Beloved American burger chain Five Guys has launched its second Sydney CBD store, opening within the Martin Place Metro station on Monday, March 10. Patrons can continue to expect made-to-order everything, along with bacon-filled milkshakes, a customisable menu and ample seating to boot. Spanning 300-square-metres of the heritage-listed site, expect Five Guys' signature red and white fit-out. The venue is slinging its juicy, flavour-packed burgers across two station entrances and seats close to one-hundred customers all up. Unlike many fast-food operations, everything at Five Guys is made fresh daily, with no freezers or microwaves to speak of. The burger patties are hand-formed and free from preservatives, hormones and antibiotics. Plus, the bread is baked fresh and the potatoes are hand-cut daily – and double-fried for good measure. If the classic bacon cheeseburger, American-style hot dog and strawberry milkshake don't catch your eye, Five Guys also offers a whopping 250,000 burger and 100 milkshake flavour combinations. Try a double cheeseburger with pickles, grilled jalapeños and hot sauce, or a hot dog with relish, bacon and melted cheese. Bacon bits can be blended into any milkshake too, along with Biscoff and Snickers bars. Starting out as a family-run burger joint in 1986 Virginia, Five Guys now boasts global locations across not just North America and Australia, but also Europe, the Middle East and Asia. Five Guys Martin Place marks the brand's fifth Australian location, with the other outposts located in Penrith and Melbourne. Five Guys Martin Place opened on Monday, March 10 at Tenancy B1, 39 Martin Place, Sydney. For more information and opening hours, visit the website.
Weekends are all about catching up with mates, and there's no better way to do so than over a good brunch. Greater western Sydney is home to some excellent options for your weekend catch-ups. In partnership with Stockland, we've compiled this list of must-try spots — from sleek Parramatta CBD venues and a Mediterranean-style cafe in Merrylands to pan-Asian eateries in Cabramatta and top-notch coffee shops in Wetherill Park. Tuck into giant stacks of matcha pancakes, za'atar-spiced brekkie plates or truffle oil eggs benny — all ready to order at these six go-to brunch spots in the west.
In Sydney, you needn't travel too far to find some truly breathtaking natural wonders. Our national parks are filled with not only pristine beaches and adventurous walking tracks, but also magical sites. We're talking spots of awe-inspiring beauty that, at one glance, will carry you out of the ordinary. On this list alone — which is only the tip of the iceberg — there's a towering waterfall, a panoramic lookout affording epic views, and giant-sized moving sand dunes. All you have to do is jump in your car (or on a train) and make tracks. [caption id="attachment_845273" align="alignnone" width="1920"] Destination NSW[/caption] WEST HEAD LOOKOUT, KU-RING-GAI CHASE NATIONAL PARK There's no shortage of extraordinary vistas in Sydney, but West Head Lookout is one of the best. This mind-blowing spot gives you panoramas to the south over Pittwater, east over Barrenjoey Head and north to Broken Bay. Smack bang in the middle of it all is Lion Island, backdropped by the Central Coast's uncrowded beaches. You could easily spend a day here, so it's a good idea to pack a picnic. To add some art, take a wander on the Aboriginal Heritage Walk, along which is Red Hands Cave, where you'll see historic works from First Nations artists. Idyllic Resolute Picnic Area is nearby, too, as is the stunning and secluded Resolute Beach. West Head Lookout is a one-hour drive from the Sydney CBD, just off West Head Road. BOUDDI COASTAL WALK, BOUDDI NATIONAL PARK To see several of the Central Coast's wildest and most beautiful beaches, take the Bouddi Coastal Walk. This eight-kilometre adventure hugs the coastal edge of Bouddi National Park, beginning at Putty Beach in the south and ending at MacMasters in the north. Stop by lookouts affording sweeping ocean views and rest at rainforest-encircled picnic spots. If it's low tide, see if you can spot the shipwreck of the PS Maitland at Maitland Bay. If you're keen to extend your visit, camp overnight at Putty Beach or Little Beach. It's also possible to split the trail into short sections, namely Putty Beach to Maitland Bay (three kilometres), Maitland Bay to Little Beach (3.5-kilometres) and Little Beach to MacMasters Beach (1.7-kilometres). Note that a section of Bouddi coastal walk between Mount Bouddi walking track and Old Quarry trail is currently closed for upgrades until mid-May 2022. Check the website for more details. STOCKTON SAND DUNES, WORIMI NATIONAL PARK The 4200 hectares that make up Stockton Sand Dunes form the biggest system of sand dunes in Australia. Some are as high as 40 metres. You'll find them in the Worimi Conservation Lands, about 190 kilometres north of the Sydney CBD, just beyond Newcastle. Adding to their beauty is their stunning location, foregrounded by Stockton Beach — which, at 32 kilometres, is the longest beach in New South Wales — and backdropped by 1800 hectares of forest. While you're there, consider a beachfront horse ride, a sandboarding session and/or a visit to Tin City, an 11-shack off-grid village that appeared in Mad Max (1979). Note that Worimi Conservation Lands will remain closed until 10 March, 2022, due to extreme weather. [caption id="attachment_845272" align="alignnone" width="1920"] Destination NSW[/caption] JENOLAN CAVES, BLUE MOUNTAINS A classic for a reason, the Jenolan Caves are a long winding collection of stunning passageways. Located 175km west of Sydney, here you'll discover some of the most ridiculously beautiful rocks on the planet. There are nine caves altogether, filled with limestone formations, pristine underground rivers and secret chambers. The only way to visit is by tour — choose the cave that most appeals to you, take it easy with a one hour Imperial Cave Tour or get an adrenaline hit on an abseiling escapade. [caption id="attachment_845277" align="alignnone" width="1920"] Destination NSW[/caption] BELMORE FALLS, MORTON NATIONAL PARK The area surrounding Kangaroo Valley is a haven for incredible waterfalls with both Fitzroy Falls and this towering beauty. Belmore Falls offers a wall of tall sandstone cliffs, plus a rewarding two-kilometre walking track with endless views of the surrounding bushland. On your walk around the waterfall, take in the beauty of Australia's local flora and keep a lookout for sandstone flowers like the honey flower, banksia and wattle. The falls are located two hours south of Sydney with the option to venture back up through Wollongong and grab lunch or dinner at one of the city's beloved venues. Top image: Destination NSW
Floristry duo and partnership George Low and Elizabeth Johnson have been working together for decades to craft beautiful floral designs for private residences, corporate clients and the occasional sweet sixteenth or 90th birthday garden party. The pair had a shop in Ultimo for ten years, but are now based in Alexandria, where they handle giant slipper orchids and tall branches of cherry blossom for by-order-only business. To make an order, Seed Flora is best contacted through its Instagram page, or via the phone. The duo isn't afraid to make an entrance, and experimenting with unnatural colours like metallics and blue dyed roses is part of the fun of playing with what nature provides.
Though there are few immune to the charms of one Torrance Shipman, the bouncy, navel-bearing cheerleader in Bring It On, or Lux Lisbon, the ethereal eldest sister in Sofia Coppola’s The Virgin Suicides, Kirsten Dunst has never really screamed Oscar-contender. But as a severely depressed, newly wed bride in the forthcoming Melancholia, our beloved indie It girl is seeing the type of hype ordinarily saved for the Blanchetts and Clooneys of the acting world. And let us tell you, the hype is bang-on. Thanks to director Lars Von Trier, the brilliant mind behind Dogville and Antichrist, Dunst has been offered the mother-effing crown jewels in dream roles. As the deeply complex Justine, who we first meet on her wedding day to Alexander Skarsgard’s stupidly oblivious yet entirely devoted Michael, Dunst shines in her portrayal of a woman crippled by her illness. Although the wedding is as lavish as they come, organised by her wealthy sister Claire (played by the also-impressive Charlotte Gainsbourg) and set in a Swedish mansion, Justine is so depressed that she escapes from the party repetitively, forcing her family to hunt her down for most of the night. To add insult, their hippy mum, played by Charlotte Rampling, is bitterly condemning Justine and Michael’s marriage to any guest who listens, all the while a rogue planet named Melancholia is set to collide with Earth, smashing it to smithereens in a matter of days. So things are kind of bat-shit tense from the get-go. It’s a testament to Dunst’s acting ability, which has rarely been pushed to such levels in the past, that we feel any compassion for our protagonist. She taunts Claire with her darkness, refusing to reassure her sister that Earth and hence Claire’s happy existence will survive Melancholia’s impact. She shows no appreciation for Claire’s mothering, which stretches so far as to drag Justine into the shower of a morning. Dunst is obviously spectacularly broken yet her heart-breaking vulnerability and helplessness is as clear as day. More fascinatingly, as a depressive, she is remarkably at peace during Melancholia’s suspenseful home stretch. It’s an inspired, thoroughly educated performance. Which of course comes down to Von Trier himself. A man with a vision like few others, Dunst is just one of the many well-greased machines he’s employed to help bring this sumptuous masterpiece together. Each frame as beautiful as the next and each looking as though they belong signed and hung on a wall, Melancholia is a very special piece of cinema. And don’t be fooled into thinking it will only impress art house types. Its originality, not to mention raw beauty won’t be mirrored with ease.
Diamond Head Campground lies in the sheltered southern corner of Dunbogan Beach, on the watery edge of Crowdy Bay National Park. There's plenty to do, from swimming in the calm, aquamarine water to exploring spectacular Split Rock. Walkers will be keen to conquer one of the nearby hiking trails, which take in swamp mahogany and paperbark forests, as well as coastal panoramas aplenty. Just check NSW National Parks website first, as some are still closed because of the bushfires. The campground has 75 pitches for tents, but you're welcome to pull up in your caravan or motor home, too. Among the facilities are showers, toilets, barbecues and picnic tables, so you're fully covered here. [caption id="attachment_770660" align="alignnone" width="1920"] National Parks NSW[/caption] Top image: National Parks NSW
The traditional home of adventure, phone accessories and delicious food, Chinatown is like a holiday without leaving town. That's not to say there's no risks involved. Unfamiliar signs, labyrinths of stores and suspiciously enthusiastic street hawkers make this an adventure filled with peril. Fortunately, Concrete Playground has assembled the ten best bits for you. 1. BBQ KingWhere: 18 Goulburn Street, Haymarket 2000 Dead ducks hanging in the window, kitsch Chinese decor and the best Peking Duck in Sydney. What more could one ask for? Take advantage of the late opening hours - they don't close until 1.45 am - and swing by for a late meal accompanied by a few Tsing Taos, a crisp Chinese beer. There's plenty on offer, but our advice is to go straight down the cliché line. The signature dishes here are, obviously, the roast Peking Duck and Pork. If you're not here with a huge group, though, the full serves can be difficult to get through. An easier option is the Peking Duck Pancakes, served up with slices of roast duck, green onions, hoisin sauce and chili to taste (ask for fresh). For review and details, click here. 2. Morning GloryWhere: 22 Goulburn Street, Haymarket 2000 There are three Morning Glory stores to choose from in Chinatown, but our favourite is the one right in the thick of it. What this particular Morning Glory holds over all the others is that the entire store is organised by colour. This place is literally an encyclopaedia of cuteness. The store is overflowing with Hello Kitty, Pikachu, Totoro, pandas and a whole bunch of things I'll never be able to place. Take your pick from nail polishes, notebooks, lunch boxes, keyrings, pens, tissue box covers, socks and plush-toy phone holders. If it all becomes a little too overwhelming, retreat into one of the sticker booths in the far back corner, and emerge victorious with a sheet of glittery sticker photos of yourself and friend. 3. Ten Ren Tea Where: 696 George Street, Sydney 2000 This simple shop front on George Street is deceiving. Take away teas can be bought from the counter downstairs but, if you make your way upstairs, a whole new experience awaits you. Super cheap meals, adventurous Taiwanese desserts and a ridiculous range of teas are on offer in this laid back dining room. Begin with the teas, the raison d'être of the establishment. For a cold tea, opt for Black Milk Tea with QQ ($6.5/$7.50). This 'bubble tea' includes tapioca pearls - here called 'QQ', meaning 'chew-chew'. If you'd prefer a hot tea, try Osmanthus Oolong ($5.50/$6.50), a traditional blend where oolong tea is scented with osmanthus flowers. For a delicious pot, try fragrant and calming Lavender ($8.50). And if the menu simply seems too overwhelming, ask the staff for recommendations: they'll be happy to help. For review and details, click here. 4. MamakWhere: 15 Goulburn Street, Haymarket 2000 Mamak is the talk of the town and with good reason. It's one of the few places in Sydney to get exceptional Malaysian hawker food, still offered at an authentic price. It's no surprise that this place often has lines of eager customers stretching down the street. All I can say is: get in early, it's worth it. Walk in past the chefs, on full display, and bathe in the aroma of curries and fried roti. It's a long room, crammed full with wooden tables, and service is courteous but necessarily efficient. The menu is divided into Roti, variations on the warm bread served with curry dips and spicy sambal sauce, Satay, available in chicken or beef, Mains, featuring curries and fried chicken, and Noodle and Rice dishes. For review and details, click here. 5. Chinatown Night MarketsWhere: Dixon Street Mall, Haymarket 2000 Every Friday night, between 4 and 11pm, Chinatown becomes just a little bit more special. The weekly Night Markets offers the best bits of Chinatown right out on the street in the middle of a bustling crowd. Food, crafts, massage, bonsais and candy... You name it, it's here. Look out for the Takoyaki, or fried octopus balls - you'll typically find the tent by following the insanely upbeat techno pop. Dragon's Beard Candy is another rare treat, finely spun sugar reminiscent of a white beard. Or just grab a cup of freshly squeezed Sugar Cane Juice with lemon, and wander the stalls to see what turns up. 6. Emperor's Garden Cakes and BakeryWhere: 96-100 Hay Street, Haymarket This bakery is a must stop on any trip to Chinatown. Discover it in the mall next to its parent restaurant, you'll find it by the line of people waiting outside a small side window. They're after freshly baked Emperor's Puffs: hot little custard balls of pure delight. Wander inside, and you'll discover plenty more treats on offer. We're talking moon cakes, Sacher tortes, chocolate eclairs, egg tarts, sticky rice dumplings and barbeque pork buns. You'll find a slightly different selection every time you visit, so it's worth returning often. 7. Menya Noodle Bar Where: Shop TG8, 8 Quay Street, Haymarket 2000 It's a big call to claim that something is the best of its kind. Yet it doesn't feel like a stretch to hand Menya the title of Best Ramen Bar in Sydney. The noodles are fresh and chewy, the broth is incredibly rich, and the atmosphere is just the right kind of casual. For the beginner, we suggest the Menya ramen. Pick the Tonkotsu, beef, or Tori-gara, chicken, broth base then opt for either Shoyu ($9.30/$9), a salty soy sauce flavour, or Miso ($10.30/$10), a richer choice. Our favourite is the Menya Tonkotsu Miso ramen ($10.30). If you'd prefer a ramen with extra toppings, try the Tori Kara-age Ramen (from $10.90), with deep fried kara-age chicken, or add extras like Kakiage Tempura ($2.50) or Sweet Corn ($1.50). For review and details, click here. 8. Din Tai FungWhere: 644 George Street, Sydney 2000 An infamous Taiwanese noodle chain is introducing Sydney to the best dumplings it's ever had. Just make sure you turn up early, or be prepared to pull up a wooden stool and wait. That's not to imply that Din Tai Fung are not efficient. This they are, in the extreme. Peer into the kitchen and you can observe the production line: line baskets with cloth, cut dough into discs, roll the dough, fill and pinch it at the top, then pop the newly made dumplings into the baskets ready for steaming. It's strangely hypnotising. For review and details, click here. 9. Media Asia Where: 50 Dixon Street, Haymarket 2000 Looking for movies? This is the place to go for the latest and greatest. Media Asia has a huge selection of Japanese anime, including a sub-section with English audio for all you non-native speakers. There's also an impressive array of other titles, including kung fu flicks and Korean dramas. While you're there, make sure you pick up one of the pop group posters that adorn the walls. If the music playing here is anything to go by, they'll be your favourite group in no time at all. 10. Thai Kee IGAWhere: inside Market City, 9-13 Hay Street, Haymarket 2000 It's been a long day in Chinatown by now. Let's face it, you're probably feeling a little bit worn out. Why not leave with some take home memories? (We especially recommend the edible ones.) The Thai Kee IGA, hidden away above Paddy's Markets, can provide you with all you need. Dumplings and steamers, Koala biscuits, aloe vera juice, Japanese curry, kitsch bowls and crockery sets, Super Lemons, hot barbeque pork buns, Chrysanthemum tea, Chinese slippers: you name it, it's all here. In fact, you should probably allow an extra hour or so just to wander down these aisles. Trust me, you'll be surprised at what you find.
Bill Henson is a prolific Australian photographer who takes as his primary subject adolescents to investigate identity, notions of self, tradition and ideas of socio-cultural voyeurism. It is because of Henson's subject matter that his work has been at the centre of heated debate in recent photographic history. In 2008, some of Henson's photographs were removed from Sydney galleries following a police raid after allegations his work was not art, but child pornography. Three weeks later the photographs were returned. For a photographer whose work isn't founded on a strict political agenda, Henson's photographs come with a loaded political history. His latest show at Roslyn Oxley9 is his first exhibition in Sydney in two years and will no doubt be received with mixed reaction. There will be those who seek out some form of justification wherein believers of child pornography claims attempt to reassure their attitudes towards Henson's 'misuse' of minors and there will be art appreciators who will praise the artist's creative and technical merit. There will also be those who beg the question: when we will just let it be? This exhibition features a series of all new photographs created in a range of formats, including rectangular and oval images for the first time, of both figurative and landscape subject matter. One of the more striking in this series is an image of a young female adolescent, naked, crouched with her downward gaze positioned to the right. With scars on her visible knee and bruised skin, we ask for reason to believe she hasn't just been the victim of violent misadventure. Conditioned by an acute contrast of light and dark where shadows confirm limited depth, the girl's body becomes representational of withheld information. Where is she? What has she been doing and what next? Tuning in on this idea of inoperative information in a recent statement, Henson offered, "Sometimes I think that every picture is simply a fragment from some larger image, the precise nature of which I cannot see, and that this image will never arrive at completion. Of course, the thing which most interests you is that sensing of an image which is always disappearing around the bend in front of you. Something that is powerfully apprehended but not fully understood." Another in Henson's latest body of work, is also just as disturbing. We witness a young male slouched, head leaning on arm, with his right leg folding into the photograph's foreground. With ephemeral light shedding onto the boy's wet hair, and with his eyes seemingly sedated, we question his state of consciousness. He, in an intensely interior and undecipherable environment, represents our inability to remove him from his seemingly frightening reality. The adolescent has been arrested by the space that surrounds him. "The manner in which we sense temperature, gravity, velocity, humidity and the profound effect these and other forces have upon our conscious and unconscious body, have always been at the centre of creative endeavour," said Henson. Henson's latest work doesn't try to be beautiful, it tries to be true. The artist's images are paralysing because the adolescents in them offer an intense conditioning of humanity. The subjects of Henson's photographs are clearly displaced, they are lost and searching for something beyond our current time and place. Beneath the photographic surface there lies a striking emptiness and hollow spiritual hope as the haunting bodies in front of us quality a dark reality. There is a loss of innocence both within Henson's work and outside it, as audiences recognise a twisted eurphoria. Henson's work is simple with a tremendous resonance.
Goodbye golden arches, hello golden fries: that's McDonald's new makeover at its world-first fry-thru pop-up. And if you're wondering what a fry-thru is, that's the term that Macca's has coined to describe it's new fries-focused restaurant, which will make Tumbalong Park in Sydney's Darling Harbour its home for the duration of the 2023 FIFA Women's World Cup. This fries-adoring McDonald's outlet won't just be serving up hot and crispy slivers of potato heaven in medium servings. It'll definitely be doing that, of course, but the space that it's selling them from is just as noteworthy. Head to the FIFA Women's World Cup Fan Festival to get some chips and you'll be ordering them from an eatery that's shaped like a giant packet of fries. If you've ever needed to see what a five-metre-tall version of Macca's potato slices looked like — and then get some fries from it — this is your chance. It's the dream that no chips lover ever realised they had, and it's coming true from Thursday, July 20–Sunday, August 20. Here, the question isn't "would you like fries from that?", because you're definitely getting fries. Instead, it's "would you like fries from that?". The giant packet of chips is pairing its medium fries with a couple of Macca's sauces of the world condiments, with outback barbecue sauce and wasabi-flavoured mayonnaise on offer to tie in with the Women's World Cup's participating countries. Not getting in on the fan fest fun but just want to drop by the restaurant? The fry-thru is open to both football fans hitting up the Fan Festival and the general public. Outside stadiums hosting Women's World Cup matches in Sydney, Melbourne, Brisbane, Perth and Adelaide, Macca's is also setting up an interactive photobooth that'll gives you a personalised collectable card, plus Macca's swings. [caption id="attachment_907652" align="alignnone" width="1920"] Johannes Simon - FIFA/FIFA via Getty Images[/caption] Find the McDonald's fry-thru in Tumbalong Park, Darling Harbour, Sydney, as part of the FIFA Women's World Cup 2023 Fan Festival from Thursday, July 20–Sunday, August 20.
The silly season is upon us. Time to let go of those inhibitions and indulge in the excess of the season. Whether you're hosting Chrissie lunch, heading to a summer barbie or organising the office drinks, you'll want to make sure you're dining and sipping well. So, to help you sort out the menu, we've teamed up with our friends at Pernod Ricard, purveyors of festive tipples like Mumm, Chivas, St Hugo and Jacob's Creek, to bring you some top-notch food and beverage pairings for the festive season. Whether you're after a traditional roast, barbecued seafood or some tasty little canapés, we've tracked down a tip-top tipple to complement your Christmas fare. OYSTERS AND CHAMPAGNE It's a classic pairing; there's just something about the smooth, tannic saltiness of an oyster paired with a fizzy, dry Champagne that makes for a perfect (and rather lush) starter. Mumm's signature Cordon Rouge is a key drop to pair with your raw bar this Christmas. The nose offers hints of white and yellow peach with some delicate notes of lychee and pineapple, and on the palate, you can expect a complex yet well-balanced mouthfeel with lots of fresh fruity notes and the tiniest hint of caramel to balance. Pop and pour some Mumm as you shuck oysters with the family. And make sure everyone gets a go at opening their own oyster. SALMON AND A SPRITZ Fresh, bubbly and fun, the prosecco spritz is like that friend you invite to everything because you know they'll be the life of the party. And Jacob's Creek's version is no different — plus it makes hosting a breeze with the aromatic, orangey spritz flavours already bottled up. All you've gotta do is pour over ice and garnish with a slice of orange. As for the food, we recommend pairing those bitter orange notes and herbaceous aromas with the salty, oily flavours of smoked salmon blinis with cucumber, creme fraiche and salmon roe. It's elegant, sophisticated and dead easy to prep and serve. GRILLED PRAWNS AND ROSÉ With the heat, sunshine and general summer vibes, Australian Christmas typically favours seafood —what's more Australian than chucking a few shrimp on the barbie? Well, should you live in an apartment sans barbecue or just can't be bothered with the whole 'uh oh the prawn has fallen through the grate', this grilled alternative is quick, easy, flavourful and pairs quite well with a glass of rosé or two. Marinate the prawns in butter, lemon juice, garlic and herbs, and then place under your oven grill for two to three minutes. Plate up the prawns and get some chilled Jacob's Creek Le Petit Rosé on the pour. And with this pairing falling in line with the pinky orange Pantone colour of 2019, you'll not only eat like a king but a stylish, on-trend one at that. CHRISTMAS ROAST AND CAB SAV Even though it's likely to hit 30-plus degrees this Christmas, it's still hard to beat a traditional Christmas roast lunch on the big day. If you're going for a roast turkey, goose or chicken, complete with all the trimmings, you'll need a wine that can hold its own against the mammoth meal. St Hugo cabernet sauvignon pours an inky red-purple and offers a spicy bouquet of cherries, blackberries and a touch of star anise. On the palate expect a full body with roasted chestnut flavour and oaky vanilla, that finishes with an acidity that brings it all home. CHOCOLATE AND WHISKY Chocolate and whisky — it's got decadence written all over it. To achieve maximum opulence, you'll want to find a drop that'll be enriched by a chocolate pairing. The Chivas Regal 18 is a blended scotch whisky aged to bring out a smooth, spicy and slightly sweet flavour profile. The buttery toffee and caramel notes are complemented by dried fruit and a hint of spice and dark chocolate. Pour a nip over a single ice cube to pull out the flavours, and pair it with a square (or block) of rich, dark chocolate — or, even more decadent, a fudgy chocolate cake. Start planning your festive menus — Christmas will be here before you know it. Purchase any two eligible Pernod products from a Cellarbrations, The Bottle O, IGA Liquor or Big Bargain Bottleshop, and go in the draw to win a $500 travel voucher. There's one voucher to win every day till Christmas. And really, what could be better for the holiday spirit than winning an actual holiday?
"Driving." That's one of the words that Justin Hurwitz uses to describe the sound of Babylon, with his score to Damien Chazelle's new Hollywood-set film after La La Land frequently thumping with a propulsive beat. An array of other terms come to mind while hearing the two-time Oscar-winning composer's latest effort kick in throughout the Margot Robbie (Amsterdam)-, Brad Pitt (Bullet Train)- and Diego Calva (Narcos: Mexico)-starring movie, including at party after party, too. It's urgent. It's infectious. It's as spirited as the liveliest of raucous shindigs. From go to whoa, a handful of quieter moments aside, it bustles with big and jazzy lose-yourself-to-dance energy. For the picture that just nabbed him his fourth Golden Globe, Hurwitz is soundtracking the City of Stars' Jazz Age, after all. And, as viewers of his and Chazelle's past features know — Guy and Madeline on a Park Bench, Whiplash and La La Land, with their fourth collaboration on First Man being the only exception — this pair doesn't just like but loves jazz. Babylon's score doesn't simply stick with the obvious, however. Exploring an era where giving oneself over to Los Angeles' star factory and its indefatigable shenanigans was all the rage in the movie's view, it takes its inspirations as broadly as Hurwitz can find them, all to help set a pace and vibe for a flick that throws almost anything it can at the screen — from glitz and glamour to copious amounts of drugs and body fluids — to paint its buzzing, pulsating portrait. [caption id="attachment_885697" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] Babylon follows its three central figures — Robbie's aspiring actor Nellie LaRoy, Pitt's established star Jack Conrad and Calva's industry jack-of-all-trades Manny Torres — as they weather everything that chasing their dreams thrusts their way. Given that the picture commences in 1926, that means traversing the Golden Age's wild highs and big changes alike, with the latter spanning the move from silents to synchronised sound from The Jazz Singer onwards, what that meant for actors now featuring in talkies, and shifting moral and societal standards of the period. Nellie parties herself into her big break, then gets saddled with the realities and contradictions of sudden fame. Even with his years of experience, Jack's ongoing lustre in the limelight is far from secure. And Manny does whatever he needs to to get jobs, turn them into better gigs, and keep climbing his way up. For all three, the successes are glorious, but the costs are significant. There's no reprieve from Tinseltown's relentlessness, or its allure, in Babylon. Hurwitz's earworm of a score is similarly persistent; having it lodged in your head long after watching comes with viewing the film. But what does it take to create that irresistible sound? To give a 1920s- and 1930s-set movie a unique but fitting soundtrack? To hark back a century ago, but interpret it with modern sensibilities? Ahead of Babylon's release Down Under on January 19, we chatted with Hurwitz about making a feature that it feels like he and Chazelle were fated to, his processes, the film's rock 'n' roll and modern dance music influences, and more. [caption id="attachment_885698" align="alignnone" width="1920"] Brad Pitt, Diego Calva and Director Damien Chazelle on the set of Babylon from Paramount Pictures.[/caption] ON GETTING JAZZY WITH DAMIEN CHAZELLE — AGAIN When you've teamed up with someone on five films, you clearly share a connection — and a wavelength. For Hurwitz and Chazelle, that started two decades back, when they both attended Harvard, met as freshmen and became roommates. And, before they were making movies, they were making music as early members of indie pop band Chester French. Yes, jazz was an influence. Chazelle was a jazz drummer, after all, and Hurwitz a pianist and percussionist. It's no wonder that the genre had an influence on their filmmaking; in fact, it'd be more surprising if it didn't. Still, while Babylon might seem like a dream for the duo, it's a long-in-the-works effort for Chazelle but a relatively new project for Hurwitz. "I didn't know about this film till 2018," he advises. "Damien told me that this was what he was writing. He'd been working on it for a long time, which I actually just learned — I learned a couple of days ago that he'd been thinking about this movie for like 15 years. I had no idea. So I guess it was part of his evolution somehow, from the other jazz movies he made." "For me, I didn't start thinking about this until a few years ago, and didn't start actually working on it till 2019. There's definitely some commonalities with the other things we've made, but I hope it's different — I hope the music sounds like its own thing." ON TURNING CHAZELLE'S SCRIPTS INTO MUSIC How does a composer start conjuring up the sound for a film, especially when it is intricately tied to a specific period of music history? For Hurwitz, it's "the script. I always start with the script". With Babylon, he says, "Damien sent me a script, and we started marking it up and talking about where is there going to be music and where won't there be music." "A lot of the music sequences were very complicated because there were a lot of performances, but also the same pieces of music had to then extend into other parts of the movie. You might have a little bit of a performance, or a little bit of Jovan's [Adepo, as a trumpeter Sidney Palmer] character playing, but then that music spills over into a montage into something else. So we had to think about what could serve the performance, but also what could serve the sequences dramatically." "You really start with asking 'what do we want to feel?' Just looking at the scenes, what do we want to feel? And then I sit down, I start writing music at the piano or using some samples, some virtual instruments, and just trying to create sounds that feel — whether it's an aggressive driving piece, if we really want to feel something that's pounding you in the face, or if we want feel something sweeter. Whatever it might be, I just start trying to noodle around and sketch in the melodies that have whatever mood we're trying to feel." ON DRAWING ON MORE THAN THE OBVIOUS MUSICAL INFLUENCES Jazz Age-set film, Jazz Age-adoring score, right? That might be the easy and obvious equation, but it wasn't Hurwitz's approach to Babylon. In its narrative, its visuals and its atmosphere, Chazelle is always pushing — as are his characters, and is Hollywood back at them. And, as tunes like 'Voodoo Mama', 'Call Me Manny' and 'Damascus Thump' make plain, so is Hurwitz. "I know certainly I was trying to push the music, ironically, a lot more contemporary than anything we've done — even though this movie is 1920s, and it's an earlier time period than anything we've done," he explains. "I was trying to push the music more modern, more aggressive, more inspired by rock 'n' roll and modern dance music. So for me it feel pretty new — like a new flavour." "I was really trying to stay away from music from the era, actually. I didn't want to listen to 1920s music, because we didn't want to have 1920s music in the movie really. So I was taking more inspiration from rock 'n' roll — imagining what it could feel like if you had rock 'n' roll riffs played on brass, played by a jazz band or a horn section. Or things that could easily be on a distorted guitar, but what if you give it to a couple of trumpeters? So that was a thought process." "I was listening to the Rolling Stones and AC/DC, and things like that. And also listening to a lot of electronic dance music, and getting inspired by the dance rhythms and dance hi-hat and driving, 808 kick-drum feels — and sort of risers and drops, and those sort of moments that build anticipation and then explode and get you wanting to mood. I was taking inspiration from modern dance music for that kind of feel." ON THE RANGE OF SOUNDS IN 'BABYLON' Hurwitz didn't just vary his influences when composing Babylon's music (one tune, 'Manny and Nellie's Theme', even sparks La La Land flashbacks). For a film that he describes as having "a lot of other weird stuff", he employed a wide range of instruments and noises. "There's a lot of circus and carnival sounds," he says. "I was recording kazoos and slide whistles, and party horns for some of the tracks." "There's erhu, which is a bowed Chinese instrument. There's a lot of world percussion. There's African percussion, Latin percussion, Asian percussion. There are very eclectic sounds in this movie, to match the very eclectic world of this movie — and of the 20s." "People were really thinking about far-off places of the world, so there was a lot of exoticism, even if it was campy exoticism. Like, you go to theatres [from then] in LA and it's Egyptian style and it's all a little campy — it's obviously not really Egyptian. But people were just interested in it back then, so we tried to bring in certain flavours. That's a very long way of saying that the influences were far and wide." Babylon screens in Australian and New Zealand cinemas from January 19. Read our full review.
Taking to the skies soon? The food might be a little more delicious than you remember. That's because Virgin Australia has just launched new winter menus in both its economy and business classes, so you can embark on a culinary journey at 35,000 feet. Made fresh daily, those in the cheap seats can now tuck into Italian and Aussie dishes crafted by St. Food Co., with options ranging from creamy spinach and ricotta tortellini to savoury sausage rolls. Plus, you can now pair these satisfying flavours with an Archie Rose Gin & Peach Soda. As for business class travellers, a new globally inspired menu is being served from Wednesday, May 28. Think Japanese-style soba noodles with grilled chicken, a three-bean Mexican quesadilla with sour cream and salsa, and an Indian-inspired chickpea masala with herbed jasmine rice. Whether you're flying first thing in the morning or catching the red-eye, the business class menu also features fancy rotating options for breakfast and dessert. Start the day with a blueberry pancake stack topped with mascarpone and boysenberry, blackcurrant and apple compote, or round things out with strawberry cheesecake or sticky date cake. "At Virgin Australia, we believe flying should be as enjoyable as the destination, right down to what's served onboard. Our new winter menu embodies our passion for bringing personality to the skies, featuring fresh, flavour-packed options designed to add value and delight at every bite," says Kyler Chong, Virgin Australia's General Manager Product & Customer Strategy. That's good news if you're a white-knuckled flyer looking to distract yourself, or just someone keen to pass the time with food that doesn't make you regret your life choices. Featuring a thoughtful balance of variety, value and flavour, these winter menus mean your next departure date just got better. Virgin Australia's new winter menu is now being served in economy class, while the business class menu launches on Wednesday, May 28. Head to the website for more information.
Straddling the late morning divide of breakfast and lunch, the linguist's nightmare that is 'brunch' is just about our favourite weekend activity. When we say brunch, we're not talking about your quick morning coffee; we're talking mountains of food, shareable plates and a healthy dose of pre-midday alcohol (cue the flowing of mimosas). So whether you're a traditionalist or prepared to give your tastebuds a workout and whether your preference is of the organic, health-conscious variety or the bacon-on-the-side-of-heart-disease variety, we have a brunch experience for just about every disposition. Muchos food porn awaits! The Carrington Where: 538 Bourke St, Surry Hills If you're looking for cocktails with breakfast, it's hard to go past one of our favourite haunts: the Spanglish mash-up of the Carrington. While other gastronomical institutions might offer brunch-goers modestly alcoholic beverages and watered-down champagne, the Carrington says screw your hangover and your sense of propriety with a full menu of beer, spirits and hair-raising cocktails. There are the standard Mimosas, but for the more ambitious amongst you we suggest trying out the Bacon Caesar (bacon-infused vodka, spices and clamato juice) or Single Mother (with red wine, Southern Comfort, nutmeg and ginger beer). The food itself is straight out of a Majorca cafe, with even the more traditional breakfast dishes given a Spanish twist. Think smoked paprika eggs benedict, Ibiza muesli or big breakfast with chorizo and rosti. Buenos dias! Jo & Willys Depot Where: 286 Campbell Pde, North Bondi As an increasingly cynical restauranteur, I have to expect that when it comes to beachside cafes, the quality of the view will always be directly disproportionate to the quality of the food. Thankfully, Jo & Willys Depot is an emphatic exception to this rule. Instead, the Depot has found what you might call a winning formula: a rough and ready decor, resembling something like a shabby-chic version of the Antiques Roadshow, panoramic views of Sydney's most iconic beach and an all-day breakfast menu to die for. Their approach to food is pretty simple. Keep the produce fresh and the ingredients organic and you can hardly go wrong. Their pancakes made from rice and tapioca flour are a particular local favourite while their homemade berry and banana muffins are melt-in-you-mouth spectacular. Two Peas Where: 198-206 St Johns Rd, Glebe Two Peas is the sort of uber-trendy cafe that Glebe seems to have coming out of its ears — but it also radiates the sort of homely vibe that turns its customers into regulars and friends. Two Peas is the love child of British chefs Nick Johnson and Tom Stoneham, who met while working for Jamie's Italian in Cambridge. The boys, it seems, learnt a thing or two from Jamie: (1) Produce should always be fresh and locally produced, (2) Banoffee muffins can solve all the world's problems and (3) The Brits always do it best. With a short but delightful menu of updated British staples such as poached eggs and baked beans on toast (made from fantastically spicy beans) and porridge with figs, Two Peas does English breakfast the way it should be done. Of course, it's not a British meal without a cold lager to wash it all down, and as such the drinks menu is chock-a-block full of local brews handpicked by the owners. At their suggestion I had a try of the Australian Brewery pale ale, which was positively crackling with refreshing, passionfruit-y goodness. The Grounds of Alexandria Where: Building 7A, 2 Huntley St, Alexandria It's no secret; we at Concrete Playground are pretty fond of the Grounds. There is something undeniably intoxicating about this repurposed Four'n Twenty Pie Factory, whether it's the blackboards advertising '25 hour breakfast' or the buzzing, bustling atmosphere of Alexandria's most sought-after brunch venue. Our meal of choice is the mountain of ocean trout stacked on toast with a light and tangy fennel and herb salad and a generous helping of scrambled eggs. While alcohol is available, you'd be remiss not to try one of their multi-award winning coffees from former world latte art champion Jack Hanna. They are as creamy, subtle and dazzling as you could possibly hope for. And always, always do they look as good as they taste. Somehow the Grounds continues to match its hype. Almond Bar Where: 379 Liverpool St, Darlinghurst One of the defining aspect for any good brunch is its shareability. Almond Bar understands this and Almond Bar nails it. This hotspot for Darlinghurst brunch-ers specialises in serving food by the truckload, with a veritable feast of big breakfasts, share plates and breakfast platters for you and your fellow diners to gorge on. The food however is not your typical eggs and bacon bonanza but instead specialises in Syrian cuisine in all its multiplicity of flavours. There are Middle Eastern omelettes; traditional ful, fatteh made from layers of crushed chickpeas, tahini, fried bread, yoghurt, pinenuts and almonds; and the (mandatory) baklava. Get your bookings in early because these breakfast mezze feasts only happen on the first Sunday of each month. Foley Lane Where: 371-373 Bourke St, Darlinghurst When the Friday night crowds have subsided and the hangover hits, there is no better place to grab a boozy brunch than Foley Lane. Try out their pork and potato hash topped with poached egg if you're looking for a hearty hangover cure, or if you're feeling a little more adventurous, then the roasted field mushroom with ricotta and eschalot dressing is to-die-for good. Foley Lane is first and foremost a bar and as such their breakfast cocktails are pretty red hot. Try out the Seasonal Margarita, enlivened with the zing of fresh plum, or the Morning Martini made from citrus vodka, apricot brandy and marmalade. Kazbah Where: 379 Darling St, Balmain Darlinghurst does not corner the market on Arabic brunches. Balmain's Kazbah are of the culinary school that says that bigger is always better with the sort of giant servings that will have any carnivore salivating. For groups of four or more, your best bet is one of the Kazbah's famous breakfast feasts, which features up to nine separate dishes, ranging from Middle Eastern treats such as lamb mince tagine to such devilishly sweet delights as chocolate and raspberry pancakes with butterscotch sauce and chocolate fudge ice cream. With the breakfast menu lasting until 3pm each weekend, there is no reason to feel guilty for trying out one of Kazbah's $14 breakfast cocktails. The Salty Dog made from vodka, lime and grapefruit is a particular specialty. Rainford Street Social Where: 500 Crown St, Surry Hills It was to the great distress of many Surry Hills locals when Rainford Street Social cut their breakfast menu. Thankfully, it's back and better than ever with super-chef Ben Orpwood’s unique take on classic brekky dishes like smoked salmon and truffled scrambled eggs and a pastrami and Emmental croissant melt. With meals named after such Rainford Street regulars as “Matty”, “Ben” and “Eddy”, it’s clear that this Crown Street favourite are not only “social” by name but also “social” by nature. Just ask any of the revellers that stack the restaurant on any given weekend. Orpwood is clearly a man after our own hearts with a propensity for hangover-curing cocktails such as the delightfully creamy “White Rabbit Shake” made from Jack Daniels and banana cream pie ice cream. Bondi Hardware Where: 39 Hall St, Bondi Beach 'Hardware' is an apt descriptor for this Bondi gem. With its exposed brick walls, cracking plaster and mishmash of pot plants, dining at Bondi Hardware is much like what I imagine dining in an interior designer's garage must feel like. While previously a hardware store, nowadays Bondi Hardware plays host to awesomely funky tunes, vibrant staff and the delectable Moroccan eggs with minted yoghurt and sourdough. You haven’t really been to Bondi Hardware until you've tried their infamous Bloody Mary. More a meal-in-a-glass than a mere cocktail, this brunch staple has been overhauled by the Bondi boys with spicy tomato, cucumber and beetroot juice mixed with a shot of tequila. Chiswick Where: 65 Ocean St, Woollahra The first thing that springs to mind about the Chiswick is its classiness. The floor-to-ceiling windows overlooking the postcard-ready gardens is like something out of a Victorian-era tea party (without any of the political connotations), while the menu has all the hallmarks of head chef Matt Moran. Even casual Masterchef fans could probably tell you that if its got the Moran signature, then this probably means you're looking at huge slabs of Moran family meat, with the chargrilled grass-fed beef or wood-roasted lamb perhaps the two most enticing numbers on the menu. This carnivorous lust is complemented by Chiswick's love of fresh herbs and vegetables, much of which is grown in the Chiswick gardens. Add to this the refreshing Cucumber Margarita and you have yourself one of eastern Sydney's hottest late brunch venues.
If you've conveniently (or genuinely) forgotten about everyone's favourite fake holiday of the year, here's a timely reminder that Valentine's Day is nearly upon us. While V-Day is hardly an occasion that's celebrated far and wide — Instagram seems to have missed that particular memo — we do admit that it's a great excuse to take your favourite human, best friend, partner-in-crime, won't-pick-up-their-socks-off-the-floor SO out for a well-deserved treat. So, if you're wrangling your brain for plans this Valentine's Day, check out the best date ideas from Concrete Playground's writers and editors. We've even included rom-com recommendations to help wrap up the evening afterwards. Call us Cupid. SUZ TUCKER: Editorial Director, favourite rom-com is The Princess Bride I'm not a big one for Valentine's Day, but I am very much into any excuse for good eating and drinking. This year, February 14 falls on a Monday night when a lot of restaurants and bars are typically closed, but you can still find a decent selection of bangers around the city that welcome Monday night guests. My pick would be dinner at The Apollo. You ask for bar seating so you can chill at the big marble bar and hang with the wait staff while making your way through the taramasalata, signature saganaki with honey, and kritharaki pasta. Then top it off with the magnificent Avgolemono pie and a Greek Martini. That, to me, is true love. ELLEN SEAH: National News & Features Editor, favourite rom-com is Notting Hill Valentine's Day is kind of like underseasoned, roasted brussel sprouts at the table: I could take it or leave it. That said, it does work as a great excuse to plan out some quality time with your partner. Considering it falls on the demonish side of the week this year (Monday), I'd recommend skipping the weekday dinner date altogether and planning a weekend getaway instead. Gather ye rosebuds etc etc. After two years of travel deprivation, head out on an easy romantic weekend trip to the south coast, or make it a long weekend for a trip up to Queensland. If you really want to impress, Sydney's Roar and Snore at Taronga Zoo boasts views over the harbour and overnight glamping. Or, go all out and book an overnight stay at the northern beaches' luxury floating villa. MELANIE COLWELL: National Branded Content Editor, favourite rom-com is You've Got Mail Pastry is my love language. Croissants, kouign-amanns, tarts — if butter is the main ingredient, I'm sold. So, I will be swapping the traditional date night for a sunrise walk followed by a pastry-forward breakfast picnic. Want to follow my lead? You have several quality options. You could do the Bondi to Bronte coastal trek, then head up to Iggy's for a feta croissant. Or, stroll (or cycle) around Centennial Park before heading to Lode for a LuMi Pithivier pie (trust me, it's worth the extra effort). Or, take a wander through the Royal Botanic Garden to watch the harbour wake up before visiting Flour and Stone for a canele (or two). Whether you're into V-Day or not, you'll be starting the day on a (sugar) high. Bonus: your evening is then free for… other activities. [caption id="attachment_754228" align="alignnone" width="1920"] Destination NSW[/caption] NIK ADDAMS: Branded Content Manager, favourite rom-com is While You Were Sleeping Valentine's Day is the worst. I love love, don't get me wrong, but I've always been of the belief that if you need to be told when to celebrate it, you're either not doing right or you're seriously lacking in imagination. I feel the same way about theme parties, for the record. If you really want to surprise your boo this February 14, do something on February 13 instead. Whatever you decide to do, you can rest assured your person will definitely be surprised — and, maybe more importantly, you won't be surrounded by performatively affectionate couples. The question remains though, of what to do on the 14th. It's on a Monday this year which means that your options are somewhat limited (take that, Cupid!), but, this being Sydney, there's still plenty to do. Whether you're with someone or not, why not spend the evening with friends instead? Grab a group serve of fish and chips from Petersham's excellent Fich and take it down to the Glebe parklands for a twilight dinner by the bay. Or, take a stroll along one of the city's many delightful foreshore walks — Curl Curl to Freshwater is always a great shout if you're north of the bridge, while the path between Doll's Point and Sandringham is super pleasant as well. La Niña keeping you indoors? Find a screen, grab some bevs and hate-watch MAFS instead. [caption id="attachment_703447" align="alignnone" width="1920"] Destination NSW[/caption] COURTNEY AMMENHAUSER: Branded Content Manager, favourite rom-com is 10 Things I Hate About You Valentine's Day can be a real vomit-inducing time for some. And, depending on where you sit on the romance and relationship scale, you might find yourself cruising around with a sick bag on Feb 14. But, if you do want to show some love to yourself, your mates or your significant other on a whim, my pick is an ocean swim. To start, you'll be literally taking your clothes off so, um, I dunno, but that seems kinda intimate to me. Plus, you can make this activity as romantic as you like by pairing it with a post-swim picnic, a sunset wine by the sea and maybe, just maybe, a Notebook-esque smooch in the rain if La Nina shows up. Hot. Destinations at the top of my loved-up V-Day swim list include Mahon Pool, Parsley Bay and Milk Beach. [caption id="attachment_779832" align="alignnone" width="1920"] Cassandra Hannagan[/caption] SARAH WARD: Associate Editor, favourite rom-com is Singin' In The Rain Don't let anyone tell you that going to the cinema on Valentine's Day is boring. We've all had those perfect movie dates that genuinely feel like something out of a movie, where you and your other half connect over something glorious on the big screen — or even something so terrible that it's still glorious — and it instantly bonds you. And that kind of experience transcends manufactured occasions like this one if you're watching the right movie with the right person. (Yes, a film critic would say this, but that's because it's true.) Sydney's wonderful Golden Age Cinema and Bar doesn't actually open on Mondays, so it misses February 14 this year, but seeing a movie there — and grabbing a cocktail to go with it — is a great date idea all-year round. The Surry Hills spot is showing swoon-worthy flicks the day before V-Day, however, which includes falling head over heels for Nicolas Cage and Cher in Moonstruck. But even if you opt for something more recent at your local or even for a movie date at home, there's a reason the whole concept is a tried-and-trusted go-to. BEN HANSEN: Staff Writer, favourite rom-com is The Big Sick For me, a trip to the art gallery or museum is the perfect last-minute Valentine's Day activity. If you've got work, treat yourself, take the afternoon off and beeline to your local cultural haven. No booking required, generally free and you get a big dose of awe-inspiring art to get the feels flowing. There's plenty to marvel at in Sydney at the moment. The Art Gallery of NSW's brilliant exhibition The Purple House and its blockbuster Henri Matisse retrospective Matisse: Life and Spirit. The Powerhouse Ultimo's current run of exhibitions that weaves in history, nature and music. And if you want to soak in some fresh air while you're at it, The Calyx in the Royal Botanic Gardens has a huge plant and sculpture exhibition running right now. Once you've had your cultural fix you can keep the date rolling with a glass of wine at a nearby bar. Bitter Phew and Rambling Rascal are walking distance from the AGNSW, while Opera Bar is a stone's throw from The Calyx and The Glebe Hotel's beer garden is calling out for a post-Powerhouse beverage. SARAH TEMPLETON: Associate Editor, favourite rom-com is Crazy Stupid Love I'm not really a huge Valentine's Day person for a myriad of reasons, the main one being that being out and about for dinner and drinks on V-Day is slightly embarrassing in a way I can't quite put my finger on. It gives me the same feeling as being on a nice walk and then having to turn around and head back in the same direction I came from. Why is that always slightly embarrassing? Anyway, I digress. The last few years my boyfriend and I have done the same thing and it's become my favourite V-Day tradition. We find a mountain (read: small hill of some description) and head up it to watch the sunset with a bottle of wine and a pack of filthy fried chicken. A big bucket of KFC Wicked Wings is my personal pick, but you can also support local by getting some gourmet Korean-style fried chicken, some spicy Mexican wings, or whatever your bag is. Take a speaker and play some tunes, drink Shiraz out of plastic cups and enjoy the cute romantic vibes without having to fight for a 7pm booking somewhere.
Don't be fooled by the last-century name, because 1908 Cronulla is as contemporary as they come. Hands down one of the more stunning venues in southern Sydney, this ivy-covered, high-ceilinged, glass-fronted building is a popular choice for weddings in the area. It's also a great place to go for a sophisticated dinner or drinks. Like many restaurants in Cronulla, 1908 celebrates its coastal proximity through a seafood-heavy menu. Tuna is served as a charred tataki with coriander butter and an elegant buckwheat and leek risotto and and the oysters come with a trio of garnishes: natural, prik nam pla (a sweet, spicy Thai dressing), and jalapeño mornay. If you're after something heartier, the steak frites is rubbed in pastrami spices and served with curried sauce. Make sure to accompany your meal with one of the options from the exceptional cocktail menu. To match the sophisticated setting, order the Champagne for Mixologists, which combines Veuve Clicquot Rich with grapefruit, cucumber, lime, ginger and cold tea. It will set you back $110, but then, this place is all about indulgence.
A seemingly unique event in the city of Sydney Found In Translation is a night of border poetry; poetry performed in any language at all with an accompanying translation and a question and answer section. Featuring such artists as Ariel Riveros, Anita Shirley — who will reader The Black Messengers from Cesar Vallejo’s I Am Going To Speak Of Hope — and Paul Giles, the evening encourages performers to explore different translation formats, and throw aside restriction. The question and answer section with the panel will be on translation, proximities, betrayals, joys and exasperations. An evening of bilingual poetry for the multilingual, the codeswitchers and codemixers, with space for articulating evolving and devolving hybrid forms, this will be the first of an ongoing monthly series. Image: French Dictionary by Mauro Cateb.
By now, we all know that plenty of streaming platforms are constantly vying for our eyeballs. We know that those services boast always-expanding catalogues of movies and TV shows, too. And, we're well aware that picking what to watch when you're settling down on the couch is rarely a simple exercise. So, while the fact that Australia's latest streaming service features 20,000 episodes and films is definitely great news, it won't simplify your viewing choices anytime soon. Australians now have another streamer to choose from, with new streaming service Paramount+ launching on Wednesday, August 11. The platform actually rebrands the existing 10 All Access streaming service, with parent company Viacom CBS Australia and New Zealand bringing it into line with the global Paramount+ subscription offering that launched in America in March this year. Paramount+'s big drawcard? Its library of titles from Paramount Pictures — obviously — as well as from Showtime, CBS, BET Comedy Central, MTV, Nickelodeon, the Smithsonian Channel and Sony Pictures Television. So, if you're the kind of viewer that loves rewatching your favourite flicks, you'll be able to head to the service to stream movies from the Harry Potter, Lord of the Rings, The Godfather, Mission: Impossible, Indiana Jones, Transformers, Jackass, Batman and Dark Knight Trilogy franchises. Plus, the likes of Austin Powers in Goldmember, Austin Powers: The Spy Who Shagged Me, Grease and Good Will Hunting will also be available on the service, all as part of the $8.99 per month subscription fee. On the TV front, existing series like The Good Fight, The Twilight Zone, Why Women Kill, Charmed and SpongeBob SquarePants will find a new home. Paramount+ is also betting big on new television shows being a big drawcard, so you can expect to add a heap of titles to your must-watch list — including revenge-fuelled miniseries Two Weeks To Live, starring Game of Thrones' Maisie Williams; Leonardo, a historical drama about Leonardo da Vinci; and Anne Boleyn, with Jodie Turner-Smith (Queen & Slim) as the titular figure. If you're feeling nostalgic, there's also the revival of Nickelodeon's iCarly, following the characters now they're adults; the return of Rugrats, this time with computer-generated animation; and Kamp Koral: SpongeBob's Under Years, which gives everyone's favourite absorbent, yellow and porous character an origin story. New Mark Wahlberg-starring movie Infinite, which sees him play a man haunted by memories of a life he didn't live, also launches in Australia with the service — and as does new seasons of Five Bedrooms, Why Women Kill and Evil. And, before August is out, you'll be able to stream the Nancy Drew TV series, the latest season of In the Dark, all of Ziwe and Coyote, six-part satire The Bite and horror anthology Monsterland as well. Down the track, Paramount+ will also be home to the new Dexter revival; the Chiwetel Ejiofor (The Old Guard)-starring TV adaptation of The Man Who Fell to Earth; The First Lady, which sees Viola Davis (Ma Rainey's Black Bottom) play Michelle Obama; and page-to-screen adaptation The Luminaries. New Australian drama Last King of The Cross is also destined for the platform, as are Melbourne-shot comedy Spreadsheet and coming-of-age feature film 6 Festivals. The list goes on, including spy drama Lioness, a TV adaptation of video game Halo and The Offer, a scripted drama about on the making of The Godfather. Paramount+ is available in Australia from Wednesday, August 11, rebranding the existing 10 All Access streaming platform, with subscriptions costing $8.99. For further information, head to the Paramount+ website.
Popular Sydney hospitality figure Reynold Poernomo has unveiled his flagship venue in Chippendale, with the opening of a new KOI Dessert Bar featuring three distinct areas. KOI has moved to Central Park Avenue after half a decade in Kensington Street, expanding to a larger more extravagant space two streets over which Poernomo has described as his "dream venue". Reynold initially opened the dessert bar with the help of his brothers Arnold and Ronald after winning fans over on MasterChef. "This is big for me, the team and the family, because as you all know, this is the first restaurant that my family and I had started over five years ago," Poernomo said. Tucked behind Central Park Mall next to the Chippendale Green, KOI Dessert Bar now invites sweet tooths to their choice of three dining experiences. The first section is your standard dessert bar reminiscent of the original Chippendale location. Here you'll find a stone and japanese tile benchtop presenting KOI's signature range of desserts for takeaway or eat-in. The daily cake selection changes, but you can expect creations like black truffle basque cheesecake or matcha, yuzu and pistachio slice, paired with St Dreux coffee and Tavalon tea. In the evening you'll enter through the second space — the revamped Monkey's Corner cocktail bar which has also moved across from Kensington Street. At the bar, the cakes are traded for noodles and coffee swapped for sake. Highlights from the food menu include chili crab egg noodles, trout tartare, torched wagyu strips and king prawns. There's also an affinity for truffle, with a black truffle and mushroom noodle dish a mainstay of the bar, and a seasonal truffle menu on offer during winter. The final — and possibly most exciting — element of the revamped venue is an intimate 12-seat restaurant. A chef's table of sorts, diners at KOI Experiential will have a front-row show as Poernomo creates a ten-course degustation spanning the sweet and the savory. The experience resembles that of Sydney's new wave of omakase restaurants, with the head chef taking patrons through that night's intricate and expertly crafted dishes. Seatings at the degustation are available at either 5.30pm or 8pm and will set you back $130pp. KOI Dessert Bar and Monkey's Corner are located at 6 Central Park Avenue, Chippendale. The dessert bar is open 11am–10pm Tuesday–Sunday, KOI Experiential is open from 5.30pm and 8pm Wednesday–Sunday and Moneky's Corner is open 5–10pm Tuesday–Sunday and midday–3pm Saturday and Sunday.
If you fancy a free feed in the city this week, head to the Woolworths Home Burgers pop-up on Crown Street to score a freshly grilled burger. First in, best dressed from 12pm until stocks run out on Thursday, October 17, to Saturday, October 19. With the warmer months upon us, Aussie households are firing up their barbecues for snags, seafood and steaks. But we all love a juicy, sizzling burger — even more when it's free. Right in time, the supermarket brand has launched a new burger range designed to help Aussies level up their burger range at home: Woolworths Home Burgers, made from 100-percent Aussie beef, which goes beyond boring regular beef patties with products like smash burgers and stackers. To celebrate the new range, Woolworths is opening a burger joint pop-up in Sydney and is giving away one thousand free burgers a day while stocks last. Head down to the pop-up from Thursday, October 17, to Saturday, October 19, from 12pm to 4pm daily, where you can grab a freshly cooked wagyu beef burger from the new Woolworths range. In that new range, there's the classic beef burger four-pack, the stacker six-pack for those who like double or triple-deckers, the smash burger six-pack for fakeaway fans, the sliders eight-pack for those who love entertaining and appreciating the smaller things in life, and the wagyu patty two-pack for burger connoisseurs. Once you've had your free taste, head to your local Woolworths, grab a pack of patties, and get to work on making your own masterpiece at home. The Woolworths Home Burgers pop-up will be open at 118 Crown Street between 12pm and 4pm from Thursday, October 17, to Saturday, October 19. Get in quick before they run out. Check out the new burger range from Woolworths on the website.
Under current COVID-19 restrictions in Australia, you can't go on an interstate holiday just yet. But, Prime Minister Scott Morrison has said it could be back on the cards by July, 2020 — so, it's time to start dreaming. There's no shortage of on-snow accommodation in Australia — from ski lodges to chalets. But a lot of it is designed for function, rather than romance. Finding a cosy cabin of your own, however, where you can snuggle in front of a roaring fire with a glass of wine in your hand, while watching the snow fall all around you isn't easy. But it's not impossible. We've searched far and wide, to scope out five cabins where you can stay right on the snow. Just don't forget to pack your skis — or snowshoes. NUMBANANGA LODGE, SMIGGINS HOLES, NSW Opened in July 2018, this secluded lodge is just minutes (by skis) from Smiggin Holes ski resort and two kilometres from Perisher Valley. Whether you want to ski or snowboard downhill all day or go on a cross-country adventure, you can – from your door. Plus, there are loads of restaurants, bars and pubs nearby, too. Three bedrooms provide room for up to six guests. The only catch is, you'll need to be quick. This is one of the only isolated, free-standing huts on snow in Kosciuszko, so it's pretty popular. Bookings, at $1200 per night in winter, are available via NSW National Parks. How much? From $1200 a night. [caption id="attachment_733860" align="alignnone" width="1920"] Lean Timms[/caption] THE EASTERN, THREDBO, NSW For incredible views of Mount Kosciuszko, the highest mountain in Australia, stay at the Cedar Cabin, which makes up one half of The Eastern: a pair of beautifully designed, luxe stays in Thredbo. The open-plan, loft-style space features vaulted ceilings, exposed timber and a piping hot Japanese-inspired onsen — the perfect place to relax after a day spent outdoors. You'll find this haven on the village's western side, around four minutes from restaurants, bars, shops, and Thredbo's diverse, scenic ski runs. How much? From $700 a night. MOONBAH HUT, SNOWY MOUNTAINS, NSW Moonbah Hut is located on private frontage on the Moonbah River, the Snowy Mountains' cleanest, most unspoilt home for trout. Give your fishing muscle a flex from your front doorstep, while keeping an eye out for wildlife – from wombats to deer to brumbies. Or bunker down inside, with a huge, open stone fireplace for company. Previous guests have taken the experience next level and invited personal chefs along for an evening. Moonbah Hut is around 20 minutes' drive west of Jindabyne. How much? From $245 a night. FOREST VIEW BUSH CABINS, CRADLE MOUNTAIN, TAS Smack bang in the middle of Tasmania's Cradle Mountain National Park are two bush cabins surrounded by forest and run by Highlanders Cottages. Hand-built with local Tasmania timber, each offers two bedrooms, den lounges and a log fireplace, plus a private deck and a fully stocked kitchen. Meanwhile, in the bathroom, you'll find a soaking tub and a shower. This is an ideal spot to unwind after wandering around Cradle Mountain's magical, snow-covered forests. How much? From $215 a night. WOMBAT CABIN, MT BAW BAW, VIC Located on the edge of Victoria's Mount Baw Baw Village, the simple, super-cute Wombat Cabin is just a quick shuffle away from both Maltese Cross T-Bar and the Frosti Frog Hollow Toboggan Park — so there's fun to be had for skiers, boarders and tobogganers of all kinds. There are two cosy bedrooms, with room for up to five guests, plus a private deck, where you can surround yourself with snow gums. When you're not adventuring on the slopes, explore Mount Baw Baw's many offerings, including Howling Huskys' husky sled dog tours. How much? From $419 a night. Looking for more? Check out these seven cosy cabins around the country. Top image: Numbananga Lodge
Peering into the display cases at Sterling, the contemporary jewellery store in private gallery Gaffa, it's hard to believe manager Amy Robson and co-manager Nina Baker when they say that contemporary jewellery isn't necessarily about the materials used. The doubt isn't there because they don't know their stuff – a quick chat with Baker and Robson reveals an impressive depth of knowledge that can only stem from their involvement with and passion for contemporary jewellery – but because of the vast array of materials being used in such creative ways around the room: Majella Beck replaces gemstones on brooches with swirly-patterned bouncy balls; Liesl Hazelton braids and fashions electrical wires into colourful rings; Vanessa Williams's twisted strips of elegantly-coloured titanium form angular earrings and bracelets. As Baker clarifies, "Contemporary jewellery should be described as artists working in the medium of jewellery: it's the ideas and stories behind the processes which are important; it's not just making a beautiful product to be bought and sold." The beauty of the jewellery in Gaffa goes far beyond the aesthetic, with each piece showcasing the brilliance of the jeweller behind it. Take, for example, the brooches in Mark Vaarwerk's Crayon Series, with silver textures that protrude from vividly-coloured forms. "They're silver, with crayon wax melted in," explains Baker. "He gets the beady texture from making a mould out of shrunken-down Styrofoam cups." This latter technique, among others, is the signature of a remarkable jeweller. Melting down domestic plastics such as shampoo bottles and Styrofoam cups, Vaarwek makes a mould, which is then shrunken down to emphasise its unique texture by bringing down to a domestic scale a process normally only possible on an industrial scale. It's innovation like this which demonstrates great control over the materials Vaarwerk works with. A willingness to experiment beyond a material's perceived limits is integral to the world of contemporary jewellery. The work of Kristy-Lee Agresta uses Laminex, a plastic normally reserved for the surfaces of bench tops. Instead of using its surface, however, Agresta uses the edge of Laminex to create layers conveying line and colour. Her work is instantly recognisable by the exactness of the lines and the machine-like precision of its smooth edges and surfaces. "Of course, these are all handmade," Baker says, on this last trait; each piece in Agresta's collection is put together layer by layer. Initially from Griffith, Agresta was selected for an emerging artist residency at Square Peg Studios in Newtown and moved to Sydney to take it up. Once there, she was able to meet more people in the jewellery community and develop a range of contemporary jewellery that was ready to go into shops. Agresta's work has received awards and has also been featured in travelling exhibitions and, while hard work and innovation were necessary for this recognition, so too was becoming a part of Sydney's contemporary jewellery community. Becoming a part of the jewellery community is a process made easy by the communal studios offered by Square Peg and Gaffa. Communities start off practically, with artists looking for such studios to share expensive jeweller's tools and large pieces of equipment, the purchasing and storage of which normally aren't viable on their own. "But they're not on their own," Baker corrects. "They're in this healthy, encouraging, creative bubble, and that's great. They can pick the minds of those around them and get feedback on their own work. They can travel together to conferences and exhibitions and meet a lot of people. Studios like this play a huge role in creating and strengthening the jewellery community at large – locally, nationally, and internationally." While Square Peg Studios specialises in providing artists with a space in which they can refine technique and art, Gaffa is something of a peculiar beast. Housed in the three-storey CBD building is a retail arcade, a jewellery and object store, a cafe, an art gallery, and artist studios. Having all of these things, however, works to the advantage of its resident jewellers, with exposure to the different types of people that enter the building. Overall, Gaffa helps artists develop professionally."I graduated from university with zilch: no tools, no office, and no business structure," says Baker, herself a resident jeweller at Gaffa. "I applied for a space at Gaffa, and, all of a sudden, if a client wanted me to make a ring for them, they could drop by my studio in this big building on Clarence Street and have a coffee. It gave me this air of professionalism that artists often find difficult to access." For Helen Mok, a recent graduate of the Sydney College of the Arts, becoming a part of the Gaffa community has been invaluable. Mok, an intern at Gaffa, has recently had an exhibition, Experiment, in Gaffa's Failspace, and will be a feature artist in Sterling's Curio Collector's Cabinet, dedicated to showcasing artists and their practice. Currently on display in Sterling is Mok's handcrafted Secret Garden range. The detailing is extraordinary, as if she'd cast real flowers and twigs in silver and shrunk them into wearable pieces, although this wasn't the process at all. "I drew inspiration from nature," Mok says. "But I was inspired by the imagination of childhood as well, so I carved these [imaginary plants] out of wax. They're make-believe." Carving moulds from wax is an ancient technique, and it's exactly this craftsmanship which customers of Gaffa and clients of its artists seek in contemporary jewellery. "People who come through here think outside the box," explains Baker. "They don't want a piece that you can buy from Prouds or Tiffany & Co. They want something that they can care about – they want a piece connected to the history of an ancient craft, connected to the artist who made it; they want a piece that they can wear and start a conversation with, not just because it's attention-grabbing, but because it says something as well." So, if ever you notice an interesting bit of contemporary jewellery, whether pinned to someone's lapel or sitting in a glass display, don't be afraid to ask about the story behind it. As Baker says, "Once you start to talk about it, so much more is revealed." Gaffa is located at 281 Clarence Street, Sydney, and on 30 June will be hosting Creative Lane, an art and craft festival celebrating local artists and their handmade goods. All images from Gaffa.
Since 2010, Kinema has been bringing cinematic relief to film-lovers bored by blockbusters, fed up with formulas and rubbed the wrong way by rom-coms. For a bite-sized membership fee of just $10 a month (or $50 for 12 months), the film society provides an unimaginably eclectic program of films, screened in their cosy cinema at AV UNION, 365 Parramatta Road, Leichhardt. So, many a movie-goer has been saddened by the news that Kinema will close its doors at the end of the month. Liam O'Donoghue, one of three directors, told Broadsheet that the closure is due to a lack of time and an interest in pursuing other projects. By way of farewell, the directors decided to shape their final programme according to a members' wish list. There'll be screenings of 1960s classics The Battle of Algiers and Who Are You, Polly Magoo?, 1965 Japanese comedy Tampopo, American indie film Southlander (2001), Canadian feature documentary Nollywood Babylon (2008) and, to wrap up proceedings on October 31, a mystery selection.
The CBD might be pretty quiet, but that doesn't mean you can't still sample its finest eateries (by having them delivered to your door). Anyone who's tried Korean friend chicken knows it's a cut above its American counterpart,— and besides, we're pretty sure the Colonel doesn't offer kimchi pancakes as a side. Gami was started by a group of uni friends in Melbourne almost 15 years ago, and it's turned a simple formula — namely fried chicken and beer — into a multi-million dollar franchise. Next time you're with the squad, order a feast and discover why it's managed to be such an enormous success. You'll find Gami Chicken & Beer in our list of the best fried chicken in Sydney. Check out the full list here. Appears in: The Best Fried Chicken in Sydney for 2023
Based inside Oxford Village shopping centre, Ziggy's describes itself as a "modern old-school barbershop" and welcomes both guys and gals to visit for a cut, colour or shave. Whether you're after a classic look or are ready for something a little wilder, the team of experienced stylists and barbers will sort you out. A cut and style starts at $58 for guys and $95 for ladies, with keratin and conditioning treatments, extensions and cut-throat face shaves all on offer, too. Images: Cassandra Hannagan
Call it a cost-of-living-crisis miracle: Australia has a new streaming platform vying for your eyeballs, but this one won't cost you anything to watch. There's no sign-up fee, no monthly or annual subscription, and no pay-per-view purchases with Brollie. Instead, there's ads — but also 300-plus films and TV shows to enjoy for free. First announced earlier in November and now streaming as at Thursday, November 23, Brollie hails from independent Australian and New Zealand distributor Umbrella Entertainment. Accordingly, its focus is on homegrown fare. Whether you're after an early Nicole Kidman (Special Ops: Lioness)-starring movie such as BMX Bandits or Bush Christmas, the scares of The Babadook, Kylie Minogue in Cut, or documentaries such as Servant or Slave and Ablaze, you'll find them here. Other Aussie highlights include Rose Byrne (Physical) featuring opposite Heath Ledger in Two Hands, Hugh Jackman (The Son) in Erskineville Kings, and the David Gulpilil-starring like Walkabout and Storm Boy. Or, there's also a young Claudia Karvan (The Clearing) and Ben Mendelsohn (Secret Invasion) in The Big Steal — and Karvan and Jackman in Dating the Enemy. The Furnace, Girl Asleep, Head On, the Daniel Radcliffe (Miracle Workers)-led Jungle, The Last Wave, Mad Dog Morgan, Love Serenade, Puberty Blues, Sirens, Tanna, The Tracker: add them to your queue as well. An Angel at My Table, one of Oscar-winner Jane Campion's (The Power of the Dog) early films, is also available. So is fellow New Zealand effort Coming Home in the Dark. Brollie's lineup clearly isn't just about Aussie efforts, then. So, get excited about Nicolas Cage milking an alpaca in Color Out of Space, Joaquin Phoenix (Beau Is Afraid)-led masterpiece You Were Never Really Here, the live-action OG Super Mario Bros, 80s favourite Heathers, and mind-bender Vivarium with Jesse Eisenberg (Fleishman Is in Trouble) and Imogen Poots (Outer Range) among the international titles. Even 2023's Winnie-the-Pooh: Blood and Honey is there. You can say cheers to Mads Mikkelsen (Indiana Jones and the Dial of Destiny) in both Another Round and Arctic, too, or give fantasy space western After Blue (Dirty Paradise) a whirl. Takashi Miike's (First Love) Audition, the Brian Cox (Succession)-starring The Autopsy of Jane Doe, South Korean standout A Bittersweet Life, George A Romero's Night of the Living Dead and Day of the Dead, and absurdist comedy Deerskin also pop up. So do sci-fi mind-bender The Endless, LA noir Under the Silver Lake, supernatural comedy Extra Ordinary, several Re-Animator and Hellraiser flicks, and the original Suspiria. And, for Teenage Mutant Ninja Turtles fans, the three live-action 90s movies are all on offer. The list goes on, complete with The Texas Chain Saw Massacre, Elisabeth Moss (The Handmaid's Tale) in Her Smell, Japanese animation In This Corner of the World, a number of Bruce Lee titles, and Harry Dean Stanton (Twin Peaks) turning in one of his best performances in Lucky with David Lynch also acting by his side. Speaking of exceptional on-screen efforts, the David Bowie-led Merry Christmas, Mr Lawrence also falls into that category. Everyone needs to have seen once-forgotten film Miami Connection once, but because it's an out-there martial arts movie that really has to be seen to be believed — and definitely not due to its acting. From the docos, You Don't Nomi pairs perfectly with Showgirls, which is also on the platform; We Were Once Kids explores the making of Kids, which again is similarly available to watch; and Zappa, The Go-Betweens: Right Here and Buena Vista Social Club all put their subjects in their names. Not Quite Hollywood's dive through Ozploitation history is obviously a perfect fit for the streamer, while the vastly dissimilar Honeyland was nominated for two Academy Awards. The television selection is currently small, with 15 titles. More Ledger in TV series Sweat, a small-screen version of Dune, the first season of Skippy and sitcom All Together Now all feature. Viewers can watch along via Apple TV, Google TV, Android TV, Chromecast with Google TV and on your browser. Whichever you pick, just don't forget that ads will appear while you're viewing — aka the tradeoff for Brollie not bothering your bank account. To help viewers sort through the Brollie collection, the service's team is highlighting its best-of picks twice monthly, and also heroing Aussie horror via an Australian Nightmares collection. At present, the latter includes The Babadook (of course), as well as Lake Mungo, The Tunnel, Razorback, Dark Age, the original Patrick and 1989 must-see Celia, among others. Brollie launched on Thursday, November 23 — head to the streaming platform's website to subscribe and for further details.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue in December. BRAND NEW STUFF YOU CAN WATCH IN FULL GLASS ONION: A KNIVES OUT MYSTERY Glass Onion: A Knives Out Mystery opens with a puzzle box inside a puzzle box. The former is a wooden cube delivered out of the blue, the latter the followup to 2019 murder-mystery hit Knives Out, and both are as tightly, meticulously, cleverly and cannily orchestrated as each other. The physical version has siblings, all sent to summon a motley crew of characters to the same place, as these types of flicks need to boast. The film clearly has its own brethren, and slots in beside its predecessor as one of the genre's gleaming standouts. More Knives Out movies will follow as well, which the two so far deserve to keep spawning as long as writer/director Rian Johnson (Star Wars: Episode VIII — The Last Jedi) and Benoit Blanc-playing star Daniel Craig (No Time to Die) will make them. Long may they keep the franchise's key detective and audience alike sleuthing. Long may they have everyone revelling in every twist, trick and revelation, as the breezy blast that is Glass Onion itself starts with. What do Connecticut Governor and US Senate candidate Claire Debella (Kathryn Hahn, WandaVision), model-slash-designer-slash-entrepreneur Birdie Jay (Kate Hudson, Mona Lisa and the Blood Moon), scientist Lionel Toussaint (Leslie Odom Jr, The Many Saints of Newark) and gun-toting, YouTube-posting men's rights activist Duke Cody (Dave Bautista, Thor: Love and Thunder) all have in common when this smart and savvy sequel kicks off? They each receive those literal puzzle boxes, of course, and they visibly enjoy their time working out what they're about. The cartons are the key to their getaway to Greece — their invites from tech mogul Miles Bron (Edward Norton, The French Dispatch), in fact — and also perfectly emblematic of this entire feature. It's noteworthy that this quartet carefully but playfully piece together clues to unveil the contents inside, aka Glass Onion's exact modus operandi. That said, it's also significant that a fifth recipient of these elaborate squares, Andi Brand (Janelle Monáe, Antebellum), simply decides to smash their way inside with a hammer. As Brick and Looper also showed, Johnson knows when to attentively dole out exactly what he needs to, including when the body count starts. He also knows when to let everything spill out, and when to put the cravat-wearing Blanc on the case. Glass Onion: A Knives Out Mystery streams via Netflix. Read our full review. KEVIN CAN F**K HIMSELF Not once, not even jokingly, does Annie Murphy utter the words "ew, David" in Kevin Can F**k Himself. She's never ever just a little bit Alexis, either. Murphy is just as exceptional and awards-worthy here, however, in a superb show that's a clever and cutting dark comedy — and, perhaps more accurately, offers a clear-eyed unpacking of what sitcoms usually mean (Schitt's Creek excluded, obviously) for women. In its first season in 2021, Kevin Can F**k Himself cast its star as Allison Devine-McRoberts, wife to the manchild of a titular figure (Eric Petersen, Sydney to the Max), and clearly in the kind of TV show about obnoxious husbands and their put-upon spouses that've been a small-screen mainstay for far too long. In those segments of the series, the lights glow, the McRoberts home looks like every other abode in every other program of its ilk, multiple cameras observe the action and viewers can be forgiven for expecting Kevin James to show up. Also, canned laughter chuckles — always unearned. Consider the above setup Kevin Can F**k Himself's starting point, though, because the show itself does. From there, creator Valerie Armstrong (Lodge 49) exposes what life is truly like for Allison — who is considered Kevin's wife first and foremost by almost everyone around her — including by switching looks, hues and camera arrangements whenever its namesake isn't around. The visible change is smart and effective, with this two-season show keeping digging into Allison's bleak situation from there. In the spirit of the series' title, she's trying to rid herself of her horrible marriage, including with help from neighbour Patty (Mary Hollis Inboden, The Righteous Gemstones). Alas, as this second and sadly last batch of episodes shows — as its first did as well — nothing is ever that easy. In a better world, Kevin Can F**k Himself would've had more time to unfurl and interrogate its story, but in this world it doesn't put a foot wrong with the time it's been given. Murphy and Inboden make one of TV's best duos, too; fingers crossed that someone reteams them again sometime soon. Kevin can F**k Himself streams via AMC+. Read our full review of 2021's season one. LADY CHATTERLEY'S LOVER Neither Emma Corrin's nor Jack O'Connell's resumes lack past highlights — The Crown for the former, and Skins, Starred Up, '71 and The North Water among the latter's — but the two actors scorch up the screen in Lady Chatterley's Lover. There'd be a problem if they didn't, given that the film adapts DH Lawrence's famously steamy and even banned 1928 novel. (In Australia, even a book about the British obscenity trial that the tome inspired was censored.) To tell this tale about an upper-class wife, her unfulfilling marriage to a Baronet injured in World War I, and the sexual and emotional yearning she quenches with the family property's gamekeeper, chemistry has to drip from the images, sparks need to fly so furiously that the movie's frames almost ignite, and a feverish and all-encompassing mood is a must. Along with actor-turned-director Laure de Clermont-Tonnerre (The Mustang), Corrin and O'Connell bring all of the above to the latest take on Lady Chatterley's Lover, and help the sumptuous erotic period drama itself not just bubble but boil. As lensed with a sensual eye by cinematographer Benoît Delhomme (At Eternity's Gate), this achingly romantic film sees its titular Lady Connie (Corrin, My Policeman) meet her also-eponymous paramour Oliver Mellors (O'Connell, Seberg) following the war, after Clifford Chatterley (Matthew Duckett, A Confession) has returned paralysed and moved his bride into his stately estate. Talk of an heir remains — pre-injury, it was the first thing mentioned in their wedding toast — but Clifford's condition, as well as his focus on writing a novel and then modernising the local mine, prove obstacles. Connie could have a discreet affair for the sole purpose of getting pregnant, however, as Clifford suggests. But it isn't just a head-over-heels clandestine love that springs with Mellors, who's also a veteran. Connie and Oliver are bowled over by the kind of adoration, affection and lust that inspires frolics in the fields and stripping down in the rain, all while their romance also helps interrogate class clashes. As well as woozily heady, vibrantly performed and handsomely shot, Lady Chatterley's Lover also enjoys eating the rich; yes, that's sexy, too. Lady Chatterley's Lover streams via Netflix. NANNY In Nanny, Aisha (Anna Diop, Us) is haunted, both when she's asleep and awake. Her slumbers are disturbed by nightmares, but seeing rising waters and unwelcome spiders isn't just relegated to when the Senegalese woman in New York closes her eyes. A gut-wrenching sense of unease also lingers while she works, after securing a childminding job for rich Upper East Side residents Amy (Michelle Monaghan, Echoes) and Adam (Morgan Spector, The Gilded Age). Their five-year-old daughter Rose (Rose Decker, Mare of Easttown) adores Aisha — more than her parents, it often seems. And, the nannying gig helps Aisha distract herself from missing her own son, who she's desperately trying to bring over to the US. She's haunted by his absence, too, and by the stolen snippets of conversation she gets with him on the phone, constantly juggling the time difference. The supernatural disturbances plaguing Aisha and her feelings about leaving her child in Senegal to chase a better future for them both are clearly linked, although Nanny is atmospheric and insightful rather than blunt and overt. The first horror film to win Sundance Film Festival's Grand Jury Prize, this evocative effort hails from writer/director Nikyatu Jusu, who makes her feature-length debut with quite the calling card. 2022 isn't short on affectingly moody and evocative female-focused thrillers with a maternal bent — see: Resurrection, which also debuted at Sundance — but Nanny's addition to the fold is deeply steeped in Aisha's immigrant experience. Thanks to all that otherworldly water, it feels like it's always steeping, in fact, soaking in the troubles and struggles of trying to snatch even a piece of the American dream when you're not wealthy, white and originally from the so-called land of the free. Also prominent: the dispiriting minutiae of Aisha's day, aka exactly what she has to endure to even have a chance of gaining what comes easily and obliviously to her employers. Like its central figure, Nanny is haunted several times over, too. Nanny streams via Prime Video. COLIN FROM ACCOUNTS A girl, a guy and a meet-cute over an adorable animal: that's the delightful and very funny Colin From Accounts' underlying formula. When medical student Ashley (Harriet Dyer, The Invisible Man) and microbrewery owner Gordon (Patrick Brammall, Evil) cross paths in the street one otherwise standard Sydney morning, they literally come to an impasse. He lets her go first, she flashes her nipple as thanks, then he's so distracted that he hits a stray dog with his car. As these circumstances demonstrate, Colin From Accounts isn't afraid to get awkward, much to the benefit of audiences. There's a syrupy way to proceed from the show's debut moments, intertwining sparks flying with idyllic dates, plus zero doubts of a happy ending for humans and pooches alike. If this was a movie, that's how it'd happen. Then there's Dyer and Brammall's way, with the duo creating and writing the series as well as starring in it, and focusing as much on ordinary existential mayhem — working out who you want to be, navigating complex relationships and learning to appreciate the simple pleasure of someone else's company, for example — as pushing its leads together. Just like in the Hollywood versions of this kind of tale, romance does blossom. That Dyer and Brammall are behind Colin From Accounts, their past chemistry on fellow Aussie comedy No Activity and the fact that they're married IRL means that pairing them up as more than new pals was always going to be on the show's agenda. It's how the series fleshes out each character and their baggage — including those who-am-I questions, Ash's difficult dynamic with her attention-seeking mother Lynelle (Helen Thomson, Elvis), and the responsibility that running your own business and committing to care for other people each bring — that helps give it depth. Colin From Accounts lets Ash and Gordon unfurl their woes and wishes, and also lets them grow. Sometimes, that happens by peeing and pooping in the wrong place, because that's also the type of comedy this is. Sometimes, it's because the show's central couple have taken a risk, or faced their struggles, or genuinely found solace in each other. Always, this new Aussie gem is breezy and weighty — and instantly bingeable. Colin From Accounts streams via Binge. Read our full review. DREAMING WALLS: INSIDE THE CHELSEA HOTEL Part of Manhattan since the 1880s, the Chelsea Hotel is as much a New York City icon as the Statute of Liberty or the Empire State Building, and as influential over the cultural landscape as well. It's where 2001: A Space Odyssey was written by Arthur C Clarke and Stanley Kubrick, where Janis Joplin and Allen Ginsburg have resided — Patti Smith, Madonna, Bob Dylan, Jimi Hendrix and Leonard Cohen as well — and a key factor in the Andy Warhol co-directed 1966 film Chelsea Girls. It's the last place that poet Dylan Thomas stayed, and where Nancy Spungen, girlfriend of the Sex Pistols' Sid Vicious, was found dead. All of these details could fuel a documentary, or several, but that's not the approach that the Martin Scorsese-produced Dreaming Walls: Inside the Chelsea Hotel takes. As the building undergoes extensive renovations that've been happening for years, upending long-term inhabitants and transforming historic apartments, filmmakers Amélie van Elmbt (The Elephant and the Butterfly) and Maya Duverdier spend time with the people determined not to leave. Everyone who still calls the Chelsea home knows the ins and outs of its past; "the ghosts who haunt it," as one puts it. But Dreaming Walls considers those everyday dwellers — most linked to creative fields in one way or another, of course — the life and soul of the current joint. That might be easy when so much of the place, and its gorgeous gothic architecture, is a construction site in the documentary's frames. The contrast between stripped-bare walls and jam-packed apartments that've been occupied by the same people for decades is haunting as well. It's no wonder that this ethereal and evocative film is largely content to loiter, to listen and to bear witness to the folks who've been there, seen it all, heard what they didn't personally experience and aren't willing to simply move just because a boutique spot is poised to take over. Dreaming Walls: Inside the Chelsea Hotel streams via DocPlay. BUMP Time-jump alert: when Bump returns for its third season, four years have passed in this supremely bingeable Aussie dramedy's on-screen world. Oly (Nathalie Morris, Petrol) and Santi (Carlos Sanson, Sweet As) are no longer high schoolers, or even teenagers. They're also no longer the couple that took a big leap at the end of season two by moving into their own apartment, away from both of their chaotic families, while Oly finished her HSC, Santi started working full-time and both juggled all of the above with caring for baby J. Indeed, this new batch of Bump episodes begins with its central pairing taking the now almost five-year-old Jacinda (Ava Cannon) to her first day of kindergarten. All three are both excited and nervous amid the awkward co-parenting energy between the now-split Oly and Santi — and as Oly's mother Angie (Claudia Karvan, Moja Vesna) surprises them en route. Times and ages may have changed, and situations and appearances as well, but the warmth this series feels for its characters — and the complexity it works through in well-worn scenarios — steadfastly remains. We said it when the first ten-episode season dropped at the end of 2020, and we still stand by it today: Heartbreak High fans, Bump is for you, too. That isn't just because Karvan starred in The Heartbreak Kid, the movie that the OG Heartbreak High spun off from, but due to its dedication to chronicling the ins and outs of growing up and parenting in Sydney — yes, with school a focus as well. Bump has matured as Oly and Santi also have, however, even if the same can't always be said about Angie, Oly's dad Dom (Angus Sampson, The Lincoln Lawyer) and her older brother Bowie (Christian Byers, Between Two Worlds). A key theme in season three: what it means when life already hasn't turned out as planned when you still have so much of it left ahead of you. The show is called Bump, after all, and finds plenty of them paving everyone's paths. With the series also devoting its time to Santi's stepmother Rosa (Paula Garcia, Thirteen Lives) and best friend Vince (Ioane Saula, Preppers) among its broader look at Oly and Santi's support network, it also finds an array of ways to contemplate hopes, dreams, loves, losses, joys and disappointments. Bump streams via Binge from December 26. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK ABBOTT ELEMENTARY The Office did it, in both the UK and US versions. Parks and Recreation did so, too. What We Do in the Shadows still does it — and, yes, there's more where they all came from. By now, the mockumentary format is a well-established part of the sitcom realm. Indeed, it's so common that additional shows deciding to give it a whirl aren't noteworthy for that alone. But in Emmy-winner Abbott Elementary, which is currently streaming its second season, the faux doco gimmick is also deployed as an outlet for the series' characters. They're all public school elementary teachers in Philadelphia, and the chats to-camera help convey the stresses and tolls of doing what they're devoted to. In a wonderfully warm and also clear-eyed gem created by, co-written by and starring triple-threat Quinta Brunson (Miracle Workers), that'd be teaching young hearts and minds no matter the everyday obstacles, the utter lack of resources and funding, or the absence of interest from the bureaucracy above them. Brunson plays perennially perky 25-year-old teacher Janine Teagues, who loves her gig and her second-grade class. She also adores her colleague Barbara Howard (Sheryl Lee Ralph, Ray Donovan), the kindergarten teacher that she sees as a mentor and work mum. Actually, Janine isn't just fond of all of the above — she's so devoted to her job that she'll let nothing stand in her way. But that isn't easy or straightforward in a system that's short on cash and care from the powers-that-be to make school better for its predominantly Black student populace. Also featuring Everybody Hates Chris' Tyler James Williams (also The United States vs Billie Holiday) as an apathetic substitute teacher, Lisa Ann Walter (The Right Mom) and Chris Perfetti (Sound of Metal) as Abbott faculty mainstays, and Janelle James (Black Monday) as the incompetent principal who only scored her position via blackmail, everything about Abbott Elementary is smart, kindhearted, funny and also honest. That remains the case in season two, where Janine is newly single and grappling with being on her own, sparks are flying with Williams' Gregory and James' Ava can't keep bluffing her way through her days. Abbott Elementary streams via Disney+. LET THE RIGHT ONE IN Is every vampire film destined to become a television series? Where Buffy the Vampire Slayer, What We Do in the Shadows and Interview with the Vampire have already tread — the latter just this year, too — Let the Right One In now follows. Originally a devastatingly haunting Swedish novel by John Ajvide Lindqvist, then an entrancing 2008 film in its original language, then an American big-screen remake called Let Me In, this one just keeps drawing audiences in. In its present guise, it takes its tale to New York, where Mark Kane (Demián Bichir, Godzilla vs Kong) and his daughter Eleanor (Madison Taylor Baez, Selena: The Series) are trying to live as normal a life as they can when the latter is a member of the bloodsucking undead. Other changes abound, including the fact that Ellie has been blighted by her condition for just a decade; that NYC is being plagued by a series of brutal but strange killings; and that former pharmaceutical executive Arthur Logan (Željko Ivanek, The Last Duel), his estranged daughter Claire (Grace Gummer, Dr Death) and afflicted son Peter (Jacob Buster, Colony) factor into the narrative. Because everything is a murder-mystery of late — see: Glass Onion: A Knives Out Mystery above, and fellow recent streaming hits Only Murders in the Building, The Afterparty, Bad Sisters and Black Bird — so is Let the Right One In circa 2022 in its way. When Ellie befriends a boy, as has happened in every version of this tale so far, his mother happens to be a police detective investigating those aforementioned deaths. So, while the show chronicles Ellie and Isaiah Cole's (Ian Foreman, The Holiday Switch) affinity as outsiders, with the magic-loving neighbour kid bullied at school, it also charts his mum Naomi's (Anika Noni Rose, Maid) time on the job. And, this Let the Right One In is also a survival quest, chasing a cure for Ellie's predicament. In other words, creator and writer Andrew Hinderaker (Away) has taken the source material, filtered it through thoroughly 2022 obsessions, conjured up there requisite moody vibe and filled it with weighty performances. Sinking your teeth in is recommended. Let the Right One In streams via Paramount+. 2022 CINEMA HIGHLIGHTS WORTH CATCHING UP WITH AT HOME FLUX GOURMET Flickering across a cinema screen, even the greatest of movies only engage two senses: sight and hearing. We can't touch, taste or smell films, even if adding scratch-and-sniff aromas to the experience has become a cult-favourite gimmick. British director Peter Strickland hasn't attempted that — but his features make you feel like you're running your fingers over an alluring dress (In Fabric), feeling the flutter of insect wings (The Duke of Burgundy) or, in his latest, enjoying the smells and tastes whipped up by a culinary collective that turns cooking and eating into performance art. Yes, if you've seen any of his movies before, Flux Gourmet instantly sounds like something only Strickland could make. While it's spinning that tale, it literally sounds like only something he could come up with as well, given that his audioscapes are always a thing of wonder (see also: the sound-focused Berberian Sound Studio). And, unsurprisingly due to his strong and distinctive sense of style and mood, everything about Flux Gourmet looks and feels like pure Strickland, too. The setting: a culinary institute overseen by Jan Stevens (Gwendoline Christie, Wednesday), that regularly welcomes in different creative groups to undertake residencies. Her guests collaborate, percolate and come up with eye-catching blends of food, bodies and art — hosting OTT dinners, role-playing a trip to the supermarket, getting scatalogical and turning a live colonoscopy into a show, for instance. Watching and chronicling the latest stint by a 'sonic catering' troupe is journalist Stones (Makis Papadimitriou, Beckett), who also has gastrointestinal struggles, is constantly trying not to fart and somehow manages to keep a straight face as everything gets farcical around him. Asa Butterfield (Sex Education), Ariane Labed (The Souvenir: Part II) and Strickland regular Fatma Mohamed play the three bickering artists, and their time at the institute get messy and heated, fast — but this is a film that's as warm as it is wild, and stands out even among Strickland's inimitable work. Also crucial: riffing on This Is Spinal Tap. Flux Gourmet streams via Shudder. Read our full review. STREAMING HIGHLIGHTS FROM EARLIER IN THE YEAR WORTH CATCHING UP ON THE LAST MOVIE STARS Filmmakers adoring filmmakers is basically its own on-screen genre. Six-part documentary limited series The Last Movie Stars gives that idea a different spin: actors loving actors. Here, Ethan Hawke turns director, not for the first time — see: films Blaze, Seymour: An Introduction, The Hottest State and Chelsea Walls — to show his affection for the inimitable Paul Newman and Joanne Woodward. Unsurprisingly, he has a wealth of company, some chatting through their fondness for two Hollywood talents like no other and some contributing by giving voice to interview transcripts. For a memoir that didn't eventuate, Newman and Woodward compiled chats by a who's who of showbusiness during their careers; however, they also had the tapes destroyed. Cue George Clooney voicing Newman's chats, Laura Linney doing Woodward's, and everyone from Oscar Isaac, Sam Rockwell and Mark Ruffalo to Rose Byrne and Zoe Kazan also subbing in for other famous names. That's where The Last Movie Stars' audio comes from, echoing with insightful discussions given the emotion they deserve. Hawke also includes new zoom chats with his players, as well as with Martin Scorsese, his daughter and Stranger Things star Maya and more, but his engrossing and probing series is head over heels for pairing those recreated interviews with archival footage. Staring at Newman and Woodward is easy, as is celebrating them and their relationship. This isn't just a case of deserved worship, though, but shows its subjects as real people rather than just stars — all while exploring Hollywood at the time, stepping through their careers and contemporaries, and overflowing with clear-eyed warmth. Hawke doesn't avoid tricky traits or truths, and this in-depth doco is all the more enlightening and compassionate for it. Whether you already treasure Newman and Woodward or you've always wanted to know more about the two legends, this is a movie buff's pure and utter dream. The Last Movie Stars streams via Binge. MO For three seasons on Ramy, Mohammed Amer has played Mo, the diner-owning cousin to the show's namesake. For those three seasons, including 2022's batch of episodes, he's also been part of one of the best and most thoughtful shows currently streaming, especially when it comes to the immigrant experience and telling Muslim American stories. Instead of just co-starring in an art-imitates-life dramedy inspired by someone else's existence, however, Amer has taken a leaf out of Ramy Youssef's book with Mo — a show with the same underlying concept, as co-created by Amer and Youssef. This time, the pair draw upon Amer's background rather than Youssef's. So, Amer's on-screen alter-ego is a Palestinian living in America. He's a refugee, in fact, who fled the Middle East when he was a child and sought asylum with his family. His US home: Houston, Texas. IRL, every one of these points is drawn from Amer's existence, as fans of his Netflix standup specials Mo Amer: The Vagabond and Mo Amer: Mohammed in Texas will recognise. That's the history behind Mo, with the series' eight-episode first season honing in on its protagonist's attempts to gain US citizenship. Mo Najjar (Amer, Black Adam), his mother Yusra (Farah Bsieso, Daughters of Abdul) and brother Sameer (Omar Elba, Limetown) have been waiting two decades to have their cases heard — another detail ripped from reality — and trying to forge new lives while remaining in legal limbo has long since taken a toll. Spanning losing jobs, trying to find a new one as an undocumented American resident, the Najjars' family dynamic, pain from back home they haven't processed, the weight of cultural traditions and expectations, and Mo's relationship with Mexican and Catholic mechanic Maria (Teresa Ruiz, Father Stu), there's no shortage of detail and drama to Amer's passion project. Indeed, every second of the series feels as personal and authentic as it clearly is, and does far more than merely give Amer his own Ramy. Mo streams via Netflix. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October and November this year. You can also check out our running list of standout must-stream 2022 shows as well — and our best 15 new shows of the year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Bringing the outdoors in, greening up tiny city apartments, eating farm-fresh food, growing your own edible morsels: noble aims, all of them, but they're not always easy to achieve. A lack of room and a need for ongoing effort can hinder even the best laid inside gardening plans; however O Garden aims to make cultivating your own indoor veggie garden as simple as buying a new — and eye-catching — piece of furniture. Designed and manufactured in Canada, O Garden is a round, rotating cylinder specially designed for growing organic goodies in small spaces, and with as little need for human intervention as possible. Seeds are planted in soil placed on top of coconut matting, then automatically fed with organic liquid fertiliser while the wheel slowly spins around a central light source. All you need to do is water them once a week, then wait 30 to 40 days until harvesting time. Overall, the O Garden can produce around 100 plants in about half a square metre of space, making it quite the compact indoor greenhouse. As for just what you can grow within its circular confines, expect to munch on herbs like basil, rosemary, mint and parsley; greens such as spinach, lettuce and chives; and even celery, cherry tomatoes and strawberries. Alas, homegrown fresh food fans, the O Garden doesn't come cheap — though its US$1397 price tag doesn't factor in what you'll save if you put it to good veggie-growing use. At present, it only currently ships to the US and Europe, but here's hoping that changes soon. Via inhabitat.
The first act of Sweet Nothings is wildly, wonderfully misleading. Two handsome men and women drink and flirt while surrounded by great wealth and no worries. It's almost Gossip Girl-esque, though the characters inspire even less of your empathy. That all changes with act two, where aristocratic bachelor pad owner Fritz (Graeme McRae) and goodtime guy Theo (Owen Little) fade into the background and we're hurtled into the middle-class suburbs to spend some quiet time with Christine (Matilda Ridgeway). The near-faceless, dismissible young woman from the previous night's gathering is given a life and personality, and a rather great one at that. It becomes a moving, at times cringe-inducing, at times heartbreaking play to watch, as we see her deeply, uninhibitedly in love with Fritz, despite his often noncommittal behaviour and despite the remonstrations of her nosy downstairs neighbour Katharina (played with gorgeous wile by Lucy Miller). This is puppy love as we rarely see it portrayed — generously, as something special and emboldening. What she can't know, though we've known all along, is that Fritz's deepest love is reserved for another man's wife, a society woman with whom he's had a drawn-out affair that's just been exposed. He and Theo don't see the girls as their equals, though Fritz has affection for and something like a longing to love Christine back. It's, you know — complicated. Grounded, pleasure-seeking Mitzi (Clementine Mills) can enjoy it for what it is; Christine cannot. Sweet Nothings is an adaptation by Scottish playwright David Harrower (Blackbird) of the late 19th-century Liebelei by Austrian Arthur Schnitzler (Leibelei is alternately translated as Flirtation and The Reckoning, which is quite a perfect binary). Schnitzler's frank portrayals of sexuality were shocking for the time, while his perceptiveness as to human psychology still surprises (Stanley Kubrick's Eyes Wide Shut is also based off one of his works). Here, he gets behind the usual moralising that would be applied to both the men and women and looks for something truer. It's mounted at Sydney's ATYP Studio with fair success by the reliable pantsguys (Punk Rock) and Geraldine Timmins and directed by John Kachoyan, following its debut at London's Old Vic in 2010. The contemporary setting becomes a bit of a stumbling block when duels and social idiosyncrasies suddenly become hugely important to the plot, but generally the whims and dilemmas of these characters are enduring. Sophie Fletcher's set is lushly textured and makes great use of the space. However, it's Ridgeway's performance that makes the show. Her sweet mannerisms render Christine irresistible when she could so easily have been annoying, and later flashes of stoicism and anger are impeccably handled. Her total delightfulness makes Sweet Nothings' conclusion all the more painful. 'Heart-wrenching Everything' would be the better title.
Escape to The Millhouse Cottage at Athol Gardens, a private homestead nestled in the heart of Blayney's picturesque farming land. This enchanting and heritage-listed accommodation promises to charm you and your guests with its rustic romantic setting. Originally built in 1865 as a mill, The Millhouse is the most intact of the four mills built in the region. This award-winning cottage is rich in character, built with mellow clay-fired bricks that were made on the property. The two-bedroom, one-and-a-half-bathroom cottage sleeps four guests and is surrounded by a stunning six-acre garden. Take in the natural beauty of the garden with its fountains, statues, and tree-lined walks. The garden is over 140 years old and offers a multitude of worthy settings for photographs. The homestead adds a lovely backdrop to this idyllic scene. Inside, The Millhouse boasts a country-style kitchen. Prepare a delicious meal on the Belling double oven or gather around the barbecue. Relax on the terrace or challenge your guests to a game of croquet or pétanque on the lawn. Escape the hustle and bustle of the city and retreat to The Millhouse Cottage at Athol Gardens for a private and peaceful getaway in the heart of Blayney's farming land.
Move over Toby's and watch out Campos, the Gypsies have arrived in town. Potts Point's latest espresso bar is far from what its name suggests. No velvet curtains, no lion heads or gargoyles and no fortune teller. There's scarce evidence of Bohemia in this humble 20-seat establishment. Ironically, the interior is utilitarian in style, with polished concrete floors, stainless steel benches and industrial light fixtures. Contrary to the seemingly cold aesthetic, this hole-in-the-wall espresso bar is sizzling hot on the coffee front. Gypsy Espresso cares about quality. How do we know? They use only the finest Arabica beans, carefully hand-roasted by their team of coffee experts. It is the culmination of their knowledge, care and skill in all aspects of the process that has resulted in the creation of coffee that is close to magical. They also provide a concise, but smart food menu comprising classic breakfast options – think scrambled eggs, breads and jams – and some appetising gourmet sandwiches and burgers, with the shredded pork ($10) a definite standout. Some simple seasonal soups and salads are available for lunch, all of which appear tasty and inexpensive. Refreshingly, there is no pretention surrounding these food offerings. Unfortunately, the food lacks the magical quality that the coffee holds. They're all about the perfect drip and you can tell. Add to the mix a warm atmosphere created by friendly, efficient staff and you've got yourself a sterling newish hotspot. Let's hope, for the Point's sake, this gypsy sticks around.
After five wildly successful summers of cocktail jugs, house music and deckchair lounging, The Island Bar is packing up shop on Cockatoo Island. Set to serve its last drink on February 29, Marco Faraone and Mike Edkins's award-winning bar will be relocating to a new Sydney venue with all the trimmings — astroturf, shipping containers, pizza ovens and all. Faraone and Edkins have not renewed their lease with Sydney Harbour Federation Trust, after "difficulties coming to an agreement" according to the pair. Instead, they're calling it quits on the iconic Sydney Harbour location. "When we opened The Island Bar, we were the first to bring the shipping container pop up concept to Sydney and make it a reality," says Edkins. "Now, after five years of establishing the bar as one of the must-go destinations in Sydney for great drinks, food and good times right on the harbour, it’s time for something new." Accessible only by boat on Cockatoo Island, The Island Bar has seen a whopping 350,000 visitors since launching in December 2010 — making it the longest-running Sydney pop-up of its kind to date. The Island Bar team will be announcing the venue's new location in the coming weeks, and it'll be installed and up and running by next summer. Head out to Cockatoo Island before the end of February to drink in one of Sydney's most picturesque pop-ups while you can. Images: The Island Bar.
Over the past few years, Gelatissimo has whipped up a number of creative flavours, including frosé sorbet, ginger beer gelato, Weet-Bix and fairy bread varieties, hot cross bun gelato and even gelato for dogs. For its latest offering, the Australian dessert chain is taking inspiration from an extremely popular drink: bubble tea. Yes, bubble tea is now a thing you can eat, not just drink, thanks to Gelatissimo. Launching this Friday, July 24, the brown sugar bubble milk tea flavour is made from a combination of organic assam tea and black tea, which are infused in creamy gelato and mixed with a swirl of brown sugar syrup. As it wouldn't really be a bubble tea without pearls, each cup or cone comes topped with chewy brown sugar tapioca pearls. If you order a takeaway tub, pearls come packed separately. Prefer sipping on your bubble tea rather than scooping it? Gelatissimo is also whizzing the limited-edition flavour into gelato shakes. As Victoria is in lockdown and NSW residents have been advised against non-essential travel, Gelatissimo is bringing the gelato to you and offering delivery through UberEats, DoorDash and Deliveroo. Gelatissimo's brown sugar bubble milk gelato flavour is available from all 43 stores nationwide for a limited time.
It's ten years since Danny Rogers and Jerome Borazio decided to fill a Melbourne alleyway with tunes in 2005. Since then, a relatively unknown Gotye played in a basement, Chk Chk Chk ran across the Sydney College of the Arts rooftop, Lorde happened and Laneway became the very first Australian festival to migrate overseas. This year, the once quiet achiever of the Australian festival scene, Laneway Festival blows out the candles with one of its biggest (but not necessarily commercial) lineups yet. Kicking off in Singapore on Saturday, January 24 in The Meadow, Gardens by the Bay, Laneway will run through seven dates, including Sydney's Sydney College of the Arts on February 1 and Melbourne's Footscray Community Arts Centre and River's Edge on February 7, finishing up at its new home in Fremantle's Esplanade Reserve and West End on Sunday, February 8. But where did Laneway all start (in case you're in the dark)? What did The Avalanches and a dare have to do with it? How did they manage to survive the festival circuit in the face of common Australian festival crash-and-burnery? Let's take a little saunter through the alleyways, warehouse lots and overseas ventures of Laneway — the Australian festival who settled into the country's infrastructure from the smallest of veins. Where it all hatched. St. Jerome's Laneway Festival was born in 2005, when Danny Rogers helped Jerome Borazio book music for his Melbourne laneway bar, St. Jerome's. The every-Sunday 'Summer Series' was born (where The Presets and Architecture in Helsinki played small sets) and the two decided to expand the idea into a Saturday night residency for their mates, The Avalanches. Said Avalanches challenged Rogers and Borazio to make a big ol' birthday shindig for St. Jerome's bar, which would have to close the whole lane. "We said ‘Why not throw a first birthday party for the bar?’ We got excited and then thought ‘Well why don’t we try and close this Laneway down?" recounts Borazio on the Laneway site. "After a few drinks with The Avalanches one night we asked, ‘If we closed this lane down would you guys play? They said ‘You won’t be able to close this lane. So if you do, we’ll play.’ About 1400 showed up and watched Architecture In Helsinki, Art of Fighting, Clare Bowditch and the Feeding Set, The Dears, Eskimo Joe, Gersey and Ground Components and those jokey dare-makers The Avalanches play the very first Laneway. Sydney's turn. Keeping the fire stoked in Melbourne, the Laneway crew decided to expand the concept to Sydney after a chance meeting with super promoter Michael Chugg. "I bumped into Michael Chugg at a health retreat and said to him, 'We have this festival in Melbourne. Check it out, see what you think. He called the next day and got us up to Sydney," says Jerome Borazio on the Laneway website. Thanks to Chugg and his team, Sydney got the green light. Snuggled amongst Circular Quay's Macquarie Square, Reiby Place and The Basement, Laneway saw a rainy but successful run in Sydney that year. Headliners Broken Social Scene were the squealworthy element of the time, alongside Art of Fighting, Augie March, Clare Bowditch and the Feeding Set, Cut Copy, Dane Tucquet, Darren Hanlon, Decoder Ring, Faker, Gersey, Jens Lekman, Les Savy Fav, Mercy Arms, Mountains in the Sky, New Buffalo, Pivot, Pretty Girls Make Graves, The Pop Frenzy Sound Unit, The Posies, The Raveonettes, The Temper Trap, Wolf & Cub and Youth Group over the two cities. Brisbane joins the crew. With Melbourne and Sydney's Laneway chapters under control, Brisbane's first Laneway was held in '07 behind the city's beloved venue, The Zoo. The lineup saw the likes of The Walkmen, Yo La Tengo, Camera Obscura, Peter Bjorn and John, Snowman, Archie Bronson Outfit, Bumblebeez, Casino Twilight Dogs, Dan Kelly, Dappled Cities Fly, Expatriate, Fionn Regan, Gerling, Gersey, Ground Components, Holly Throsby, Love Is All, Macromantics, Midnight Juggernauts, My Disco, The BellRays, The Crayon Fields, The Shaky Hands, The Sleepy Jackson, The Temper Trap and Youth Group play in the teeny laneway out the back — as well as Sydney and Melbourne's laneway set-ups. The Laneway Empire was growing. Oh hey, Adelaide. Heading south-west, Laneway 2008 saw Feist, Gotye, Dan Deacon, The Presets, Stars, Clap Your Hands Say Yeah, The Panics, The Vasco Era and Okkervil River all smooshed themselves into Fowler's Live, all up in the North Terrace. They were joined by Violent Soho, The Cool Kids, The Holidays, Via Tania, Batrider, Bridezilla, Devastations, Little Red, Rudley Interrupted and The Brunettes. Meanwhile, the Melbourne festival expanded — out of Caledonian Lane to Drewery Lane and Londsdale Street. The times were a-changin'. Perth, you're up. Heading to Western Australia for the first time, Laneway 2009 found a new, additional home in the Perth Cultural Centre. Beats were the dominant force this year, with Girl Talk, Stereolab, Buraka Som Sistema, Pivot (with the vowels intact) and Four Tet sharing the stage with Tame Impala, Architecture In Helsinki, Born Ruffians, Canyons, Cut Off Your Hands, Daedelus, El Guincho, Holly Throsby, Jay Reatard, John Steel Singers, Mountains In The Sky, No Age, Port O’Brien, Still Flyin, Tame Impala, Tim Fite, The Drones, The Hold Steady and The Temper Trap. The Laneway crew talk of 2009 as the year of visible expansion in Perth of course, but particularly in the other citie. According to the Laneway website, "a rapidly expanded site, shifting regulations, wild hype and high temperatures contributed to the Melbourne show very suddenly (and publicly) outgrowing itself. Overcrowding and long queues soured an otherwise strong musical showing. And while a realignment of stages in Adelaide was deemed a success by the growing crowds, Sydney’s Macquarie Park location also began showing signs of its limitations." Woah, things got a little turbo-charged in 2010. With one of its biggest lineups yet, Laneway expanded their venues in several cities. Melbourne moved from its hallowed home to the riverside Footscray Community Arts Centre, while Sydney farewelled Circular Quay for Rozelle’s historic Sydney College of the Arts. With Mumford and Sons, Florence and the Machine, and The xx all making their Australian debut at Laneway (not too shabby), the venues were upsized to accommodate Bachelorette, Black Lips, Chris Knox and The Nothing, Cut Off Your Hands, Daniel Johnston, Dappled Cities, Dirty Three, Echo & the Bunnymen, Eddy Current Suppression Ring, Hockey, Kid Sam, N.A.S.A., Midnight Juggernauts, Radioclit, Sarah Blasko, Street Chant, The 3Ds, The Middle East, The Naked and Famous, The Very Best, Warpaint, Whitley and Wild Beasts. But Laneway also made its first venture overseas, launching its first instalment in Auckland. According to Laneway, the crew teamed up with Chugg and New Zealand locals Ben Howe, Manolo Echave and Mark Kneebone to create the first Kiwi chapter of Laneway in Auckland's warehouse-dotted Britomart Quarter. And I mean, look at that bloody lineup, no wonder they had to find a bigger boat. Singapore, what's up. Held at Fort Canning Park, the first Singapore Laneway Festival was drenched in torrential rain — but that didn't douse the spirits of thousands of punters. Lineup-wise, goals were kicked yet again by the Laneway team: !!!, The Antlers, Ariel Pink's Haunted Graffiti, Beach House, Bear in Heaven, Blonde Redhead, Cloud Control, Cut Copy, Deerhunter, Foals, Gotye, The Holidays, Holy Fuck, Jenny & Johnny, Les Savy Fav, Local Natives, Menomena, PVT, Rat Vs Possum, Stornoway, Two Door Cinema Club, Violent Soho, Warpaint, World's End Press and Yeasayer made their way to Sydney, Melbourne, Brisbane, Perth, Adelaide, Singapore and Auckland (who moved their camp from the Britomart Quarter to Aotea Square in 2011). Auckland finally bunkers down in Silo Park in the Wynard Quarter — its present home. This was a pretty big year for Laneway, steering the lineup toward top-of-the-alternative headliners: M83, SBTRKT live, John Talabot, Feist, Active Child and Jonti joined Anna Calvi, Austra, Bullion, Chairlift, Cults, The Drums, DZ Deathrays, EMA, Geoffrey O’Connor, Girls, Givers, Glasser, The Horrors, Husky, Laura Marling, Oneman, The Pains of Being Pure at Heart, Pajama Club, The Panics, Portugal. The Man, Toro y Moi, Total Control, Twin Shadow, Washed Out and Yuck. Detroit ahoy. Heading over to the US for their very first Detroit Laneway at Oakland University, the team capitalised on previously successful showcases as the likes of SXSW to bring in an American audience — making them the first Australian festival to migrate to the US. The likes of ADULT., AlunaGeorge, Beacon, Chet Faker, CHVRCHES, Deerhunter, The Dismemberment Plan, Flume, Frightened Rabbit, HAERTS, Heathered Pearls, Icona Pop, Matthew Dear, My Brightest Diamond, The National, Phosphorescent, Run the Jewels (El-P & Killer Mike), Savages, Shigeto, Sigur Ros, Solange, Warpaint, Washed Out and Youth Lagoon cranked out sets in Detroit — a huge undertaking for the Laneway crew. In Australalasia, the likes of alt-J, Flume, Jessie Ware, Chet Faker, Bat For Lashes, Divine Fits, El-P, Japandroids and Nicolas Jaar played alongside Alpine, Cloud Nothings, Henry Wagons & The Unwelcome Company, High Highs, Holy Other, Julia Holter, Kings of Convenience, MS MR, Nite Jewel, Of Monsters and Men, Perfume Genius, Poliça, Pond, Real Estate, Shlohmo, Snakadaktal, The Men, The Neighbourhood, The Rubens, Twerps and Yeasayer. A big ol' year. The year of our Lorde. Hitting #1 in the US, the NZ teenager cranked out memorable Pure Heroine sets at Laneway's most veering-toward-commercial year yet. The soon-to-be Grammy winner was joined by the likes of HAIM, Earl Sweatshirt, James Blake, King Krule, Warpaint, Run the Jewels (El-P & Killer Mike), Jaguar Ma and Vance Joy alongside Adalita, Autre Ne Veut, Cashmere Cat, Cass McCombs, CHVRCHES, Cloud Control, Danny Brown, Daughter, Dick Diver, Doprah, Drenge, Four Tet, Frightened Rabbit, GEMA, Ghost Wave, Jamie xx, Kirin J Callinan, Kurt Vile, Mount Kimbie, MT WARNING, Parquet Courts, PCP Eagles, Rackets, Savages, Scenic, The Growl, The Jezabels, The Observatory, Unknown Mortal Orchestra, Vandetta, Watercolours, XXYYXX and Youth Lagoon. Epic. Here we are, ten years later and Laneway's making big moves to remain closer to the up-and-coming pulse than the superheadliners. As of this week, Laneway 2015 is upon us and the lineup is predictably kickass. Returning to the Australian touring circuit is UK on-repeat outfit Jungle, festival jaw-droppers Future Islands and Melbourne's lives-up-to-the-hype queen Courtney Barnett. Two of the biggest hypecards of the bunch, FKA Twigs and BANKS, will fight for the midnight hushed vocal crown. Then there's the ever-epic St. Vincent, punk-as-fuck UK band Eagulls, smooooooth king Flying Lotus, Harlem's top-of-the-game hip hop outfit Ratking and the triumphant returns of Rustie, Jon Hopkins, POND and crisp-as-blazes Caribou, alongside Andy Bull, Angel Olsen, Benjamin Booker, Caribou, Connan Mockasin, Dune Rats, Eves, Flight Facilities, Highasakite, Jesse Davidson, Jon Hopkins, Little Dragon, Mansionair, Perfect Pussy, Peter Bibby, Raury, Royal Blood, Seekae, Sohn, St Vincent and Vic Mensa. And last but not least, Mac DeMarco and his mum, Agnes. What a legend. Happy tenner, Laneway. Cheers to showing punters where the Good Music at, avoiding slapdash, off-brand superheadliners, keeping a finger on many overseas pulses and making onsite attention to detail a colossal priority. We're raising a plastic cup to another ten. Images: Laneway Festival - Simon Fergusson, Daniel Boud, Adrianna Polcyn, Alvin Ho, Nina Sandejas, Chris Schwegler, Annette Geneva, Yael Yaya Stempler.
"I think if someone like Bong says 'I'd like to work with you' once and then again, you just say yes," Daniel Henshall tells Concrete Playground. In the past decade, Bong Joon-ho has directed three films: Parasite, picking up the Palme d'Or at Cannes and four Oscars in the process, plus two pictures featuring an Australian actor who initially came to fame in Snowtown, aka one of the nation's most-haunting movies. In Okja, Bong and Henshall's first collaboration, the former tasked the latter with playing an animal-rights activist in a sci-fi action-adventure about battling the meat industry. Reteaming with the writer/director for Mickey 17, Henshall now portrays the righthand man to a wannabe dictator — an egomaniacal politician with clear real-life parallels — who is attempting to set up his own space colony, and cares little for the lives, human and other, that are lost in doing so. "I think I read it after I'd already said yes," Henshall continues. "So I was already on my way to doing it before I got to really appreciate how brilliant and bizarre and epic and fun this film is. I think it's really funny, this one." He's right: while there's darkness in every Bong picture, and the filmmaker's career-long cinematic exploration of exploitation in its many guises continues in Mickey 17, this is a comedy as much as it's a science-fiction flick. Adapting Edward Ashton's novel Mickey7, Bong ensures that humour flavours what's otherwise a bleak premise, with the movie's namesake (Robert Pattinson, The Batman) unwittingly signing up to die again and again and again — enough so he's lived at least 17 lives, hence the title — to assist the sinister Kenneth Marshall's (Mark Ruffalo, Poor Things) designs on an intergalactic empire march forward. This is a tale about expendables — a term that applies literally in Mickey 17, but could've been used to describe much else across Bong's filmography, be how a serial killer regards his victims in Memories of Murder, the way people considered lower-class in Snowpiercer and Parasite are treated, or the animals in the food chain in Okja. Mickey's job, which he didn't read the paperwork for before agreeing, is basically a human guinea pig and crash-test dummy. Death comes with the gig, as does being cloned each time that he says farewell. There's one key rule, however: there can only be one of Mickey, or of any expendable, at a time. Multiples are expressly forbidden. When the 17th Mickey is left for dead on Niflheim, the icy planet that Marshall is endeavouring to make his own, but survives, Mickey 18 is generated. Keeping the fact that there's two of them a secret; navigating his other self's different personality; fighting with himself over his security-agent girlfriend Nasha (Naomi Ackie, Blink Twice); feuding with frenemy Timo (Steven Yeun, Beef); avoiding scientists Dorothy (Patsy Ferran, Miss Austen) and Arkady (Cameron Britton, The Umbrella Academy); being stuck at the whims of Marshall and his sauce-loving wife Ylfa (Toni Collette, Juror No 2); communicating with Niflheim's indigenous creatures, which are nicknamed 'creepers': that's all now on Mickey's plate. Rarely far from Marshall's side, Henshall's Preston is the type of person who'll do anything for the man that he's pledged his allegiance to, including helping to shape his boss' image as fervently as he's constantly stroking his ego. Unlike Mickey of any number and his job, Preston is participating willingly. How did Henshall respond when Bong thought of him for the part? "The first reaction was 'this is more bonkers I'd ever experienced of his work'," he advises. "Parasite is proper bonkers, but this film was bizarre and excellent and unique and funny and humane and violent and scary, and all within this genre. And it was all the things that he brings to his work, all the commentary and the satirical nature of his work. I thought 'oh man, this is such a wonderful, delicious soup'. And Preston is a wonderful ingredient in that soup. What a strange character in this world, right? And from what he had said briefly about the character, it just seemed like a lot of fun — a lot of fun." [caption id="attachment_994744" align="alignnone" width="1920"] Alex Vaughn[/caption] Henshall can thank Snowtown for plenty in his career. His performance as John Bunting in his first-ever film role — beforehand, single episodes of All Saints and Rescue Special Ops, plus a main part in soap Out of the Blue are on his resume — is that unforgettable, and everything from fellow Aussie movies These Final Hours, The Babadook, Acute Misfortune, Measure for Measure, A Sunburnt Christmas, The Royal Hotel and How to Make Gravy (which we chatted with him about in 2024) through to international productions Ghost in the Shell and Skin have followed. So too have TV roles at home in Bloom, Lambs of God, Clickbait, Mystery Road: Origin, Savage River and The Newsreader, and overseas in TURN and Defending Jacob. He can directly credit Justin Kurzel's debut crime drama based on the real-life South Australian murders for being cast in both Okja and Mickey 17, though, after Bong was on the Cannes Film Festival Camera d'Or jury in 2011 when Snowtown played at the prestigious festival, then approached Henshall after seeing the movie. How did that first meeting with the filmmaker lead to not one but two performances in front of Bong's lens? Having collaborated with him twice now, why does Henshall think that the South Korean director is so drawn to digging into humanity's penchant for exploitation? What energy did acting alongside Mickey 17's cast, with many of his co-stars turning in such distinctive portrayals, give him for his own performance? Alongside what gets him excited about a new project, what he makes of his career so far and more, our conversation with Henshall spanned all of these topics. On How Snowtown Led to Okja, and Then to Mickey 17 "So Bong was the head juror of the Camera d'Or back in 2011, which is a prize given to the what the jury deem is the best first film by a debut filmmaker at the Cannes Film Festival — and Snowtown played there. And so after the first screening of Snowtown, Bong waited around and he was very sweet, and came up and said hello, and gave me a card and said 'yeah, it'd be great to work with you'. There's a bit of protocol there that says they can't say much about the film or howthey responded to it, just because of the secrecy of the ballot at the end of the week and who wins what, but he said 'I'd like to work with you, very lovely to meet you' — and then he went on his way, and it was very lovely. I went back to an event at Screen Australia, I think, and Jennifer Kent — the writer/director of The Babadook and The Nightingale — was there. She with there with her producer, as she was selling The Babadook to get some international money before making it. And she taught me at acting school. She came up to me and she said 'I heard you met someone today'. And I said 'oh yeah, yeah' — and I was going through my mind who I may have met that she was so excited about. And I said 'oh yeah, there's this beautiful man from Korea'. And she was like 'yeah, I know who he is: director Bong Joon-ho'. And I was like 'oh yeah, yeah'. And she's like 'you don't know who he is, do you?'. And I'm like 'oh, no, no' — and she's like 'you're an idiot, you need to watch this, this, this, this, this and this'. And I was like 'okay, I will, I will'. [caption id="attachment_994759" align="alignnone" width="1920"] Okja, Netflix[/caption] So I went home when Cannes finished and I watched the films. And I was very happy that I didn't know who he was when I met him, because I think I would have been very shy because the films were incredible. Anyway, I was a bit naive. It was the first thing I'd ever been to outside of Australia to do with work, and I thought it was a nice gesture and nothing more. So years go by and we get a phone call, and he'd like to meet for me to work on Okja. I was on a plane the next day. He said 'I'm in LA, I'd love to meet you. I've got this film. I think you'd be great in it'. I'm like 'can I get there quicker?'. So I got on a plane and we met, and I think he'd already cast me in his mind, but he just was doing an energy check. He wanted to see, just to see, I think — he doesn't just cast the people he thinks are going to be great in the film, I think energetically he wants to put together an ensemble of people, not just in front of the camera but behind the camera, who are going to work best to make the film come to life. And I think he knew from meeting me that that might be a good thing. So, obviously you don't know until you do it, but I guess he trusted his intuition. And not long after that I got offered Okja. And then, I get a call out of the blue while I haven't had much work — it's 2022, I haven't had much work or I'm in-between jobs, and I think a couple of things have been pushed, and I'm about to go to start a job on a film. And I get this call from his American producer Dooho Choi, who was a friend of mine because we worked together on Okja, and he says 'hey, Bong wants to work with you again'. I thought he was joking and just having a laugh, and he was like 'no, no, I'm in London and you need to get here'. And I was like 'oh'. So then that happened, and I went to London a couple of months later and I got to do the thing — again. So I'm feeling very blessed and very grateful that I that I got to do it, not just once but twice, because I felt a lot more comfortable the second time working with him in the way that he works. And, of course, with the brilliant people that he brings together to make his very unique, excellent films. So I felt like part of the family the second time. There's a lot of co-collaborators that he worked with again, so I got to be part of that family again and we got to reunite and work together again, and I felt a lot more comfortable in my skin this time." On the Theme of Exploitation Continuing to Recur Across Bong's Career, Including in Okja and Mickey 17 "I think he's a very socially aware guy. I can't speak to what his reasons are, really — he's a very open and lovely human, but I haven't talked in-depth with him about how he came to do [this], because, as you say, there are themes that he, in every one of his films, these themes sort of show up. And I haven't really had a chance to talk in depth about that with him. So that, I couldn't speak to that, other than I think he sees the absurdity in humanity, and while it moves him to, I assume, sadness at times, he just sees the hilarity in the indifference. And I think what he's trying to do — and again this is my take on it — I think what he's trying to do is to show us there's a better way through the absurdity. I think that means a lot to him. I mean, he came out of — again, you'd have to speak to him, but this is my assumption knowing a little about the history — he came out of a military dictatorship, like in 1988 that was thrown over in Korea, and Korea came into this sort of industrial boom, which made people start having a bit more equity across the board and more finances to consume things. And he is the result of that, in that he can now comment on his experience through his art. And he does it so uniquely and so brilliantly. But I think the thing is, it's a lofty goal, but I think the hope when you make something and you spend so long doing it and you commit your life to doing it is to show people that there is a better way. That we can — because there are good people in every one of his films, right? And a lot of the darkness, he shows through absurdity. And you're right, there are some really dark moments in this film in the way that we treat the original habitants, the aliens, of this planet Niflheim, and the way that we treat the expendable, Rob Patterson's characters — character or characters — and the class system within this this spaceship. He's constantly making fun, not just of the people who are being awful, but the people down the scale. So I think that's the goal. Again, this is just me surmising. But that's what I receive when I see his work outside of the work that I've been involved in myself, is that you're pointing out to us that there's a better way — and look how silly we are as a race when ego and hubris and self-interest gets involved. And community is much better together rather than at odds." On Being Part of Such a Stacked Cast — and the Energy That His Co-Stars' Committed Performances Gave Henshall for His Own "It's so much fun, because those guys are so committed to what they're doing and what they're being asked to do by Bong, that it helps inform what you're supposed to do and where you're supposed to be as the character, and how you're supposed to respond to something — whether that be physically, emotionally or verbally. And so when people are giving you so much; I mean, Rob gives so much, Mark gives so much, Toni gives so much, Naomi gives so much. Everybody was coming to work wanting desperately to make this work. And everybody has such a different energy level. Everybody is such a unique, standout character for their moments. The scientists with Cameron Britton and Patsy Ferran, at odds with each other, that classic dynamic. Steven Yeun — Steven Yeun blew me away. Again, everybody's giving their personal story so much value. And our commitment that when you step into that soup or that mesh, you feel it, the energies are pushing and pulling you, and you know what you're there to do, what you're supposed to do there, what you've been asked to do and your intentions. So to play those intentions within that sort of tête-à-tête coming at you and you're responding to it, it's so much fun. You're in such good hands with the crew and Bong behind the camera. I can only speak positively about it. It's just so much fun. Even though he's very prescriptive and he has the film in his head — he only shoots the frames that he's going to use in the edit. So that might interrupt your speech or that might interrupt the dialogue. You only might get a chance to respond at one certain moment. You don't get to play the whole scene out on camera. And he knows exactly what he needs for that, so he might direct you in a certain fashion, and he'll show you the storyboard, and so you get an idea of what you're supposed to be physically — but within that he wants you to play and find something that's not within the storyboard, but you have to just hit those mark physically. And when you're getting the response from that you're getting from Rob — I just remember when doing the read-through and Rob was doing that voice, and I'm like 'this is so great, this is going to be so much fun to work opposite'. And then Mark was finding his voice, and I'm like 'these energies are just wild and within the Bong universe — I can't wait'." On What Excites Henshall About Getting to Skew in a Lighter Direction, Even If There's Still Darkness Evident, Than Projects Like Snowtown, The Royal Hotel and Acute Misfortune. "It doesn't have to be a dark turn for me to get excited to do the work, to flesh out of character. I think that's just the stuff that I've been lucky enough to have been thrown, and I really enjoyed investigating why men like those roles from those films that you mention, to question and investigate why these guys are the way they are and then try to portray that as best I can. But anything on any spectrum excites me. The thing with Preston in this film, Bong's world, there's always a sense of playfulness and absurdity and commentary, and you don't necessarily play that but you lean into the idea of it — and that's really exciting. And I cherish to be able to flesh something like that out in his world. Anything that comes along that is lighter or more comedic, too, that's a different type of challenge and a different type of investigation and curiosity. That's really fun to do, too, depending on who you're working with and the story and the context of the character within that story. But working with him — and his characters are arch at times, and you're fulfilling certain tropes within the story for him, but there's a menace to Preston. And an underlying nastiness, an ugliness that I think comes from an ideology that's dark, but it's portrayed in this sort of very humorous observation of people who can be like that, that end up working for or being part of a belief system. In Preston's terms, it's in with this sort of corporation church, and there are some uglier elements there that we don't delve into but are quite obvious if you look at them hard enough. And that's really fun and it's zany — you know, he's wearing a £2000 suit on a spaceship. Why does he look like that? Where did that come from? Who is he? Bong said to me, the first time we met and talked about this film and this character, he said 'I want you to be shiny and smell like shampoo. You've got no hair, but I want you to be shiny and smell like shampoo'. So that excites me. What does that mean? That's very fun, and inspires the imagination and your curiosity. And then at one point, he said to me 'you think you're Mick Jagger. Nobody knows this. You don't show it. But that's what's happening internally for you'. And again, whatever that means, that's a really fun, exciting thing to play within the context of the dynamics between Mark's character, my character, Toni's character, Rob's character. What a fun direction. What a fun note to give. And then there's the intentions, I think he's trying to influence heavily without offending someone who is obviously very intimidated and insecure but has a great deal of power. And I think he's trying to get in the ear of Marshall as best he can by inflating his ego so as to serve his own mission, which I think is to further his position. So there's a menace and a malice there, and an intention that isn't very light — especially when we're talking about the loss of life, whether it be creeper or human, to get to a certain place. And then you justify that because you have a certain belief in a certain, in god, but it's done in this very sort of absurd way. So all of that excites me." On What Henshall Looks for in a New Project at This Stage of His Career "Well, the people, really. I've been very fortunate to work with some really great people — not just incredible artists or practitioners or craftspeople, but good humans. And I've been taken to some really exciting places that, had I not been in this industry, had I not chosen this career, I wouldn't have gone to. And also the people that are in these places, I wouldn't have met. It's not just fellow film and TV folks — it's people that you meet on the ground wherever you are. So that's been incredible. What excites me about a new project is the possibility of new friendships and new collaborations, and also the possibility to apply everything that you've learnt from the past experiences. Every job is similar in context in many ways and you can rely on those things, but the variables are different — it's a different crew, perhaps, or different people that you don't know yet how they work, what makes them tick, how best to fit into the job, how best to form a relationship with them to get the best out of you and them. That's all very exciting and terrifying. Is it going to work? Who knows? We don't know until we're doing it and then when we're doing it, you can't really go back and do it again. I know you get the time to do multiple takes, but to really know someone you have to sort of do the time with them, whether it be a director or cinematographer, a crew member, or an actor, writer, producer. Many things. [caption id="attachment_983107" align="alignnone" width="1920"] How to Make Gravy, Jasin Boland[/caption] So that's all exciting. And to employ all the things that you've relied on in the past and then push yourself into new challenges — that could be location, that could be many things. The role, the people you're working with, opposite, as an actor, it's all new and exciting. So I enjoy that challenge. Also, obviously, the depth of the scripts and the role that you get to play — and what part of your experience do you get to employ or get to use? Hopefully it's something fresh. And as you grow, you have new experiences and new perspectives, so you get to play things differently, I suppose. [caption id="attachment_994760" align="alignnone" width="1920"] Okja, Netflix[/caption] And the opportunity to be working. Just working. It doesn't happen for all actors, as you know, and it's a very fickle thing. And you can be working a lot and then you don't work for a while or you don't work at all. So there's the joy of working, which I adore. And I adore what I do, so I really love all that. The chance to play something different, as you sort of intimated. Some of the stuff that I've done in the past has been very dark. I think more recently, I've done stuff that's been less dark. I've played less-troubled people or people who have exorcised some of the darker parts of themselves, have been better human beings, I'd say — or more-loving human beings. So that's been really fun. I played something quite comical recently, that's been really fun. I'm just enjoying the different parts of myself that I get to peruse, too, then put in place with whatever character presents. But yeah, the people and the challenge of the work and all the different variables, that's what excites me. I think it's a multi-faceted answer." [caption id="attachment_994745" align="alignnone" width="1920"] Alex Vaughn[/caption] On What Henshall Makes of His Journey as an Actor So Far "I think I'm incredibly fortunate to have worked with the people that I've worked with and worked on some of the projects I've worked on. I've been taken all around the world. I've met some of the great, really great people, not just as practitioners but as humans. I've gotten to work on projects with director Bong. I've gotten to work with Justin Kurzel. I've gotten to work with Emma Freeman. Kitty Green. I've gotten to work on a television show in America for four years. I've gotten to play some really sinister people with some major issues, both mentally, physically and emotionally, and that's been an incredible exploration of perspective. And I've learnt a lot from that. I've learnt a lot from the people that I've worked with, young and old. It's just been brilliant. I feel very fortunate. I feel very fortunate that I can continue to do it. I feel very lucky. And I hope it continues, because I really enjoy it." Mickey 17 opened in cinemas Down Under on Thursday, March 6, 2025.
Aldous Harding is a name you're going to be hearing a lot about very soon. Her second album, Party – released earlier in May 2017 by legendary indie label 4AD – is full of darkly lyrical, dramatic songs, sung in Harding's extraordinarily versatile voice that can go from husky and dramatic to girlish and hopeful at the flick of a switch. Harding's sound is a is a mesmerising, intoxicating mix of Leonard Cohen, Elliott Smith, even an occasional flicker of Joanna Newsom. And given the album was recorded with PJ Harvey's longtime collaborator John Parrish, it's hard not to hear a touch of Polly Jean in there too. Image: Cat Stevens
More than seven years in the making, Bondi Pavilion's massive transformation is finally complete, and the waterfront hub's retail and dining tenants are now swinging open their doors. Glory Days Bondi has already brought a big dose of waterfront brunch to the pavilion. Now House Made Hospitality, the team behind Circular Quay's luxurious multi-level venue Hinchcliff House, has also arrived with Promenade. Opening on Wednesday, March 8, this all-day cafe, restaurant and bar brings Lana's affection for ethically sourced seafood right to the beach, serving up picked mud crab and snapper curry to a dining room soundtracked by the sound of the waves crashing just outside. But, the menu expands far past just seafood, accommodating takeaway coffee, light snacks, quick drinks and lavish lunches, all within a breezy space that complements the new-look pavilion. There are several defined areas within Promenade. The kiosk is on hand for on-the-go morning coffee. Inside, there's a 67-person dining room perfect for a long lunch or celebratory dinner. If you want to soak in the sea breeze, you can nab a spot on the al fresco verandah. There's a 140-person walk-in-only terrace that's designed to accommodate quick and casual visits. Or, if you're after something a little more secluded, there are several private dining areas including 12-seat space The Grotto — which offers water views and a semi-private terrace. "The venue needed to be light and airy to complement the relaxed daytime vibes of the beach, but still cosy enough for an evening experience," says House Made Hospitality Director Scott Brown. "The other primary focus for us was ensuring Promenade Bondi Beach appealed to locals. We want it to be somewhere locals are proud of, they feel comfortable eating at regularly and want to show off to visiting friends and family." House Made Hospitality Culinary Director Stephen Seckold has pulled together the menu with the help of incoming Executive Chef Chris Benedet (Cirrus Dining, Yellow, Monopole, Rockpool), who will head up the kitchen from mid-March. Alongside the aforementioned mud crab and curry, there's toothfish skewers, wagyu rib eye, lamb shoulder, and a collection of pasta dishes such as squid-ink calamarata with pippies and XO jamon. There's plenty on offer for vegetarians too, with Turkish peppers paired with tarragon mayonnaise, potato galette with black garlic, charred zucchini, and roasted cauliflower all making appearances on the menu. Once Benedet arrives, diners can expect him to put his stamp on the offerings, making tweaks or adding some of his culinary favourites. The menu differs over at the expansive Front Yard, the more laidback 400-square-metre, 140-person outdoor dining area. Here, among the native plants and olive trees, you can order a nostalgic Sunnyboy Spritz made with strawberry, ginger, Aperol and white wine, alongside beachside classics like flatbread topped with garlic king pawns and crumbed fish burgers. The Apollonia negroni has also made its way over from Hinchcliff House and landed on the drinks list. It sits side by side with a collection of frozen cocktails for those hot summer days, as well as Bondi Brewing Co beers and an expansive wine list featuring a range of drops handpicked by the team as the House Made selections. Promenade Bondi Beach opens on Wednesday, March 8 at Shop 4, Bondi Pavilion, Queen Elizabeth Drive, Bondi Beach. The kiosk will open 7am–3pm Monday–Sunday, while the rest of the venue will be open 11.30am–11pm Wednesday–Saturday and 11.30am–10pm Sunday. Images: Jiwon Kim.
For Beyond Cinema's latest immersive experience, it's letting you unleash your inner sleuth, explore a historic Sydney spot and follow in Leonardo DiCaprio's footsteps, when it recreates Martin Scorsese's mind-bending 2010 thriller Shutter Island. Your experience starts at Circular Quay, where you'll board a ferry headed to Manly's old Quarantine Station — which, for the purposes of the movie-themed fun, will be rebadged as Ashecliff Hospital circa 1954. That's where you'll find US Marshall Teddy Daniels. With his partner Chuck Aule, he's trying to find missing patient Rachel Solando. Actors will play the parts and, as you explore creepy sites and even a lighthouse, you'll help solve the mystery, too. If you've seen the flick, you'll know that everything won't be quite as it seems — so keep your wits about you. Once the interactive part of the event is over, you'll settle in to watch the end of the movie. If you're feeling thirsty or peckish, there'll be a bar onsite, plus food to buy. The Shutter Island Experience takes place on Sunday, November 17 across three four-hour-long sessions starting at 3pm, 4.30pm and 6pm, with tickets costing $85 per person.
One of the world's most acclaimed galleries is coming to Australia, and it's bringing more than 70 works that chronicle the past 200 years in art history with it. For a five-month season from mid-June, the UK's Tate will take over Melbourne's Australian Centre for the Moving Image with a hefty exhibition that'll span everything from painting, photography and sculpture through to drawing, kinetic art and installations — and, of course, the moving image. Given the time period covered by Light: Works from Tate's Collection, the list of artists that'll be on display is a varied one — as drawn from pieces in the Tate's four separate sites in Britain. Art lovers will be able to see works by famed English romantic painter and watercolourist Joseph Mallord William Turner alongside the light- and space-focused efforts of American artist James Turrell, plus pieces by impressionist Claude Monet and Japanese favourite Yayoi Kusama. Running from Thursday, June 16–Sunday, November 13, the unifying theme is light, as the exhibition's name makes plain — and if you're wondering how this connects to ACMI's remit as a museum for the moving image, light is obviously crucial to all recorded vision. While Light: Works from Tate's Collection will step through art history, ACMI will further put its pieces into broader artistic context by presenting it alongside its permanent The Story of the Moving Image exhibition, which examines the origins and genesis of film and television. From the impressive roster of art and artists, Turner's 1805 painting The Deluge will make its Australian debut, while Kusama's characteristically kaleidoscopic 2005 sculpture The Passing Winter gets viewers peering into a mirrored cube. Turrell's Raemar, Blue, from 1969, is an immersive spatial environment that surrounds visitors in infinite and immersive light. And among the other highlights sits paintings by John Constable, Wassily Kandinsky, Bridget Riley and Joseph Albers; more impressionist pieces from Camille Pissarro and Alfred Sisley; and rotating crystalline sculpture Stardust Particle by Olafur Eliasson. The ticketed exhibition will be accompanied by talks, performances, workshops and late-night events, as well as film screenings. Although the events lineup hasn't yet been revealed, masterclasses with cinematographers, artist discussions, and magic lantern and 16mm presentations will all be on the bill, as will two free exhibits — from Australian artist Mikala Dwyer in ACMI's lightwell and by Lis Rhodes in Gallery 3, with the latter's Light Music also coming from the Tate Collection. [caption id="attachment_858887" align="alignnone" width="1920"] Raemar, Blue, 1969, James Turrell. Tate: Presented by the Tate Americas Foundation, partial purchase and partial gift of Doris J. Lockhart 2013. © James Turrell. Photo: Phoebe Powell[/caption] [caption id="attachment_858889" align="alignnone" width="1920"] The Passing Winter, 2005, Yayoi Kusama. Tate: Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2008. ©Yayoi Kusama. Tate. Photo: Phoebe Powell.[/caption] Top images: Installation view, 'Light: Works from Tate's Collection', showing at ACMI, 2022. Photos by Phoebe Powell.
The subjects of Garth Knight's Bestiary are doubly mesmerising. For one thing, they are shiny and ornately bejewelled, displayed in bright contrast to the black vacuum of their backgrounds. For another, they are weird scary creatures. Sure, you might think butterflies are pretty or seahorses are endearing, but they're kind of freaky when you really think about them. And bees? Bees can sting you. And spiders can bite you. And bugs have their skeletons on the outside. Tell me the word 'carapace' isn't sinister. The creatures populating this series have never been alive, but they still somehow look pinned down, as though a jeweller has recreated specimens from the display cases of lepidopterists and entomologists. As they sparkle they seem ready to dart or scuttle or whir out of the images, with the absence that constitutes their spatial context effecting a strange sort of atemporal suspense. It's hard to look away.
Fan of magic? Addicted to your phone? We've got good news for you. Metaverse of Magic, a theatre show combining stagecraft and sorcery, will be coming to Sydney this November. Think of it like the magic shows of yesteryear, redefined for the digital age. And here's where it gets really fun: you're not just a spectator, you're an active participant, with your smartphone effectively transforming into a magic wand to use to interact with the show. Kicking off in Sydney, then Canberra and Brisbane, the show offers a blend of traditional magic from real pros from around the world. Using your phone, you'll join DIGI, an artificial consciousness bridging our world and the Metaverse, and embark on a quest to uncover the secrets of four masters of illusion and attempt to gain access to the mysterious Inner Realm. No pressure. Taking centre stage is YouTube and TikTok sensation Ash Magic, along with a galaxy of global stars, including Tokyo's Hara Hiroki, Australia's Charli Ashby, New Zealand's Jarred Fell, Taiwan's Horret Wu and Amsterdam's Sabine van Diemen. The show runs for two weeks only, opening on Tuesday, November 7 and running until Sunday, November 19, at Sydney Coliseum Theatre at West HQ. So get in quick, and get set for a grand magic show — but not as you know it. Just don't forget to charge your phone. Intrigued? Grab your tickets here.
“Living together alone is hell between consenting adults" according to Michel Houellebecq. Porn.Cake, (written by Vanessa Bates and directed by Shannon Murphy) first played to Melbourne audiences at the Malthouse and is on now at Griffin Theatre 'til the 14th of July. If you’re expecting cakes in the shape of naughty body parts: don’t. The producers have opted for standard cake, lovely cake in fact, made by the bakers at the Epicurean Kitchen. Speaking of Epicurus, it’s strange that he is now associated with gluttony and indulgence, when he was really just a hippy who believed that the good life meant spending quality time with friends and family over a modest bowl of soup. Porn.Cake is a world apart from the Epicurean ideal. We meet two mirror-image couples living the middle class domestic dream, who are sick of their respective partners and are unable to communicate let alone copulate. The women are obsessed by their diminishing attractiveness and the men are forever texting about a "business matter". Cake acts a cover for their unfulfilled sexual desires and lack of connection. Porn.Cake’s premise is that "cake is the new porn". Just as porn stimulates a perpetual desire without fulfillment, cake promises sweet satisfaction without nourishment. Steve Toulmin’s sound design using snippets of Jamie and Nigella talking seductively about food in between scenes is pornographic in so far as it is full of promise, with the moment of satisfaction always out of reach. The performers eat cake mechanically, without the appreciation that Epicurus would have us note. In this way porn and food act as "points of entry" into the themes of isolation and existential dissatisfaction. (For more on this watch Steve McQueen’s Shame.) The piece is comprised of four monologues joined by scenes that repeat and morph as the evening progresses. The clunky opening monologue, performed by an otherwise entertaining Olivia Pigeot, falls short of the rest of the play. And this odd start means the play is a bit of a slow burn, but once it gets moving it’s thoroughly enjoyable. In particular, Georgina Symes’s monologue as the naturopath with a bee in her bonnet is excellent and hilarious. Be advised - you should go on an empty stomach, unless you have a truly voracious appetite for cake or porn or both. Image by Griffin Theatre.
UPDATE, Friday, December 8: Leave the World Behind screens in cinemas from Thursday, November 23 and streams via Netflix from Friday, December 8. Call it the one with Julia Roberts playing the mother of a Friends-obsessed 13-year-old girl who hasn't clocked that someone closely resembling her mum pops up in the sitcom's second season. Call it writer/director Sam Esmail still ruing humanity's technological reliance and seeing only dystopian outcomes after Mr Robot became such a small-screen success. Call Leave the World Behind an effectively unnerving psychological thriller about a mysterious communications blackout striking while one New York family holidays at another's palatial Long Island vacation home, too. Down Under, badging it the horror version of Australia's November 2023 Optus outage also fits — just with a home-invasion angle that can be read two ways; Hitchcockian suspense, sharp writing and baked-in bleakness; Barack and Michelle Obama as executive producers; and Roberts (Ticket to Paradise) starring alongside Ethan Hawke (Reservation Dogs), Mahershala Ali (Spider-Man: Across the Spider-Verse), Myha'la Herrold (Dumb Money) and Kevin Bacon (The Guardians of the Galaxy Holiday Special). In her second chaotic getaway in two successive movies, Roberts plays Amanda Sandford, an advertising executive who prides herself on being able to read people and situations. But her professor husband Clay (Hawke) is surprised to awaken one morning to news that their brood is going away for a few days, thanks to a humanity-escaping misanthropic urge and a last-minute online booking. He and the couple's kids — the older Archie (Charlie Evans, Everything's Gonna Be Okay) and younger Rose (Farrah Mackenzie, United States of Al) — aren't complaining about the break, though. Then problems after eerie problems occur. First, an oil tanker runs ashore on the beach. Next comes the late-night knock at the door from their holiday home's owner GH Scott (Ali) and his daughter Ruth (Herrold), who've driven in all dressed up from a night at the symphony. In a movie that isn't afraid of M Night Shyamalan-esque setups on its route to potential societal collapse, a power, phone and internet outage follows, plus oddly behaving wildlife and disquieting developments from above. Paranoia is Esmail's on-screen wheelhouse as much as distrusting the gadgets and connectivity that've become foundations of 21st-century life, so him bringing Rumaan Alam's 2020 novel to the screen is hardly a shock. Cultivating tension is also key among the film and TV director, writer and producer's skills, with Leave the World Behind providing another superb avenue for him to demonstrate that talent. With Mr Robot and this, which is only his second feature as a filmmaker (after 2014's Comet), Esmail has proven fond of filtering life's stresses, reliances and fears through harrowing but grounded-enough situations. Leave the World Behind's circumstances coming true doesn't feel like a fiction-only jump, and nor do the reactions from Amanda, her loved ones and the strangers that they encounter. If existence as we currently know it concludes, falters or is disrupted significantly, perhaps it'll be more mundane than instantly cataclysmic, Esmail keeps positing. Scene by scene, Leave the World Behind tears into the vacation idyll early. The trip to the beach under beaming sunlight becomes a disaster movie when Rose spots the ship heading straight for the shore, as grippingly handled by Esmail, his regular Mr Robot cinematographer Tod Campbell and editor Lisa Lassek (Dead Ringers). The distress that lingers in that incident's aftermath only multiplies when the Scotts show up — not thanks to their presence, but due to Amanda's Karen-style reaction. When there's no way of accessing the outside world, the kids try to swim away the unease while the adults argue, yet the disquieting vibe just keeps building. As the tanker moment illustrates, Leave the World Behind doesn't shy away from hefty instances of prospective end-of-the-world mayhem, with more springing; however, blockbuster spectacle isn't this feature's core focus. Indeed, this isn't just a film about responding to another apocalyptic scenario, of which screens big and small can't get enough (see: Shyamalan's Knock at the Cabin, plus The Creator, Biosphere and The Last of Us are a mere few fellow 2023 examples). Leave the World Behind is also steeped in today's attitudes as well as its accoutrements; that Alam's book is a pandemic-era release is fitting. So, the entitlement and prejudice that Amanda sports when financial planner GH and twentysomething Ruth arrive speaks volumes. The division and doubt between Amanda and Ruth across generational and racial lines do as well. The same applies to the panic when no manner of devices can deliver the news, a number of supremely self-serving decisions, and one helluva dark but glorious gag that stops anyone from hightailing it out of there and never looking back. As the Sandfords and the Scotts alike — and survivalist Danny (Bacon) as well — contemplate what's behind their chilling change of affairs, surveying everything from cyberterrorism to nuclear troubles, that humanity might be its worst enemy echoes loud and clear. Esmail and Roberts have teamed up before on TV series Homecoming, which he created and directed, and also when the former executive produced the latter-starring Gaslit. Enlisting America's sweetheart in an against-type part that gets her playing suspicious, privileged, contemptuous and prickly guides out a compelling performance, and one of her best in years; Roberts turns in an invested portrayal, and is also among the movie's producers. An always-magnetic two-time Oscar-winner (for Moonlight and Green Book), Ali renders GH as open, trusting and reasonable where Amanda is not, with some of the film's top sequences stemming from the pair sharing the frame. Hawke nails his affable part, and Herrold her no-nonsense role. It isn't just how its characters handle their plight, for better and for worse, that makes Leave the World Behind resonate with emotional truth, but the fleshed-out performances that are always centre stage. On the list of things that Esmail and his film don't shirk, humour and paying homage to Hitchcock also rank highly. The idea that the crashing of society mightn't stop a TV fan from wanting to see how their favourite show ends is both an astute commentary on the dominance of pop culture and deeply funny, while nods to The Birds and North by Northwest are well-handled tributes. Making Friends the series that Rose is obsessed with is all the more affecting after Matthew Perry's recent passing, but it's "I'll be there for you" refrain was always pitch-perfect for this tale. As America and the globe keep being factionalised, doomsday possibilities continue to loom and conspiracy theories about almost everything abound, what and who will be there for you? Call that one of the trains of thought that this ambitious, playful, savvy and cutting picture serves up.
During this last week of April there's been a bit of good news about Australia's battle to contain coronavirus. Queensland and NSW both announced the easing of some restrictions from this Friday, May 1, South Australia has had seven days in a row of no new cases and the ACT, as of today, has zero active cases. Also unveiled today was the Northern Territory's Roadmap to the New Normal, which includes the reopening of restaurants, bars and cafes — in just two weeks. Announced today by Chief Minister Michael Gunner, the roadmap is broken into three parts. From midday tomorrow, May 1, some "simple and safe" outdoor activities are allowed — including weddings and funerals, outdoor sports where physical distancing can be maintained (so tennis is OK, but not basketball) and fishing, boating and sailing with other people — and public swimming pools, water parks, playgrounds and campgrounds (outside biosecurity areas) can open. Stage two, set to start from midday on Friday, May 15, allows "safer" indoor activities for "less than two hours". Places of worship, public libraries, gyms, beauty therapy salons (for non-facial services), shopping centre food courts and restaurants, cafes and bars can all have customers for short bursts. So, you can go and have a couple of pints at a bar or a bowl of pasta and a wine, but not sit down for an eight-course degustation. The venues wanting to reopen as part of this second round of eased restrictions must submit a "simple COVID-19 safety plan checklist" to prove they're operating within physical distancing and hygiene guidelines, but these do not need to be approved. At present, the Chief Minister has not outlined exactly what these physical distancing guidelines are, but the checklist will be made public on May 5. [caption id="attachment_714483" align="alignnone" width="1920"] Sydney's Cantina OK is currently closed. Image by Kimberley Low.[/caption] If the guidelines include the Federal Government's previous one person-per-four-square-metre limit, it's possible it won't be viable for all hospitality venues to reopen. When this restriction was first introduced back in March 20, many hospitality spots — including tiny Sydney mezcal bar Cantina OK — chose to close. Some closed even earlier, when the government introduced a ban on indoor gatherings of more than 100 people. Part three of the NT government's plan is set to be rolled out on June 5, and includes the removal of the two-hour limit and the commencement of more indoor and outdoor activities, such as going to a football game and the opening of cinemas, theatres, concert halls, nightclubs and entertainment venues (in an "approved configuration"). The territory's 14-day forced quarantine rules for all non-essential interstate travellers does not have an end date as part of the plan — so, no, don't expect to go on a holiday to the Top End anytime soon. The NT has had significantly less cases compared to other states and territories, with a total of 27 — as of 6am on April 30 — compared with 1034 in Queensland, 1354 in Victoria and 3016 in New South Wales. But the two-month plan could be an example of what the road out might look like for the rest of the country, albeit a little later on. You can find out more about the Northern Territory's Roadmap to the New Normal here.
When 2020 came to an end and 2021 began, it did so with fluctuating restrictions in the Greater Sydney area in response to recent COVID-19 outbreaks, including in the northern beaches. But, before January wraps up, those rules will start easing — with the first relaxed changes coming into effect from 12.01am on Friday, January 29. Premier Gladys Berejiklian made the announcement today, Wednesday, January 27, after pre-empting last week that changes were likely to come into effect this week of case numbers remained low. The NSW Government didn't want to loosen the restrictions before January 26, however, because it didn't want the public holiday to become a super-seeding event. Come Friday, households will be allowed to welcome 30 visitors (including children). For outdoor gatherings — in public, such as picnics and barbecues — the new limit is 50 people. Weddings and funerals will be allowed to have 300 attendees, too, as long as they comply with the one person per four-square-metre rule. That said, only 20 people can dance at weddings, so that rule isn't easing yet. For venues in the the state — which includes hospitality venues — the one person per four-square-metre rule is still in effect as well. But, in a new change, the cap of 300 people is being scrapped. Also sticking around: wearing masks, but they'll only be mandatory on public transport, in health settings, in gaming rooms, for front-of-house hospitality workers, for folks going to a place of worship, and for anyone attending a beauty or hairdressing salon. They won't be compulsory for retail workers or for anyone going shopping — including at supermarkets — but they remain recommended if you're unable to socially distance. The changes announced today don't completely roll the restrictions back to the same rules that were in effect before the Avalon cluster; however, if there is no further community transmission related to the recent outbreak in Sydney's southwest, more rules will be relaxed in a fortnight. That's when venues are likely to be able to go back to the one person per two-square-metre rule, and weddings and funerals should be able to as well. The announcement comes as NSW recorded no new locally acquired COVID-19 cases in the 24 hours to 8pm on Tuesday, January 27 — a pattern that has remained for the past ten days. That said, the most recent hours come after 9723 tests, which both Premier Berejiklian and NSW Health notes is low. As always, NSW residents are asked to continue to get tested immediately if you experience even the mildest of COVID-19 symptoms. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
Despite every expected (and unexpected) challenge that came with 2021, Sydney's bar scene has continued to grow. Against all odds, new drinking holes have popped up across the city — opening everywhere from sparkling inner-city precincts to western Sydney rooftops. To celebrate the latest kids to join Sydney's hospo block, we've rounded up eight of our favourite new bars that opened their doors in 2021.
Local distilleries have become a regular facet of the Sydney hospo scene, and the latest of these is just about to launch in Potts Point. Headed by distiller Odelia Potts, Kings Cross Distillery is set to swing open its doors tomorrow, Thursday, October 1, on Macleay Street near the corner of Darlinghurst Road. The new cocktail den and distillery features house-made gins, cocktails and Spanish snacks — plus personality aplenty. As with many old buildings in the area, the venue's past lives are varied and salacious. These include an illegal gambling den and an adult bookstore with a hidden vault. That vault is no longer home to questionable activities, but the distillery's precious bottles of gin. The fit-out pays homage to the building's history and emulates speakeasies from the 1920s — think dark green leather booths, exposed brick walls and gold details aplenty across the split-level bar. The distillery's 200-litre pot also sits front-and-centre. Expect seats for 120 all up and a kitchen serving mezze-style bites like garlic prawns, meatballs in tomato sauce, grilled chorizo and anchovies. You can also order caviar by the ten-gram servei can'. Apart from the gin, the distillery will also make its own vodka and whisky, and pours other spirit and wine brands from around Australia and the globe. Guests can even keep specially selected drops in personalised spirit lockers, where bottles can be stored between visits and then used in any concoction on the menu. Eager punters can pre-purchase those spirit lockers (for a cool $400–1350) and have one all ready to go for opening night. On the bar's cocktail menu, you'll find a bubble-topped Impeachment, a Sin and Tonique and gin old fashioned dubbed Pepperation Makes Perfect. All made with one of the distillery's house-distilled gins, of course. And you can leave with a bottle of that gin, too, with the classic dry gin and Garden Island navy strength gin available online and in-store. Find Kings Cross Distillery at Shop 8, 127 Macleay Street, Potts Point from Thursday, October 1. It's open from 11am–11pm daily.
Michael Hutchence died here. Bill Clinton and George Bush Senior stayed here. Elton John played the lobby piano here. Now, one of Sydney's grandest hotels (with quite the rambunctious history) is reopening its doors. After dwindling into disrepair and being accused of housing "undesirables" for a few years, the former Ritz Carlton has swept away the cobwebs (and the alleged brothel operators) and is set to reopen as the Intercontinental Sydney Double Bay on Thursday, November 6. Announcements have been dropped all over the joint regarding the hotel's design, resident eateries and bars — with particular vision toward enticing locals as much as guests. With executive chef Julien Pouteau popping across from Intercontinental Sydney to kick the in-house restaurant, Stockroom, and resident eateries into gear, the hotel's nosh offerings have generated quite the buzz throughout Sydney — from Shaun Presland's Sake to a Lobo Plantation/The Island team up and now, the hotel's own dedicated gin bar, The Stillery. Plans for the ground floor retail level have been confirmed over the last few months. This latest news for the buzzed-up hotel will delight gin lovers: a seven-metre long, marble-clad, dedicated gin bar featuring rare and vintage spirits is set to open this December. The Stillery will be open to the public and will have ginthusiasts rubbing their paws in anticipation. Joining the Stillery, Urban Purveyor Group's (the team behind Ananas Bar and Brasserie, Bavarian Bier Cafe, The Cut Bar and Grill and Swine and Co.), Saké is set to open in December. With sushi master and executive chef Shaun Presland commandeering the menu, the Double Bay establishment will serve the contemporary Japanese cuisine Saké is already celebrated for — joining hatted sister venues in The Rocks and Brisbane, alongside its Melbourne counterpart. We're talking 'gramworthy new-style sushi to significantly impress your date. Shiny new hospitality company The Group — the teaming up of The Island operators Adam Abrams and Julian Tobias with The Lobo Plantation's Eddie Levy and Michael Hwang — will draw from the formidable foursome's 15+ years of running kickass Sydney venues to open a yet-to-be-named new bar and restaurant at the InterContinental. Think Australia's first and only floating beach club meets Cuban colonial elegance — or more likely something entirely different and equally novelty. Bondi institutes Henley's Wholefoods and Shuk have officially signed the lease to join the Double Bay hotel's ground floor family. Expanding their North Bondi marketplace-like spot, Mediterranean artisan bakery Shuk are confirmed to bring their sensory overload of homemade baked goods and aromatic breakfasts to the party. Boutique paleo, organic and lean cafe Henley’s Wholefoods will bring their sustainable produce to the party as well — a welcome change for the often tired eateries of hotels. Preserving the classic features of the building itself, the Intercontinental team are making a few upgrades to the 140-guest room establishment — and they're pretty damn grand. Alongside your usual decadent 24-hour room service, a 200-square metre jawdropper royal suite has been confirmed, with Italian marble staircases and bathrooms, French provincial courtyards, Parisian balconies and contemporary rooms alongside a rooftop infinity pool open to the public — and who doesn't look for an infinity pool in their top tier stays, honestly? Don't worry, there will be cabana lounges on offer and plenty of ostentatious cocktails ready for your diamond-encrusted paws. Putting the glamour back into business lunches, there's set to be seven meeting rooms within the well-dressed walls as well as a magic-sounding pillarless ballroom with 450 (theatre style) and 360 (banquet style) person capacity. Plus, parking's not a problem; there's significant spots within the hotel and a council carpark across the street. Intercontinental Sydney Double Bay is opening Thursday, November 6, with bookings available from here.
Dom Dolla just keeps making history. Back in December 2023, the Australian DJ and producer notched up a hefty achievement, playing his biggest-ever hometown show in Melbourne at the Sidney Myer Music Bowl. Then, come 2024, his national tour became the largest ever by an Australian electronic artist, selling 170,000-plus tickets in four cities. What does 2025 hold, then? Oh, only the Grammy-nominee doing his first-ever Aussie stadium show and biggest headline gig ever. He's played Coachella, Lollapalooza, Wildlands, Spilt Milk and more — including soldout Madison Square Garden gigs with over 30,000 attendees, plus Ultra Miami and EDC Las Vegas. When Europe's summer hits, he's doing a ten-week residency at Hï Ibiza. Then, on Saturday, December 20, 2025, Dom Dolla will head home in a massive way, headlining Sydney's Allianz Stadium. The three-time ARIA-winner (and 16-time ARIA-nominee) also has something else sizeable to add to his resume in 2025: with 'No Room for a Saint' featuring Nathan Nicholson, he's making his film soundtrack debut. The movie: the Brad Pitt (F1)-starring F1. Also this year, Dom Dolla has released two other tracks: 'Dreamin' featuring Daya and 'Forever' with Kid Cudi. On his 2024 Aussie tour, the venues weren't small, given that he played Melbourne's Flemington Racecourse, Sydney's Domain, Brisbane's Riverstage and Perth's Wellington Square. But making the leap to a headline stadium gig is no minor feat. Only the sole Allianz Stadium show has been announced, so if you're keen to head along and you're outside of the Harbour City, you'll also want to make travel plans. Dom Dolla is playing Allianz Stadium, Sydney on Saturday, December 20, 2025. You can sign up for ticket presales from 11am AEST on Monday, May 19, then buy presale tickets from the same time on Thursday, May 22, with general sales from 12pm on Friday, May 23. Head to Dom Dolla's website for more details. Images: shevindphoto / Beyond the Valley, Chloe Hall.
Before getting a glimpse into everyone else's lives was as simple as logging into your social-media platform of choice, a game arrived that let its players do something similar with computerised characters. A spinoff from SimCity and its city-building follow-ups, The Sims allows whoever is mashing buttons to create and control virtual people, then step through their existence. First hitting in February 2000, it has spawned three sequels, plus a whole heap of expansion and compilation packs for each — and online, console and mobile versions as well. A quarter of a century since its debut, The Sims still keeps dropping new releases. To mark its 25th birthday, there's now The Sims: Birthday Bundle. That's one way to celebrate the game's latest anniversary. Here's another: stepping inside a three-day Australian pop-up dedicated to the beloved life simulator, which is heading to Melbourne's Australian Centre for the Moving Image from Friday, February 21–Sunday, February 23, 2025. Despite The Sims' more-recent titles, thinking about the game usually means thinking about the 2000s. So, this pop-up is taking that truth to heart by celebrating the Y2K era, too. Going along involves entering inside a 2000s-era pre-teen bedroom that's been decked out by Josh & Matt Design with all of the appropriate touches. Yes, it'll be nostalgic. Yes, there'll be CD towers and blow-up couches, just to name a few decor choices. The pop-up will also feature free stations where you can play The Sims: Birthday Bundle, if the best way for you to commeroate the occasion is by diving into the franchise virtually. In addition, there'll also be a free panel about the game on the Saturday, with speakers including Josh & Matt Design's Josh Jessup and Matt Moss — who are big The Sims fans — and EA/Firemonkeys' Simulation Division General Manager Mavis Chan.
