" width="1920"] School of Life, I'm a Mess Apron, MCA Store, 2021, photograph: Anna Kučera[/caption] FOR YOUR FRIEND WHO IS ALWAYS TRYING EXPERIMENTAL RECIPES: I'M A MESS APRON ($49.95) Cooking is messy. Life is messy. They're two truths that aren't ever going to change. And, that friend who is so into cooking that they're always turning their dishes into experiments — even more so during the past two lockdown-heavy years — definitely knows it already. So, consider this a leaning-in kind of gift. The School of Life's 'I'm a Mess' apron is the perfect present for someone who is well aware of how chaotic their days — and their kitchen habits — can be, and wouldn't have it any other way. Sure, cooking up a storm is messy, but you don't always have to literally wear the splattered evidence on your clothes. [caption id="attachment_834234" align="alignnone" width="1920"] MoMA Geo Pattern Domino Set, MCA Store, 2021. Photograph: Anna Kučera.[/caption] FOR YOUR FRIEND WHO IS A KID AT HEART: MOMA DOMINO SET ($79.95) As the whole world realised over the past two years, you never really grow out of playing with board games. That covers new and old games alike — especially when a set of dominoes happens to look good enough to frame. Certain to keep your young-at-heart friend occupied for hours (dominoes is a great game to play over drinks), these blocks hail from New York's Museum of Modern Art, so they were always going to be stylish. Made from sustainably grown rubberwood and housed in their own red box, they're covered in geometric compositions that take their cues from cubist art, high-contrast colour pairings and abstract modernism. [caption id="attachment_834232" align="alignnone" width="1920"] Doug Aitken: New Era exhibition catalogue, MCA Store, 2021. Photograph: Daniel Boud.[/caption] FOR YOUR FRIEND WHO IS INTO VIDEO ART: DOUG AITKEN: NEW ERA CATALOGUE ($70) Get the right person the right gift, and you won't just show your friend that you care — you'll demonstrate that you really know them. That's what makes the Doug Aitken: New Era catalogue such a winner for lovers of video art. You know your pal has already scoped out the MCA's exhibition, or they're planning to. So it's a no-brainer that they'll probably pour over this collection of interviews and image plates for years to come. Edited by exhibition curator Rachel Kent, the catalogue dives into Aitken's creative thinking, helping your mate appreciate and understand the celebrated American artist's work inside-out. It also looks impressive on a coffee table, if your friend is a fan of turning their reading materials into conversation pieces. [caption id="attachment_834248" align="alignnone" width="1920"] MCA Members. Featured: Noa Eshkol, installation view, 20th Biennale of Sydney, Museum of Contemporary Art Australia, 2016. Image courtesy and © the Noa Eshkol Foundation for Movement Notation, Holon. Photograph: Jacquie Manning.[/caption] FOR YOUR FRIEND WHO HAS EVERYTHING: MCA MEMBERSHIP ($50–160) Things are great. We all love things. We all have plenty of them, though. And, many of us have ordered a heap more things over the past two years so adding more stuff to your mate's pile may be not be appreciated. Now that life is returning to normality, we're all craving experiences. And, there's nothing quite like spending time in an art museum, peering intently at the lively pieces on the walls and communing solely with artistic creations. With an MCA membership, your pal can experience art all year round. Plus, this gift supports the MCA, so you're giving it a nice little pressie as well. To give your mates any of the above items for Christmas, or find other creative gifts, visit the MCA Store in-person at the MCA, Tallawoladah, Gadigal Country, 140 George Street, The Rocks — or shop online at store.mca.com.au (just be sure sure to check out shipping dates). Top image: MCA Store, 2020. Photograph: Daniel Boud.
Much of Marrickville's Victoria Road is proposed for development, with an 18-hectare area between Enmore Road and Sydenham Road currently under rezoning consideration. If it receives approval, it won't just see an influx of mix-used developments — featuring residential, retail and commercial components, as well as open spaces — but also, around Rich Street, a hub for creatives and artists. Across three multi-storey buildings spanning 13,000 square metres, the Rich St proposal endeavours to bring together fledgling businesses, established arts operators and more, over a range of creative fields. Catering to around 500 artists, onsite work space will be flexible to encourage interaction, with the project receiving input from artists and industry leaders from the local community. According to the development website, it aims to create "a permanent home for the creative industries, start-ups and the arts, that builds upon the existing established culture in Marrickville." Located beside and behind The Factory Theatre, Rich St will also turn the site's current warehouses and timber yard into public parkland, as well as cafes, an exhibition space, a potential openair screening space and a rooftop bar. While it's still a matter of it, rather than when, it comes to fruition — amid concerns about the vast development plans in the area — there's no doubting that it'll prove a huge change for Marrickville if it goes ahead. For more information about the proposed Rich St development, visit the project website. Via Domain. Images: Rich St.
While the original Golden Century sadly closed its doors last year, the rest of its stable of Cantonese restaurants is still going strong with The Century at The Star, XOPP and now, a second Darling Square restaurant that's focused on traditional Cantonese barbecue. The newly opened Golden Century BBQ sees the group lean into a more casual dining experience that's more akin to the maiden venue, while also highlighting the beauty of barbecued meats. "We want our customers to feel like they're eating at a restaurant without actually having to dine inside a restaurant," Golden Century Group's Billy Wong said. The new restaurant is open for lunch and dinner six days a week, set inside Darling Square's Exchange Building on the level below XOPP. Highlights on the menu include roast duck accompanied by rice or noodles, barbecued char siu, and a variety of dim dum created in-house and steamed to order. The real table-pleaser is likely to not even be a main menu item, but the XO pippies sauce that you can order as a $4 side to bring that signature Golden Century kick to any dish. When Golden Century's Sussex Street home closed last year after more than three decades, owners the Wong family took the opportunity to revamp XOPP, bringing it closer to the experience of the original, beloved restaurant. "XOPP at Darling Square has reopened with the installation of live seafood tanks and a new menu more aligned to the original Golden Century," Billy Wong told Concrete Playground at the time. "We listened, and many of our chef and front-of-house team members have joined from Sussex Street to continue serving our customers their GC favourite dishes." Now with the addition of this more casual barbecue eatery, Darling Square has become a one-stop-shop for any Golden Century fans. Golden Century BBQ is located at 1 Little Pier Street, Haymarket. It's open 11.30am–8.30pm Wednesday–Monday.
If your idea of a relaxing pastime involves moseying through Australia's picturesque landscape by foot, bike or horse, then add the Brisbane Valley Rail Trail to your must-visit list. Spanning 161 kilometres, it runs through southeast Queensland from Wulkuraka, west of Ipswich to Yarraman in the Great Dividing Range. And, with its final stage completed and opened this month, it's now Australia's longest continuous hiking, cycling and horse riding trail — exceeding the Great Victorian Rail Trail's 134 kilometres in length. Inaccessible to cars, the track follows the now-defunct Brisbane Valley railway line, which dates back to the 1880s. Upon closing to trains in 1991, it was converted to a recreational trail; however the final link between Toogoolawah and Moore has only just come to fruition through $3.354 million in funding from the federal, Queensland and local governments. Visitors can now make their way through an array of scenery — including farms, country towns and bushland — across the trail's entire expanse, with the track winding through the likes of Fernvale, Lowood, Esk, Toogoolawah, Moore, Linville, Blackbutt and Yarraman, and including both coffee stops and campsites along the way. Further work is planned along the trail, including a $4.5 million upgrade to the heritage-listed Lockyer Creek Railway Bridge. Image: Brisbane Valley Rail Trail Users Association Inc.
When BrewDog created its own craft brew for dogs back in 2018, it was one of those moments that really just had to happen. If you're going to give your brewery a canine-centric name, you're going to have to come good on it at some point. So, by whipping up an IPA solely for woofers, the Scottish beer brand did just that. Again, it was inevitable — BrewDog was started by a couple of friends and a dog, after all. That's not all that the company has in store for pupper-loving craft brew fans and their four-legged best friends, though. Now, during a period when every pet owner has been enjoying more quality time with their furry companions — and really needing the company, let's be honest — BrewDog is launching new Dogkeeper packages. In fact, it's doing more than that. It's also giving 50 of the Dogkeeper packages away for free, too. The brewery is calling the giveaway a 'scheme'; however, it's really just a chance to win one of the packs. You just need to upload a photo of you and your doggo to Instagram by Wednesday, September 2, tag in #BrewDogKeeper and @brewdogau, and explain why your cute pooch has been oh-so helpful during this chaotic year. That last part shouldn't be difficult at all. On offer — and also available to buy via BrewDog's freshly minted Australian online store from Monday, August 31 — is the full selection of the company's Aussie-brewed beers. Each Dogkeeper package is $25 and includes the brand's Punk IPA, Hazy Jane New England IPA, Elvis Juice grapefruit-infused IPA and West Coast-style pale ale, which are all for humans, as well as the Subwoofer IPA that's especially for your canine. As Brisbanites all know — and beer aficionados across the rest of Australia have been envious about as well — BrewDog set up its first Aussie brewery in Brisbane in 2019. That's where it's making its brews locally and, via its new online store, will be sending them around the country. Delivery costs $15, no matter the size of your order or your location. BrewDog's Dogkeeper packs will be available to purchase for $25 via the Aussie online store from Monday, August 31. To go in the running to win one of 50 free packs, upload a photo of you and your dog to Instagram by Wednesday, September 2, tag #BrewDogKeeper and @brewdogau, and explain why your pooch has been especially helpful in 2020.
Taylor Swift has already played Australia in 2024, as the entire country knows. Billie Eilish will hit the country's stages in 2025. Arriving in-between: Olivia Rodrigo, with the former Disney talent — see: Bizaardvark and High School Musical: The Musical: The Series — bringing her huge GUTS world tour Down Under in October 2024. When we say huge, we mean it. With the addition of four Aussie dates alongside new gigs in Bangkok, Thailand, Seoul, Hong Kong, Tokyo and Singapore, the tour now spans 82 concerts around the globe. In Australia, Rodrigo has a two-night date with Melbourne and then another two with Sydney. Fans elsewhere, you'll be needing to travel. Touring in support of her second studio album that's also called GUTS, three-time Grammy-winner Rodrigo is hitting Rod Laver Arena Wednesday, October 9–Thursday, October 10 to start her Aussie visit. The next week, from Thursday, October 17–Friday, October 18, she'll play Qudos Bank Arena. In both Sydney and Melbourne, New Zealand singer-songwriter Benee will also take to the stage in support This is 'Drivers License', 'Good 4 U' and 'Vampire' singer Rodrigo's first arena tour, as well as her first tour Down Under — and she'll have her debut album SOUR to work through as well. The GUTS tour started in Palm Springs in February, saw Rodrigo do four shows at Madison Square Garden in April, and is currently making its way around the UK before heading to Europe, back to the US, then to Asia and Australia. Olivia Rodrigo GUTS World Tour 2024 Australian Dates: Wednesday, October 9–Thursday, October 10 — Rod Laver Arena, Melbourne Thursday, October 17–Friday, October 18 – Qudos Bank Arena, Sydney Olivia Rodrigo is touring Australia in October 2024. Ticket presales start at 1pm on Wednesday, May 15, and general sales at 1pm on Thursday, May 16 — head to the tour website for further details. Images: Chris Polk, Polk Imaging.
UPDATE, December 17, 2022: Strange World opened in cinemas on Thursday, November 24, and streams via Disney+ from Friday, December 23. In the Disney: The Magic of Animation exhibition that's doing the global rounds, including not one but two stops Down Under so far, spectacular concept art is the star. Walt Disney Animation Studios has made 61 films to-date, a selection of which are celebrated throughout the eye-catching showcase — and it's the intricately drawn and painted images used to help finalise the look of Fantasia, Bambi, Alice in Wonderland, Sleeping Beauty, The Little Mermaid and more that truly shimmer. That's the magical art behind the on-screen art, with every piece proving stunning when framed on a wall. So would the work behind Strange World, the Mouse House studio's latest movie. Actually, so would each image of its titular realm in the big-screen end result. Even by Disney animation standards, saying that this flick is visibly dazzling is a hefty understatement Strange World needs to be a visual knockout; when a title nods to an extraordinary and otherworldly place, it makes a promise. Director Don Hall and co-helmer/screenwriter Qui Nguyen, who last worked together as filmmaker and scribe on the also-resplendent Raya and the Last Dragon, meet that pledge with force — aka the movie's trademark approach. Strange World goes all-in on hallucinogenic scenery, glowing creatures and luminous pops of colour (pink hues especially) that simply astound. Indeed, calling it trippy is also an understatement. The picture is equally as zealous about its various layers of messaging, spanning humanity's treatment of the planet, learning to coexist with rather than command and conquer our surroundings, and navigating multigenerational family dynamics. A feature can be assertive, arresting and entertaining, however, because this is. Clade patriarch Jaeger (Dennis Quaid, Midway) can also be described as strong-willed and unsubtle, much to his son Searcher's (Jake Gyllenhaal, Ambulance) frustration. In the mountainous land of Avalonia, the former is a heroic explorer intent on seeing what's on the other side of those peaks — a feat that's never been achieved before — but the latter pleas for staying put, spotting a curious plant on their latest expedition and wanting to investigate its possibilities. Doing anything but bounding forth isn't the Clade way, Jaeger contends, sparking an icy father-son rift. Jaeger storms off, Searcher goes home, and Avalonia is revolutionised by pando, the energy-giving fruit from that just-discovered plant, over the next quarter-century. Then, in a locale that now enjoys electricity, hovering vehicles and other mod cons, the natural resource suddenly seems to start rotting from the root. Hall and Nguyen introduce their story in perky, pithy, old-school newsreel-style, with a tone-setting montage of Jaeger and Searcher's past adventurous feats — more of which can only follow. As much as Searcher rallies against retracing his father's footsteps and openly resents the expectation that traversing the land is in his blood, the pando crisis means he's the obvious choice to join President Callisto Mal (Lucy Liu, Death to 2021) on a journey down deep to see what's going on. Over the last 25 years, Searcher has become a husband to pilot Meridian (Gabrielle Union, Truth Be Told) and a dad to 16-year-old Ethan (Jaboukie Young-White, Only Murders in the Building), though, and is content in his farmer life. In contrast, the youngest Clade is raring to go, stowing away for the trip. That said, Ethan does share his father's yearning to want for embracing his own calling, rather than merely towing the family line. From the moment that Strange World's adolescent point of focus would rather be flirting with his cute crush Diazo (Jonathan Melo, American Horror Story) than doing his pando chores, the feature's history-repeating storyline is apparent. 'Tis the year for both Disney and cinema in general to address the weight assumptions that parents put on their kids, plus the pressure to chart a prescribed path, as Pixar's Turning Red similarly did, and Guillermo del Toro's Pinocchio, and sci-fi standout Everything Everywhere All At Once as well. If the first word in its moniker didn't make it plain, Strange World's visit to an underground realm that's upside down from the regular domain, populated with unusual creatures and perilous to humans also gives off big Stranger Things — but family-friendly — vibes. The Mouse House's Treasure Planet springs to mind, too, as do Jules Verne's contributions to literature. And, unsurprisingly when it comes to big eco messages and animation, Studio Ghibli's Nausicaa of the Valley of the Wind and Princess Mononoke got there first. Don't discount the impact that marrying familiar ideas with magnificent and mesmerising imagery can have, however, with Strange World's captivating aesthetic offering more than just pretty pictures. Those gorgeous visuals reflect the movie's open heart about embracing a vibrant existence, which Nguyen's screenplay lets sprout and spread in a heaving forest's worth of ways. It's there in belatedly giving Disney's animated flicks their first-ever out gay teenage lead character, in letting that fact be a regular narrative detail rather than the story's focus and in having Ethan value the dreamy subterranean domain the Clades find themselves in for what it is, for starters. Strange World knows that to see is to feel, and that that applies to overdue representation and environmental messaging alike. There's also a twist that hammers home the need to appreciate and respect the living world we're lucky enough to inhabit, and to revel in all of its diversity, but the film's frames make its statement anyway from the outset. The lush flora and fauna, the landscapes that could've backdropped 60s sci-fl, the cute blob named Splat that seems to be a friend: all of this draws Strange World's audience in and makes them cherish every single last piece. Accordingly, as heavy-handed as the movie is about its parallels with the present state of the earth, and as easily pieced-together as its rollicking adventure plot is, those beguiling sights — aka the animated film's version of David Attenborough-esque visuals — back everything up. Also, given the urgent importance of recognising the planet's fossil fuel-reliant predicament, plus the need to address the climate change that's springing as a result, a lack of nuance is hardly uncalled for. And while using a flick to lay the groundwork for more to come is one of modern cinema's worst traits, especially the Mouse House's, the ambitious Strange World closes out with ample intrigue to inspire further chapters — and to keep viewers coming back to this entrancing land.
Australia's music festival scene hasn't had a great run in 2024, with everything from Splendour in the Grass and Groovin the Moo to Harvest Rock and Spilt Milk cancelling — but two end-of-year staples are returning to celebrate 2024 turning into 2025 with live tunes. Victoria's Beyond The Valley and New South Wales' Lost Paradise also have something else in common: plenty of the same acts on their respective lineups. Beyond The Valley dropped its roster for this year first, and now it's Lost Paradise's turn a day later, with Fisher, Tinashe, Royel Otis among the big names doing double duty. Accordingly, if you're looking to travel to a regional spot for a huge music fest on and around New Year's Eve, you have choices. [caption id="attachment_965689" align="alignnone" width="1917"] Jess Bowen[/caption] After initially locking in its Saturday, December 28, 2024–Wednesday, January 1, 2025 dates back in July, Lost Paradise has unveiled a lineup filled with must-see names, all headed to the Glenworth Valley on the New South Wales Central Coast an hour out of Sydney. Flight Facilities doing their Decades mix is another massive highlight. So are Marlon Hoffstadt, Sammy Virji, SG Lewis, Confidence Man, DJ Boring and Kita Alexander, across a multi-day fest that features live music and DJ sets spanning both international and Australian talents, and regularly sells out — 2023's fest did. Tunes are just one part of the Lost Paradise experience. Art, culture, wellness, and food and drink also get a look in, with the 2024 event also spanning Dr Karl getting chatting, yoga and healing arts, craft sessions, workshops and more. So, you can not only farewell one year and see in the next with a party, but by relaxing, feasting and learning something. Making 2024's Lost Paradise extra special: the fact that this year marks ten years for the fest, which has become a go-to way to wrap up one year and embrace the next since 2014 — including if you're keen to camp for its duration. Just as in 2023, this year's Lost Paradise is also opting to steer away from a traditional first-, second- and third-release ticket strategy. Instead, ticket prices gently increase in accordance with demand, while maintaining fair market pricing. It's also committing to sustainability by using almost 100-percent recyclable materials in its decor and staging — and art — while implementing recycling across the site, waste sorting and a pledge for attendees that requires ticketholders to acknowledge their own environmental responsibility. Lost Paradise 2024 Lineup: Arcadia: Fisher Tinashe Royel Otis Caribou Flight Facilities (Decades set) AJ Tracey Confidence Man Teenage Dads The Rions Glass Beams Pretty Girl (live) Neil Frances Flowdan & Neffa-T Lola Young Telenova Kita Alexander Rum Jungle Nick Ward Don West Radio Free Alice Total Tommy Djanaba Casual Fan Surely Shirley Civic Video Micra Krystal Rivvers Micah Jey Green Hand Band Triple J Unearthed winner Lost Disco & Paradise Club: Marlon Hoffstadt Sammy Virji Denis Sulta KI/KI DJ BORING Sg Lewis Tinlicker (DJ set) Interplanetary Criminal Girls Don't Sync Oden & Fatzo (live) Malugi CC:Disco! Sally C Fish56octagon Chloé Caillet Jennifer Cardini Moxie Little Fritter Sarah Story Dameeeela James Pepper Caleb Jackson Elijah Something Who Is Arcadia B2b Half Cut Lost Soundsystem Conspiracy Crew Entity Uncle Ru Disco Dora Chloe Harry Hooper Mash Gabriella Spritz Sasha Milani B2b Fuchsia Sim Select Tokyo Sexwale Dayzzi B2b Daug Cozi Oscill8 Oliiv + more to be announced Shambhala Fields: Dr Karl Aretha Brown You Wouldn't (with Will Gibbs and Pat Clifton) Cooper Chapman Plastic Free Mermaid Emmanuel Asante Rache Moore Gwyn Williams Damon Gameau First Nations Culture with Uncle Phil + more to be announced [caption id="attachment_965685" align="alignnone" width="1917"] Jordan K Munns[/caption] [caption id="attachment_965687" align="alignnone" width="1917"] Byravyna[/caption] [caption id="attachment_965688" align="alignnone" width="1917"] Byravyna[/caption] Lost Paradise returns to Glenworth Valley, New South Wales from Saturday, December 28, 2024–Wednesday, January 1, 2025. To sign up for presale tickets, head to the festival's website — with presales starting on Tuesday, August 27 and general sales on Wednesday, August 28. Images: Jess Bowen, Jordan K Munns, Byravyna and Amar Gera.
If you're more about the bean than the brunch, then Primary Coffee Roasters is the joint for you. The only food on offer is a selection of mouth-watering pastries from Penny Fours in Leichhardt, so the staff's full attention is focused on making you the perfect cup of coffee. And Primary's team has quite the background, too — with owner Dan Kim known in Sydney coffee circles for his work at Brewtown in Newtown and Heritage Coffee Brewers in Summer Hill. As well as serving up great lattes and the like, Primary is also a big supporter of The Umuvumu Project, raising money to help the children of coffee farmers in Rwanda. Images: Cassandra Hannagan
The menu at this Katoomba eatery draws inspiration from a range of countries and regions: South East Asia, North American, Africa and the Mediterranean. French-born chef Misha Laurent, whose career in hospitality began at the Sheraton Hotel in Munich, has combined this eclectic range of cuisines to create a compact menu of "street food". The menu starts with tofu fries with sambal, moves on to pulled lamb-stuffed tacos, Cuban sandwiches and NYC-style cheese burgers. It also has heartier dishes such as the nasi goreng ($16), Jamaican jerk chicken ($16) and a New Caledonian Ceviche ($18) with green papaya, ginger, coconut milk and coriander. While the restaurant doesn't serve alcohol, it's BYO — so remember to grab a bottle of your favourite drop before heading in (it's well-deserved after all that antique shopping and hiking).
A new dining precinct with seven exciting new Asian restaurants and two retail outlets has opened in the heart of Mascot. Unity Mascot is a new innovation by the Meriton Retail Precinct, now open across the road from Mascot Central with a range of both indoor and al fresco dining options spanning Chinese, Thai, Japanese, Taiwanese and Malaysian cuisine. Highlights of the new precinct include the second outpost for authentic Malaysian restaurant Into Laksa Sydney, 90-seat Chinese restaurant Western Legend BBQ and Wan, a Taiwanese and Japanese fusion restaurant from the owners of Mascot mainstays Cuppa Flower and Moon and Back Café. Wan opened at the end of last year and offers a relaxed walk-in only experience with pork dan dan ramen, chicken karaage, salt and pepper prawns, cheesy spring rolls and a fun drinks menu featuring sake and umeshu. Western Legend BBQ specialises in northern Chinese barbecue. Now with three restaurants open in Sydney, the eatery offers barbecued wagyu beef, cumin lamb, garlic seafood, kidneys and testicles. [caption id="attachment_845788" align="alignnone" width="1920"] Anna-Kucera[/caption] Other options you'll find at Unity include two more Chinese food options including a to-go takeaway eatery, a contemporary Thai restaurant and a cafe. As for the cafe, Sugarbaby Espresso Cafe is serving up Campos coffee and Tuga pastries daily. The two retail facilities that have opened alongside this array of food and drink tenants is a GQ Men's Style barbershop and a Love Wash laundry mat. These nine new outlets join the neighbouring Woolworths, medical centre, speciality stores and restaurants that call Meriton's Mascot Central home. [caption id="attachment_845785" align="alignnone" width="1920"] Anna Kucera[/caption] Unity Mascot is now open 256 Coward St, Mascot. It's open 9am–10pm, seven days a week. All images: Anna Kucera and Cassandra Hannagan
