Beyond the clichés of cuteness and eccentricity, Japan is a country that has been through massive societal upheaval in the last four decades. It has seen the bubble economy and the effects of its dramatic burst, the rise of a hyper-consumerist culture, the information revolution, the exponential increase of population in urban areas, the devastation of natural disasters, the loss of traditional communities and countless other twists and turns. Gazing at the Contemporary World: Japanese Photography from the 1970s to the Present looks at documentation of Japan’s changing social and geographic landscapes in this time through the gaze of 23 photographers including Nobuyoshi Araki, Shomei Tomatsu, Daido Moriyama and Takashi Homma. Curated by Rei Masuda (Chief Curator of the National Museum of Modern Art, Tokyo), the touring exhibition incorporates an extremely broad scope while being refreshingly devoid of Hello Kitty.
An escape to Aotearoa New Zealand can cater to all your holiday desires, whatever they may be. Whether your idea of a perfect getaway is to be gazing out at incredible scenery, absorbing it all on a hike, bike, paddle, swim or walk, or being pampered into a state of utter relaxation, New Zealand will take your breath away. Make where you stay part of your holiday too, rather than simply a place to rest your head after an experience-packed day. From camping out under the stars beneath one of the darkest skies on Earth to retreating into luxury residences next to vineyards and cellar doors, or even going completely off-grid, the getaways you'll find in New Zealand are uniquely extraordinary. Although New Zealand beckons for a holiday year-round, the seasons will shape your sojourn too. Revel in the charm of changing landscapes in autumn, catch your breath on alpine walks and in hot springs in winter, or experience the energy of spring as native wildlife and vegetation start afresh. No matter when you visit, you'll be welcomed with manaakitanga, a Maōri value encompassing a deep sense of connection and welcome, for a holiday you'll wish never had to end. We've partnered with 100% Pure New Zealand to curate some of our favourite stays in New Zealand, including which season they're best experienced in, to help you plan an unforgettable trip. Flick the switch for incredible getaway venues in autumn, winter and spring. Jump to switcher
You've entered the workforce. You enjoy where you work and what you do. Congrats, you've successfully adulted. But, seeing as your career will likely span upwards of 40 years of your life, you'll want to be in a position where you can actually get the most out of your job. How? We have one word for you — upskill. By taking a course or studying a single subject related to your career goals, you'll expand your realm of knowledge beyond any original training you've done, keep up to date with the latest research and methodologies in your field and show your present (and prospective) employers your ambition and drive for self-improvement. And, you don't even need to put your career (or life) on hold to do so. Senior manager of marketing Rhiannon Farrar is one of the thousands of Aussies who have studied online through Open Universities Australia (OUA). She got her degree — maintaining a healthy study-work-life balance in the process — and she's now kicking some serious career goals. This is how she did it. DON'T PACK YOUR BAGS Forget Hollywood's idea of the university experience — moving across the country, living on campus and going to frat parties. For a lot of people, pausing life to study for a period of time is just not feasible. But, luckily, you don't need to. OUA partners with universities all across Australia to bring over 290 degrees and 1500 subjects to students studying remotely. Sydney-based Farrar went straight into the workforce after high school, starting out as a casting agency talent booker before taking on a front of house role at a Sydney advertising agency. So, when it came to studying, moving wasn't really an option — she already had her foot in the door in Sydney. Instead, she undertook her preferred degree — Griffith University's Bachelor of Communication (majoring in Public Relations) — online through OUA. FIT STUDY AROUND YOUR LIFE (NOT THE OTHER WAY AROUND) Life can be unpredictable, which makes locking yourself into a degree feel completely daunting. But, one of the biggest drawcards of studying through OUA is the flexibility. OUA lets you select the number of subjects you complete per study period, semester or trimester (depending on the qualification). So, if in one study period, life gets busy, you want to travel or complete an internship (like Farrar did with the Sydney Kings basketball team), you can scale back to one subject — or take off a semester altogether. You can then take on an extra load in the following block to catch up if you like. On top of the industry-specific knowledge that Farrar gained, she notes that this flexible style of studying also improved her work style — from learning how to manage her time to working independently and feeling confident asking for help when necessary. USE WHAT YOU'RE LEARNING STRAIGHT AWAY Chances are, you only remember a fraction of what you learned in high school (Pythagoras theorem, we're looking at you) and the same can happen with uni, too. If you're not thinking about it on a daily or weekly basis, some information just doesn't stick after a certain period of time. When you're working and studying simultaneously, you get to implement what you're learning in real time. Similarly, everyone likes a shortcut — and earning credit for the work experience you have under your belt already is a surefire way to fast track your degree. Just five years on from her graduation, Farrar now oversees the marketing strategy for the entire Asia Pacific region for Rakuten Marketing. She partly credits her quick rise through the ranks to being able to put what she was learning into practice immediately — and vice versa. "Working in adland and studying PR, there were a lot of overlaps between what I was learning and what was happening at work," says Farrar. "My studies helped me get a greater understanding of the industry, and my work helped me to make practical sense of what I was learning." FIND YOUR PERFECT MATCH You may not be interested in a full degree right now. Perhaps you've identified a knowledge gap or want to specialise to future-proof your job (and make yourself more attractive to potential employers). OUA also offers a heap of post-graduate single subjects that you could study in your lunch break, commute or after work. It's a minimal commitment (aside from sacrificing a few hours at the pub or watching Netflix) for maximum return. From learning how to code with RMIT to a subject on Innovative Business Practice with Swinburne University through OUA, there are plenty of subjects that will get you up-to-date in your field and supercharge your career. Take it from Farrar: "We live in a competitive world where new trends and technology are constantly coming into play. Keeping yourself upskilled is so important to ensuring career development and growth." Start looking at all the subjects on offer online from leading Australian universities through Open Universities Australia and you could have a new skill by the end of the year. Hop to it.
You can put a beloved animated series into cryogenic stasis, but someone is going to thaw it out one day. In Futurama's case, US streaming platform Hulu has announced plans to defrost the Matt Groening-created show about life in the 31st century, marking the second time that it has been brought back. Originally airing from 1999–2003, the futuristic animated series then returned from 2008–2013 — and now it'll be revived again in 2023. Obviously, in the words of Professor Hubert J Farnsworth: good news, everyone! Hulu has announced a new 20-episode run for Futurama, as well as the return of most of the original voice cast. That means that you'll be spending more time with Philip J Fry (voiced by Billy West), the 20th-century pizza delivery guy who managed to get accidentally cryogenically frozen on New Year's Eve 1999, only to defrost a thousand years later — and then get a job delivering packages with Planet Express, the cargo company run by Farnsworth, his distant nephew. It also means more antics with one-eyed Planet Express captain Turanga Leela (Katey Sagal); fellow company employees Hermes Conrad (Phil LaMarr), Amy Wong (Lauren Tom) and Zoidberg (also West); and everyone from self-obsessed starship captain Zapp Brannigan (West again) and his amphibious 4th Lieutenant Kif Kroker (Maurice LaMarche) through to scheming corporation owner Mom (Tress MacNeille). One key cast member who hasn't yet been confirmed for the Futurama revival: John DiMaggio, aka the voice of constantly sauced robot Bender Bending Rodríguez. Variety reports that it's still hoped that DiMaggio will return for this trip back to the animated future, but if that doesn't happen, Bender will be recast. Whoever will be exclaiming "bite my shiny metal ass!", Futurama will keep doing what it did hilariously well over its past seven seasons and four direct-to-DVD movies: peering at life in the year at 3000 and beyond in its offbeat way. "I'm thrilled to have another chance to think about the future... or really anything other than the present," said David X Cohen, Futurama's head writer and executive producer, in Hulu's announcement. "It's a true honour to announce the triumphant return of Futurama one more time before we get canceled abruptly again," added The Simpsons great Matt Groening. Viewers Down Under can likely expect to watch the new Futurama via Disney+, given that the Mouse House owns Hulu and airs Hulu shows in Australia and New Zealand via its Star expansion — but expect further specifics to be confirmed, alongside a premiere date, as 2023 approaches. New episodes of Futurama are set to air in 2023 — we'll update you with further details, including where you'll be able to watch Down Under, when they're announced.
Can logic and science co-exist with the metaphysical and supernatural? "I think that's what I'm exploring in all of my work," says Robert Eggers. A decade on from making his first feature, and marking himself as one of horror's spectacular new voices at the time, the acclaimed writer/director has the filmography — The Witch, The Lighthouse, The Northman and now Nosferatu — to prove it, of course. "And I think that the difficulty with this stuff is if you believe it, it's true. So I think that's why I explore it in the safety of cinema rather than diving into the deep end and ending up in the madhouse." Whenever Nosferatu sinks its teeth into the silver screen, be it in FW Murnau's 1922 original, or when the inimitable Werner Herzog (The Fire Within: A Requiem for Katia and Maurice Krafft) followed in his compatriot's footsteps with 1979's Nosferatu the Vampyre, or now that Eggers has crafted his own take, it unfurls a tale of gothic obsession. Fixation and passion also sits at the heart of how this icon of horror cinema keeps flickering through picture palaces. It all started with an unofficial adaptation of Bram Stoker's Dracula, which is why the narrative is so similar but the names have been changed. When Herzog gave it a spin, it was because he considered the first movie to be "the greatest German film". Eggers himself has been drawn to Nosferatu since childhood, even directing an iteration of it as a play in high school. (He also appreciates that for the generation that grew up with SpongeBob SquarePants, so kids from 1999 onwards, that might now be commonplace given that discovering Nosferatu can spring via the animated show.) As Dracula clearly is as well, Nosferatu is easy to be passionate about. The OG film is a masterpiece — of silent cinema, of German Expressionism, of horror and just in general. Count Orlok, as initially played by Max Schreck, is a hauntingly unforgettable screen presence. There's no missing the fervour that Eggers has for all things Nosferatu in his movie, or how lovingly that he regards the original. But while there's a packed coffin full of nods backwards in his feature, an Eggers film always feels distinctively like an Eggers film. He's been embracing period-set horror from the get-go anyway, and he repeatedly demonstrates again and again that he's only ever interested in realising his own meticulous — and stunning — celluloid visions. Willem Dafoe (Saturday Night), a veteran of The Lighthouse and The Northman before becoming Nosferatu's Professor Albin Eberhart von Franz, knows all about Eggers' way of working. Asked to describe the director's work, the actor who earned a Best Supporting Actor Oscar nomination for portraying Schreck in 2000's Shadow of the Vampire — a riff on the making of Murnau's Nosferatu — notes that the filmmakers' oeuvre is "contact with stories from another time that have a relevance to now. Beautiful shots. Very detailed, not-conventional cutting. Great art direction. Great shooting. Hopefully good actors. That's kind of the checklist." Dafoe continues: "obviously I've worked with Robert three times and I want to work with him some more. I enjoy it so much, because for an actor it's a dream. He gives you fun things to do, and you're sent to a world that is so rich that it's far easier to pretend and entertain a new set of conditions, thoughts, feelings. And for me, as an actor that's always what I'm interested in — to make contact with stuff that's beyond my experience." There's absolutely no 'hopefully' about Nosferatu's excellent cast. After playing Pennywise in IT and IT: Chapter Two, Bill Skarsgård (Boy Kills World) is Eggers' Orlok — and he's a force to behold. The object of his obsession: Lily-Rose Depp (The Idol ) in a physically committed and entrancing performance as Ellen Hutter, who is newly married to real-estate agent Thomas (Nicholas Hoult, Renfield). The latter is dispatched from the couple's home in Wisborg to Transylvania to assist Orlok with purchasing a property. As Ellen remains in Germany — and as her connection to Orlok begins to fester and torment — she stays with Thomas' old pal Friedrich Harding (Aaron Taylor-Johnson, The Fall Guy), his pregnant wife Anna (Emma Corrin, A Murder at the End of the World) and their children. Taylor-Johnson couldn't have been more eager to be involved. "Sometimes I feel like when you get a filmmaker like Robert — firstly I admired his work and was like 'I'll do anything to be a Robert Eggers movie'. And then all of a sudden, you get this this invitation, this letter and a call saying he's doing something and would like you to be a part of it. You can't quite believe that's happening. You can go 'great, I don't even need to read a script — whatever you want me to do'," he advises. Corrin shares enthusiasm for the experience, and for jumping into horror. "I guess it's fun because it's a unique set of challenges. I've certainly found it interesting, how you craft a scene — I think it's a very specific way that you obviously approach shooting scenes to make them have that suspense, and especially if there's a jump-scare onboard." For them specifically, however, a particular gauntlet awaited: rats. "I remember reading that in the script early on, and texting Rob and being like 'hey, man, wondering if the rats are going to be CGI or are they going to be real? Just curious'. He was like 'definitely real, no CGI'. And yeah, it was intense. I had about 20–30 rats on me. I was also topless, which was interesting. It was bleak, if I'm honest. I tried to be quite brave about it." Why Nosferatu fascinates Eggers, what excited Dafoe about collaborating with the filmmaker, digging into tested beliefs and internal conflict, acting opposite Depp's can't-look-away portrayal: all of that also spanned Concrete Playground's chat with Eggers, Dafoe, Corrin and Taylor-Johnson. So did Count Orlok's look, Dafoe's own history with Nosferatu, Eggers' exacting way of working, giving a century-old film a modern lens and more. On Why Nosferatu Has Fascinated Eggers Since Childhood, Including Turning It Into a Play When He Was a Teenager Robert: "It's very hard to say. I think certainly the Murnau film had a major impact on me, and initially it was Max Schreck's performance and just the power of the simple fairy-tale adaptation that Murnau made of the Dracula story. But as I have grown older and learn more about the occult, and vampire folklore from Eastern Europe — and hysteria and 19th-century medicine — the more that I found that it was a story that I was able to really embrace and put many of my interests in, and to use the framework to explore the things that were exciting to me creatively." On What Excites Dafoe About Working with Eggers After Collaborating on The Lighthouse, The Northman and Now Nosferatu Willem: "Just the personal nature of what he does. The detailed nature of what he does. The kind of investment. It's not work, you know. He's playing to his pleasure and his interests. And then I just like being around him. He inspires me, gives fun things to do. I get a little self-conscious — he's sitting right here. Number one, obviously I'm all in. But check the boxes. He's everywhere on the set. The thing that's really impressive, and I know other people that do this, but it's really impressive that on the set there's such detail, that nothing is there for decoration. It's all function. It's all functional. It has a place. It has a history. And when you can feel the origins of things and where they're placed in the world, that really gives you a reality that's easy to enter. It's a reality that you're not covering anything — you're living in it. And it's very easy with a little willfulness to say that our world drops away and you're in that world. It's an exercise in pretending, and he makes it very simple by giving you a very rich world to exist in." On What Corrin Was Keen to Dig Into in the Film, Including Tested Beliefs and Internal Conflict Emma: "I think Anna has an interesting journey, because she is constantly fighting between her love of Ellen and her own beliefs. And there's a lot of conflict between those two things, because she's very devoutly religious and doesn't believe in a spiritual world — especially a spiritual world based on the occult and folklore — and obviously all of everything Ellen's experiencing points to the existence of that world, which would remove the very foundation of her worldview, everything about how she's been raised, and all of her beliefs. And yet she really loves her friend and wants to be there for her. So I think that experience of Anna, of being with Ellen in such close proximity and witnessing this, it gets to the point where she can't — I think for both Anna Friedrich, actually, they can't not see it anymore. It becomes so obvious what's happening, and then it's so confronting. And you see all of their own beliefs and whatever sort of falling away before their eyes, which is a very scary and vulnerable place for them to be in, especially with kids. I think that I, as an actor, I guess I enjoy complexity and internal conflict in a person. It's very interesting to portray." On How You React When Such a Physical Performance, as Lily-Rose Depp Turns in as Ellen, Sits at the Heart of a Film Emma: "You can't help have a really quite visceral reaction to watching someone who, as you say, who's doing such a committed physical piece of acting. It constantly, I think, blew our minds how she was contorting her body, and the choreography and the stamina that she needed to have as a performer to do that take after take after take — and offer so much. It was incredible. It was a real gift to act opposite because we didn't have to — there no acting required. It was very easy to imagine what these two people, how they would react to what they were seeing." Aaron: "It's definitely extraordinary. I feel very privileged to have been in the room witnessing a performance like that, that felt very raw and with no vanity, and it just felt it was disturbing in real life — and I knew it was going to be shocking on film." On Finding the Right Aesthetic for Bill Skarsgård as Nosferatu's Count Orlok Robert: "Bill is playing a folk vampire. He's an animated corpse, and not Frank Langella in a tuxedo. And that was very enjoyable to create. The look of a dead Transylvanian nobleman, we have certain nods, certain details that remind the audience of Max Schreck, because we have to also be respectful of that. But it was really nice. And while the look was completed by myself and David White [who also worked on The Northman], the prosthetics designer, we also had a Transylvanian folklore expert, Florin Lazarescu [Aferim!], who reminded me 'you know, Robert, a lot of times they talk about the strigoi being a red face'. And so if you'll notice, there are moments when you can see blood pooling under the skin after he's been feeding and stuff like that, which are some fun details." On Returning to the World of Nosferatu After Being Nominated for an Oscar for Max Schreck in Shadow of the Vampire Willem: "They're so different, the films, the intentions, what kinds of films they are. That was very important to me. First of all, I love the Murnau film. I had known it before working on Shadow of the Vampire. Shadow of the Vampire was basically a comic performance. And it leaned heavily on the Murnau because, basically, to find the character I copied a lot of what I saw in the Murnau. That was the starting point. So it was a great lesson in working with a mask, because I had extreme makeup, and that's the first time that it really — maybe not the first time, but it reminded me that if you look different, you move different, you start to feel different and you really have a possibility that becomes a trigger for pretending that's very potent. And you can even do things that you couldn't imagine before because you're drawing on something that's intuitive. It's not shaped, it's not indicated, it's not something you control, it's in your imagination. So that was very important. So then when Rob talks about doing Nosferatu, of course he's not talking to me about playing Nosferatu, but he tells me about this fantastic character that I always felt like is the role he would play if he were in the cast of this movie. So I've been working with him before, knowing his interests and having him give me all this rich material to research, to prepare for the role, that was the connection. It all connected to that other experience, but at the same time, you can't force a relationship between those two films because they're so different and when you finish one, you make room for the next." On the Meticulous Detail and Structure — and No Room for Improvisation — That Comes with Working with Eggers Emma: "I think we were lucky because our characters aren't explored very much in the original. But Rob definitely brought them to life in a certain way — in a very particular way — that was important for this film, because they represent this beacon of light against this darkness that envelops everyone. And in that way, we had a bit of carte blanche, I suppose. But then Rob is so specific in the way he creates characters and the backstory — he's very meticulously thought-out back story for everyone, which I think I find really helpful. I don't know if I'm a big fan of freedom. I think I like specific notes and specific ideas." Aaron: "Structure." Emma: "Yeah, structure." Aaron: "Honestly, I agree. He was so thought-out on everything. I mean, the only thing I probably could have brought was that I was allowed to like [ask] 'can I have mutton chops and some a great big moustache'. And I think that was it. That was allowed." Emma: "Was that you?" Aaron: "Well I wanted some kind of facial hair. I think he wanted something distinctive because they'd already started working with Nic, and he wanted me to have a big twizzly moustache, so that grew and grew. I think there's a little bit of conversation about that. I wanted to improv and he was like 'absolutely not'. So I was like 'okay, well I'll just do what you say'." On How Eggers' Nosferatu Brings a Modern Lens to a Century-Old Classic Aaron: "This story is 100 years old, but yet it's still very relevant today. And I think originally that movie came out, came off the back of the Spanish flu, and it became this metaphorical piece of art reflecting, mirroring reality. And being that we've just come through a global pandemic and we've all been through this feeling of this wave of fear that comes through a city and disrupts everybody in such a panic and a way, it felt very much — I remember reading it and being 'whoa, this seems like, it feels like this'. And then Robert goes 'well, that's originally what it was for 1921'. But then at the fundamental core of it, there's a theme throughout that's about love and battling with your demons, and having shame with this deepest, deepest darkest secret that you've carried from a childhood into your adult life — and how it's going to affect your relationship, and all this sort of stuff. So it's very powerful. I think for our characters, when you're saying this modern element, it's like it was the missing piece to the puzzle. So the original one, our characters aren't involved in that, and so Robert created this next three-dimensional world — this family that lives in Wisborg, and Ellen is staying in this household that is very much this beacon of light, and they're a loving family. They've got children. They've got everything that Nicholas' character aspires to be. And so it's just Robert building upon that world and making it more contemporary, and making it more relatable. They're a very grounded family and arguably they are far more loving than you probably would find in that kind of period. They're very passionate. There's a lot of eroticism throughout the movie, and Emma's character is pregnant with their third child. It's interesting." On the Allure of Period-Set Horror for Eggers Robert: "I just enjoy learning about the past. That's how I like to understand who we are and where we're going — by where we came from. It's what has always excited me, even as a kid. And if I wasn't a filmmaker, maybe I would be an archaeologist. This is just what I enjoy, but also, for making these genre films, I think it's easier to tell — like if you're talking about witches and vampires and things like that, it's easier to make them scary if you are in a period where everybody believed in them, more or less. And obviously in this film, in Wisborg, that's not quite the case, but you get my point." On Dafoe's Experience Working with the Rest of the Cast Willem: "I enjoyed it so much because they're so turned on. Sometimes with older actors, they're comparing their experience that they're having to something in the past. While I find younger actors — now, keep in mind someone like Nic and Aaron, actually many of the actors, are very experienced, so let's not get crazy here; they aren't so young and inexperienced, to tell you the truth — but there's just an excitement. There was an excitement that you could feel for them working with Rob. You're just there. You don't make those distinctions. You're playing characters. You're all on the same footing. You're all trying to fold into the story and help each other, and disappear into the story. So I was looking today, we were shooting pictures, and it's a very special group to a person. Really, there's not a stinker in the group. So the simple answer is: I was very happy to work with this cast, because seldom do you have a cast that's so uniformly strong, not only in performing, but also I remember we took portraits in the costumes and everybody had a look that was very believable and very credible. There was no flourish. The look was very rooted. Robert cast them very well, not only for their look, but also for their talent." Nosferatu releases in cinemas Down Under on Wednesday, January 1, 2025. Images: © 2024 FOCUS FEATURES LLC.
The strengths and weaknesses of Legend can be summed up via two of its key scenes. The first comes about halfway through the film, when infamous London gangster Reggie Kray (played by Tom Hardy) does a flawless impersonation of his twin brother Ron. The thing is, Ron is also played by Tom Hardy in one of those Social Network Winklevae situations. It's just that Hardy's performance is so strong and each character is so defined, you genuinely think of the Krays as two entirely distinct humans played by two very different actors. It's a powerhouse performance showcasing Hardy's imposing abilities, both physically and dramatically. The second scene comes a little earlier. The Krays are lured to a neutral pub under the auspices of negotiating a truce with their gangland rivals, only to discover themselves surrounded and grossly outnumbered. Where most would cower, the Krays respond with a mix of nonchalance and outrage: Reggie pulls himself a beer while Ron storms out, complaining of a half-arsed gunfight without any guns. Seconds later, of course, he returns unseen and together with his brother lays waste to the entire group of thugs. The problem with this second scene (and, in turn, much of the film), is that it’s terrifically entertaining. The music, dialogue, performance and direction all play it light and whimsical — even flippant — despite its confronting savagery (the Krays employ a brutal combination of hammers and brass knuckles). Under certain circumstances, the juxtaposition of violence and comedy in film is defensible, even appropriate, so long as the genre fits (think Lock, Stock and Two Smoking Barrels, or Pulp Fiction). Here, though, it’s wildly misplaced. Yes, it successfully conveys the Krays’ character and composure, but this isn’t fiction. The Krays brutalised and murdered their way to the top in real life, and the duty of a biopic is to tell a story as it was, not to glorify it as some might have wanted it to be. And that, in short, is Legend: a film defined by its spectacular performances and misfiring direction. Alongside Hardy, the supporting cast of Emily Browning, David Thewlis and Christopher Eccleston does a decent job despite the middling script, but the overall feeling is one of dullness and disappointment.
The craze for all things pre-loved and recycled is nothing new, but it's becoming increasingly clear that in most people's minds, old stuff is way better than new stuff. This doesn't just apply to clothing, but also to the items you choose to kit out your home with. Life's just more interesting when people start getting creative and repurposing vintage items, and it's a more sustainable way of living too. Here, we have compiled a list of the places we believe to be some of the most interesting and inspirational purveyors of vintage homewares, antiques and recycled cool stuff in Sydney. With high- and low-end options, these vintage retailers exude endless creativity and long hours of delighted exploration. 1. Doug Up On Bourke When I was a kid I was convinced that everyday objects had lives of their own and got up to amusing hijinks whenever I wasn't looking. When things got lost, I used to imagine they'd taken themselves off to a kind of ramshackle clubhouse of 'stuff', where the chairs and the tables were having a fantastic party and exchanging witty banter about things I didn't understand. And in my mind that place looked exactly like Doug Up On Bourke. It's where industrial, commercial and rustic antiques all come together in one space, and where you can spend hours walking around in wide-eyed fascination. Doug Up On Bourke was established back in 2003, and sources items from all over Australia, with everything lovingly restored by hand. It's the place to go if you're after shipping trunks, industrial work tables, watering cans, church pews or old bakelite phones. The place is huge, so you need an hour or so to browse through everything, but you're guaranteed to find something amazing. Address: 901 Bourke St, Waterloo Phone: (02) 9690 0962 2. Mitchell Road Antique and Design Centre Mitchell Road is a graffiti-clad emporium located in the wilds of Alexandria, containing over seventy different dealers within its walls. Climb up the staircase on your left to the first floor and inside you'll find every kind of vintage, industrial or retro item you've ever fantasised about, all the way from Victoriana through to 20th century design. In addition to homewares, furniture and lighting there is also a range of vintage fashion, toys, kitchen items and industrial pieces. If they don't have what you're looking for there is a 'wish list' feature you can use, and the centre's dealers will try and hunt it down for you. You need a few hours to take everything in and exclaim over old tram signs and granny blankets but you definitely won't walk away empty handed, so make sure you've got money and ample room in your backseat. Address: 76 Mitchell Rd, Alexandria Phone: (02) 9698 0907 3. Sydney Antique Centre Beginning in the 1970s, the Sydney Antiques Centre was created thanks to the optimism of a couple of salespeople who'd seen the Kings Road Antique Market in London and believed it was high time Sydney had its own version. This was a tall order given Sydney was in a bit of a slump at the time and didn't have scores of old families littered about with the odd suit of armour and crate of Spanish galleons stashed away in the attic. Moreover there was a colony of pigeons residing in the derelict building on South Dowling Street they elected to use as their premises, who stubbornly refused eviction until well after the Market had kicked off. Given its rickety beginnings, it's truly impressive just how amazing Australia's oldest antiques centre is today. With over fifty antiques and art dealers in-house selling porcelain, clocks, rugs, clothing and furniture, as well as an indoor cafe and gallery, the Centre in many ways feels like a museum. The quality of items is impeccable, so while it's not always the cheapest place to shop, it is definitely worth checking out. Address: 531 South Dowling St, Surry Hills Phone: (02) 9361 3244 4. quintessential duckeggBLUE duckeggBLUE specialises in reclaimed industrial and antique furniture, with all items sourced from Europe, America, Russia and Britain. Pieces from the 1800s sit side-by-side with paraphenalia from the 1920s - old English club sofa chairs, industrial French workbenches and original bus signs. duckeggBLUE has a reputation for one-of-a-kind pieces, and it's usually one of the first places people bring up when you mention vintage homewares in Sydney. Moreover, only the very best pieces are sourced, so the selection isn't as vast and mind-boggling as many other places on this list. duckeggBLUE is regularly used by magazine stylists, and they have supplied items to Fleur Wood, Seed and Adriano Zumbo's Patisserie, among others. Address: 497 Darling St, Balmain Phone: (02) 9810 4330 5. Three of a Kind Driving down Parramatta Road, amongst the leagues of car dealerships and questionable bridal shops, there is one sign in a shop window which will make you giggle: "Butt ugly blokes building handsome furniture for beautiful people." This shop outside which it hangs is Three of a Kind, selling handbuilt recycled timber furniture. The three 'blokes' work in an old fashioned method, taking pride in the fact that people enjoy watching others make something with their hands which isn't a sandwich or a paper plane. Original pieces are available to buy directly from the showroom floor, or the 'blokes' are happy to tailor-make particular items to suit specific needs. You want a kitchen cabinet made out of old Peter's ice cream signs? You got it. A confederate flag dining table? Sure, no problem. Their wares grace the interiors of establishments such as Clipper Cafe in Glebe and Clover Cafe in Annandale. Address: 629 Parramatta Rd, Leichhardt Phone: 0409 555 173 and 0400 555 173 6. The Bower Reuse and Repair Centre The Bower exists to deal with the kinds of items that commercially-run charity stores don't accept. That means you're unlikely to find a desk or a chest of drawers here, but white goods, bric-a-brac and fireplaces can be found with ease. This is the kind of place that inspires creativity. The Bower is all about recycling and diverting needless waste from landfill, collecting and repairing pre-loved household goods and reselling them to the local community. In addition to the aforementioned fireplaces and white goods, there is also the Reuse Gallery featured within The Bower, where you can find upcycled items like bowls made from LPs and coffee tables made from bicycle rims. And on top of everything else, they are not only a second hand store but also a registered Environmental Charity. Address: 34/142 Addison Rd, Marrickville Phone: (02) 9568 6280 7. Raffan, Kelaher & Thomas Auctions are for proper adults with expensive watches and rimless glasses, right? Wrong. RKT are something of a Sydney institution tucked away between Leichhardt and Annandale, beloved of socialites, aesthetes and antique dealers alike. The company is a well-established collection of fine art and general auctioneers and valuers, holding twice-weekly auctions showcasing items as specific as 'Collectors Books' and 'Australiana.' Each sale has between 1600 to 2400 lots to bid on. According to their website the auctions are not only affordable and entertaining but also "studies in kinetic human interaction." Which has got to be better than your average house auction, right? Address: 42-48 John Street, Leichhardt Phone: (02) 9552 1899 8. The Bronte Tram The folks at Bronte Tram do a bunch of stuff with furniture: they hire it, they buy it, they paint it and they reupholster it, then they carefully arrange it all for you to rummage around in to your heart's content. This husband and wife team collect industrial antiques, chandeliers, outdoor furniture and 1950s clocks to make them all fit together as though they were always meant to be one seamlessly arranged whole. From a vintage Japanese sea diving helmet to ship lights and old Indian schoolroom lockers, there's a bunch of stuff here that you simply won't find anywhere else. Address: 195 Bronte Rd, Waverley Phone: (02) 9389 1337 9. Reverse Garbage Reverse Garbage is a not for profit co-operative established by a group of idealistic teachers during the 1970s who ran it out of a warehouse in Marrickville, selling industrial off-cuts, over-runs and discards for both creative and practical pursuits. Essentially, it's the kind of place where every primary school craft project is born. Raw materials, including cloth, perspex, wood, bubble wrap and ceramic tiles, are both low-priced and over-abundant, scattered about in a chaotic jumble. This is because Reverse Garbage's aim is to make sure as little as possible reusable material ends up in landfill, collecting it from all over Sydney so that everything is made available to the public in one convenient place. If you're looking for sacks of ribbon left over from Mardi Gras, old test tubes, skeletons or a tailor's mannequin, you're more likely to find them in this overcrowded warehouse than anywhere else. Address: 8/142 Addison Rd, Marrickville Phone: (02) 9569 3132 10. Graham & Graham Design If you're looking to score yourself some 1960s Scandinavian furniture, this is the place. Graham & Graham sell hand-restored Danish pieces using traditional techniques, with all items sourced from Australia, Britain and Scandinavia. If you're looking to make sure your surroundings resemble a set from Mad Men, Graham & Graham is an excellent place to start. Not only is there a wide selection of sixties-era lighting and ceramics to choose from, but there is a huge range of desks, chairs and sideboards by well known Danish furniture designers and a host of Eames copycats. They'll also do you some custom designed lampshades if you ask nicely. Address: 142 Regent St, Redfern Phone: (02) 8084 3983
Bar Morris takes its place among the steadily growing crop of excellent new bars in Sydney's CBD. Set on the ground floor of the Hotel Morris in Haymarket, Bar Morris features a day-to-night menu and a plush interior of marble, velvet and natural timber flooring that transcends a typical lobby bar and should earn a place on the list of go-to spots for intimate first dates and business lunches. Bar Morris offers everything from a quick cocktail with snacks or a no-holds-barred feast. Open for breakfast, lunch and dinner, you can pop in for Industry Beans coffee and Sicilian pancakes in the morning, the daily pasta or panini special at midday or a lavish Italian dinner led by fast-rising Head Chef Rosy Scatigna. At just 30 years old, Scatigna has already worked across Michelin-starred restaurants in Italy and the UK after studying at Alma International School of Italian Cuisine. On the after-dark menu, you'll find rich, flavour-packed starters and mains like mussels gratinate with saffron aioli, cheesy 'nduja madeleines paired with preserved lemon and guanciale, marinated prawn and pumpkin risotto, and flank steak topped with a signature Café de Morris butter. Natural wine enthusiasts will be excited by the wine list which is made up of nearly entirely Australian and Italian producers and boasts an extensive range of skin contact drops both by the glass and the bottle. Swap your usual glass of reisling for a skins-y Hunter Valley fiano or start your night with a glass of rosé pét-nat in place of your usual sparkling. If you're heading in with mum, never fear, there's still plenty of traditional tipples to be had across the extensive 50+ bottles on offer. And, if you prefer to pair your spaghettone with something a little stiffer, you're in luck: classic cocktails, an entire page of amaros and inventive blends are all on offer. After something a little different? Try the Salted Stars which combines chilli, grapefruit, amaro Montenegro, lemon sorbet and Archie Rose vodka. It's an excellent entrant to the Sydney bar scene and, if it delivers on early promise, could earn a place among the best bars in Sydney. Image credit: Steven Woodburn
Because cinephilia isn't all about sitting quietly in the dark, the Sydney Film Festival has the SFF Hub. This year the Hub is not only returning for a third time but expanding its presence at the Town Hall to encompass the Treasury Room upstairs from June 5-15. As well as its scintillating lineup of talks and performances, it's decked out with designer furniture showcasing the legacy of the Eameses, a TITLE pop-up shop, Gelato Messina cart, vintage photo booth, the festival's discount ticket booth — everything you need to enhance your SFF experience and stretch your legs, eyes and mind between movies. Here are the five Hub events not to miss. The Vladmaster Viewmaster Experience Portland's Vladimir has hijacked the classic View-Master toy for art purposes, crafting a narrative you experience click by click. Her Vladmaster Viewmaster Experience contains a reel designed, photographed and hand-assembled by the artist. She also turns the usually private View-Master encounter into a public one. Here, you sit down with a 100 similarly adventurous nostalgics and click through together, following the cues from the soundtrack. The event was recently a hit at Melbourne's White Night, where it showed at the Australian Centre for the Moving Image. June 7 and 11 at 8pm, June 14 at 6pm. Film Critics Death Match Just to be clear: David and Margaret are not scheduled to appear at the Film Critics Death Match. But wouldn't it be great if they did? Finally, finally, we would know: who is the better film critic? The obsessive or the polymath? The comedian or the hawk? The battle will be decided with a range of totally conclusive, on the-spot challenges — 140-character reviews, defences of indefensible movies, exaltations of the weirdest things ever filmed and other interactive exercises. It's presented in association with the Australian Film Critics Association, so whoever the competitors are, you know they'll be profesh. Reputations will be made, and broken. June 8 at 3.30pm Hell Is for Hyphenates: Altman on Altman Since 2010, Hell is for Hyphenates has paired cineastes with auteurs in monthly podcasts. Hosts Lee Zachariah and Paul Anthony Nelson have discussed everyone from John Waters to Michael Bay to Danny Boyle with a different guest critic or industry professional each episode. At SFF, the podcast’s first live recording also marks its first true insider insight into its filmmaker of the month. Michael Altman, son of iconic director Robert Altman, will talk about his father’s work, impact and legacy in person at the SFF Hub. It’s free, and it promises to be the type of event that cinephiles’ dreams are made of. June 5 at 5.30pm Freak Me Out Disco After days spent in darkened cinemas, there comes a point in every film festival when dancing the night away becomes a necessity. The Freak Me Out Disco promises a fun break from the big screen as well as an energetic celebration of female rock'n'roll in a night fittingly dubbed Girl Rock Riot. With Freak Me Out curator Richard Kuipers and filmmaker and grrl-music expert Daz Chandler curating the playlist, expect to step through music history with the ultimate soundtrack of talented ladies, from the early days of girl groups to the riot grrrl movement. Think the dancefloor equivalent of 20 Feet from Stardom crossed with The Punk Singer. June 14 at 9pm Women in Film panel The under-representation of women in film demands not just discussion but decisive action. At the SFF Hub’s Women in Film session, a panel of filmmakers and experts continue the conversation, examining the perception and reality both on screen and off. Complex issues of measuring the current status quo and striving to improve portrayals feature among the topics, alongside an exploration of the Bechdel Test. With films in the festival program, producer Julie Byrne (Touch), screenwriter Natasha Pincus (Fell) and director Sophia Turkiewicz (Once My Mother) will share their experiences with filmmaker Tessa Rex (www.passthebechdeltest.com) and film critic CJ Johnson. June 7 at 5.30pm By Rima Sabina Aouf and Sarah Ward.
Since 2016, the cinema-loving world has had a Studio Ghibli-shaped hole in its heart. That's when the acclaimed Japanese animation house released its most recent film, the gorgeous French co-production The Red Turtle. Its last solo production actually came two years earlier, courtesy of 2014's When Marnie Was There. Still, much has happened in Studio Ghibli's world over the past decade. Hayao Miyazaki announced his retirement, then changed his mind. In 2018, fellow co-founder and acclaimed director Isao Takahata sadly passed away. And, over the past few years, the company has been busying itself with its very own theme park. The latter is due to open in 2022 and become quite the tourist attraction — but that doesn't mean that fans aren't keen for more Ghibli movies. Thankfully, the studio revealed earlier this year that it's working on just that, with two new films on its current slate. One of those movies will be helmed by My Neighbour Totoro, Spirited Away and Howl's Moving Castle icon Miyazaki, with How Do You Live? actually first announced a few years back. As for the second film, Australians will be able to watch it in the new year. Called Earwig and the Witch in English (and also known as Aya and the Witch), the movie marks the first Studio Ghibli completely made using computer-generated animation. Director-wise, it's helmed by Hayao Miyazaki's son Goro Miyazaki, who previously directed Tales from Earthsea and From Up On Poppy Hill. It's also based on a novel written by British author Diana Wynne Jones, who penned the book that Howl's Moving Castle was adapted from, too. And, Australian distributor Madman Entertainment has just advised that it'll be releasing the film Down Under sometime early in 2021, with an exact date still yet to be revealed. In terms of story, Earwig and the Witch focuses on a girl at an orphanage in the British countryside. She enjoys living there, but her world changes when she's chosen to live with a couple — including, as the title makes plain, a witch. Earwig doesn't know that her own mother also had magical powers, so she's thrust into a strange new world, all while trying to do what she's always wanted: belong to a family. In its English-language version, the film will feature voice work by Richard E Grant (Can You Ever Forgive Me?), Dan Stevens (Eurovision Song Contest: The Story of Fire Saga) and singer Kacey Musgraves, plus newcomer Taylor Paige Henderson as Earwig. We've said it before about Nicolas Cage's new show about swearing and the brand new full season of Spicks and Specks, but 2021 is definitely looking better than 2020. Earwig and the Witch will release in Australian cinemas sometime early in 2021 — we'll update you with an exact release date when one is announced. Images: Madman Entertainment.
Imagine being brought up by cinema. Imagine your world shaped and informed by the films you spent hours and hours watching and rewatching, and your understanding of almost everything that lurks outside your home and family coming from what you see on a screen. Even the most avid cinephiles can't say they've had this experience to the same extent as the Angulo siblings. For the majority of their lives, these seven black-wearing, longhaired children remained inside their Manhattan apartment watching movies. The exploits of Bhagavan, Govinda, Narayan, Mukunda, Krsna and Jagadisa, plus their sister Visnu, fall into the categories of so outlandish it must be true and needing to be seen to be believed. First-time documentarian Crystal Moselle enters the family's sanctuary, captures a slice of their existence, and gives the teenage and twenty-something male members of this band of film fiends a chance to chat to the camera. Their tales — and their passion — prove striking, but these brothers don't just spend all their time staring at the television. When the documentary starts, they've never actually been to a movie theatre; however, watching whatever they can on DVD isn't their only form of interaction with cinema. They also transcribe the dialogue of their favourite fare, create scripts, then re-enact and record elaborate re-stagings. They're dedicated to getting things just right, too, obsessing over costumes and accessories, and handcrafting accompanying posters. It's a fascinating real-life scenario, made all the more so by the shadow of the father who has kept his kids confined to his realm with only films as their method of escape. It's also one that Moselle is content to simply watch and wonder at, rather than probe or peer deeper into. Said family patriarch is seen, and his wife too, yet any delving into his attempts to create his own isolated brood and her inability to do anything about it remains slight and superficial. Accordingly, as a portrait of the impact film can have upon those so enamoured with it that it becomes their whole life — albeit in strange and heightened circumstances — The Wolfpack engages, but that's all there is. Indeed, as a dissection of how and why the Angulos became such avid movie buffs, it never dares to diverge from the most standard of scripts. Thankfully, sharing in the joy of the former helps temper the latter, particularly when spirited, homemade reenactments of Reservoir Dogs, The Dark Knight, No Country for Old Men and Pulp Fiction rank among the documentary's highlights. Of course, that Moselle has done little more than serve up a fly-on-the-wall look at subjects she was certainly lucky to come across is never forgotten, as enthusiastic as their love of cinema — and as eye-opening as their stories and subsequent breaking out of their comfort zone — ultimately are.
It just got a whole lot harder to pick your weekend yum cha spot, with the newly opened Duck & Rice announcing its own regular breakfast dumpling session. This one, however, is bottomless. The 500-seat Cantonese restaurant sits high on the top of Westfield Sydney in Pitt Street Mall. Opening its doors in June this year, it boasts an expansive outdoor terrace, Asian-inspired cocktails and, now, a very tempting weekend yum cha deal. Running every Saturday and Sunday from September 7, the bottomless yum cha menu will constantly change, but you can expect to catch loads of delicious treats to the tune of roast duck, Szechuan-style cuttlefish, Yangzhou fried rice, garlicky kai lan (chinese broccoli) and a selection of dim sum and desserts. The all-you-can-eat sitting is restricted to one hour, between 11am–3pm each day, and will set you back $50 a pop. To make a booking, head to the Duck & Rice website. Images: Steven Woodburn
A few years ago New Zealand's famously sulphur-scented town of Rotorua was a thriving centre of tourists and adventure-seeking locals alike, thanks to attractions like zorbing, luge rides and more. The region was hit particularly hard by COVID which saw tourist numbers dry up and adventure outlets forced to close. With borders now open, those looking for a spot to spend a long weekend over the ditch shouldn't overlook it in favour of some of its flashier city siblings. In fact, Rotorua recently joined places like Bucharest, Athens, and Seychelles on Forbes' list of the top 50 destinations to travel to in 2023. Concrete Playground recently visited Rotorua for the weekend and found it rich not only in culture, but in luxe and relaxing experiences. Here's our guide on where to eat, drink, play and stay next time you're in this hot pool hotspot. EAT AND DRINK You're might be already familiar with Eat Street, a famous laneway of restaurants and bars in the heart of Rotorua, but there is a far greater bevvy of spots hidden around the town's streets — you just need to know where to look. Fuel up with a morning coffee and brunch at Junction on Fenton, a family-friendly eatery attached to the historic I-site building in town. Here you can learn a little about the area before fuelling up for the day with a filling feed — we'd recommend the aptly named breakfast dish 'No Time to Waffle' to send your blood sugar sky-high. For a relaxed yet vibey dinner of share plates and truly excellent cocktails, look no further than Poco Tapas on Arawa Street. Tucked up an unassuming staircase above a lawyer's office — don't get confused by the very corporate entry — this eatery specialises in share plates like flatbreads and dips, fried chicken and some truly standout vegetable side dishes. The cocktails are also excellent. Don't sleep on the espresso martini. Unlike many of New Zealand's tourism hotspots, Rotorua isn't stacked with wineries — but its best-kept secret for wine fans is, surprisingly, found up the gondola. If you're begrudgingly being forced into some daredevil activities, find an excuse to sneak away to Volcanic Hills' tasting room. Rotorua's only cellar door, this stunning spot offers vinos with lake views — and is also in a great supervisory position over the luge. Make sure to include a walk through the Redwoods on your weekend trip — either marvelling from the ground or from 20 metres in the air during the treetop walk. Once you've sufficiently worked up an appetite, head to Eastwood Cafe, a chic eatery found in the stunning new Scion Innovation Centre on the outskirts of the forest. Perfect for a post-ride or hike refuelling, this new spot is a real standout, thanks to its modern fit-out, stacked menu and above all, a giant authentic pizza oven behind the counter churning out fresh 'zas. Conk yourself into a carb coma with the carbonara pizza which manages to combine two excellent Italian dishes in one. Feeling extra peckish? Splurge on a side of spicy chicken wings — and do not miss the daily $10 margarita. PLAY You're going to need at least three days in Rotorua to really soak up all the activities so book that annual leave now. And don't worry if you're not a thrill seeker or 'outdoorsy' type — even those without a penchant for adrenaline will find plenty to do. For an activity that manages to blend both exercise and geology (but in a fun, non-school-like way), opt for a kayak tour with Paddle Board Rotorua. These tours allow you to see steaming geothermal activity from the water and get up close and personal with some pretty stunning geysers — which have a cute tendency to explode when you're near them. On our trip, a geyser blew that guide swore hadn't happened in the three years he'd been running the tours. This was very exciting and only mildly terrifying. If you've never seen a real-life kiwi (the bird, not the people) you're going to want to pay a visit to the National Kiwi Hatchery — yes, this is where that famous picture of Harry and Meghan with the kiwi was snapped. The tireless work this team does is, quite simply, amazing: retrieving kiwi eggs and bringing them to their onsite incubators, raising them as hatchlings and allowing them to grow strong enough to survive in the wild — without being food for pests like stoats and rats. You'll get to see eggs being incubated, the hatching process and newly hatched kiwi chicks, and all of your ticket cost goes into back into the hatching programme. After all that education, it's time to find your zen. Luckily Rototua is known for its hot pools. For an authentic clay-smeared experience, hit Hell's Gate. Here you'll soak in the mud pools slathered in the good grey stuff before getting into the "health-giving" sulphur pools for an Insta-worthy soothing soak. Just be sure to give your swimsuit a good wash separate from the rest of your clothes — ours still smell a little sulphury a few months down the track. Otherwise, opt for one of the Polynesian Spa's famous private pools for a delicious soak overlooking the lake. STAY If you're looking for a romantic spot to soak up the views and just get away from it all, there are several glamping experiences nearby, including the stunning Kokako Retreat, 30 minutes from Rotorua. With an outdoor tub, firepit and epic sunset views, it's the perfect way to really feel like you've managed to escape from the city. If you want to stay right in the heart of things — including a stone's throw from some of the aforementioned eateries — opt for the newly refurbished Pullman Rotorua. Rooms start from AU$170 a night, and the staff are extremely friendly and accommodating. The buffet breakfast each morning is worth a stay alone. GETTING THERE Rotorua is located in the Bay of Plenty region of New Zealand's North Island: a three-and-a-half-hour drive from Auckland and a five and half-hour drive from Wellington. Alternatively, there are breezy twice-daily 45-minute flights from Auckland Airport. Feature image: The Polynesian Spa
When Hans Zimmer composes a film score, audiences remember it. His list of credits is as massive as his love of music, spanning everything from Dune, Top Gun: Maverick and No Time to Die through to Prehistoric Planet, Wonder Woman 1984 and The SpongeBob Movie: Sponge on the Run in just the past three years alone. Also on the German composer's resume: helping put the bounce in The Lion King's score — both versions — and the droning in Inception's memorable tunes, plus Thelma & Louise, Christopher Nolan's Dark Knight trilogy, Blade Runner 2049 and more. We could keen naming titles — flicks like Hidden Figures, The Boss Baby, Dunkirk, Widows, X-Men: Dark Phoenix, Gladiator, Pirates of the Caribbean, 12 Years a Slave, Sherlock Holmes, Mission Impossible II and Pearl Harbour, for instance — but all movie lovers know that the best way to appreciate the the Oscar-, Golden Globe-, Grammy- and Tony-winning talent is to listen. And, that's exactly what the Sydney Symphony Orchestra wants you to do on two big winter nights, thanks to its upcoming The Music of Hans Zimmer performances at the Sydney Opera House's Concert Hall. [caption id="attachment_724809" align="alignnone" width="1920"] Hans Zimmer[/caption] Sadly, especially if you caught his 2019 Australian tour, Zimmer himself won't be there. But Australian conductor and composer Nicholas Buc will lead the charge as the SSO plays through a selection of Zimmer's work, focusing on The Dark Knight, Gladiator, Inception, Interstellar, Pirates of the Caribbean and The Lion King. Buc is no stranger to Zimmer's tunes, after conducting the world-premiere live concert for The Lion King. And, he's no stranger to this kind of event in general, with doing the same for Beauty and the Beast, and just leading live film concerts around the country and the world, also on his resume. Taking place on Friday, June 23–Saturday, June 24, The Music of Hans Zimmer will also feature The Art of the Score podcast hosts Andrew Pogson and Dan Golding talking audiences through the music with Buc. The event sits on a growing roster of movie-themed performances for the SSO, including concerts focused on Harry Potter and the Deathly Hallows: Part 1, 100 years of Disney flicks, Black Panther and The Princess Bride also in 2023. [caption id="attachment_886230" align="alignnone" width="1920"] Sydney Symphony Orchestra[/caption] The Music of Hans Zimmer will hit the Sydney Opera House's Concert Hall on Friday, June 23–Saturday, June 24. Pre-sale tickets are available now, with general sales from 10am AEDT on Tuesday, January 31 — for further details, visit the Sydney Symphony Orchestra's website.
Whether you've got a dinner party, picnic or trip to a BYO restaurant lined up, two Sydney venues are offering an unbeatable booze deal right now. Solotel favourites The Erko and The Abercrombie are making the most of their wines on tap by offering one-litre squealers of vino for just $25. Just head into either of the Sydney pubs, or The Abercrombie's attached wine bar Lil Sis, and you can purchase one litre of pinot grigio, rosé or grenache to take away for $25. If you want that deal sweetened, return the jug once you're finished with it, and you can purchase a refill for just $20. The Abercrombie and Lil Sis are even offering a special skin-contact drop in the squealers for all of those natty wine lovers. Both venues use a mix of bottled and kegged wines, with the latter being delivered thanks to a collaboration with local producer Alpha Box & Dice. Using kegged wines means that over 5000 bottles are diverted from landfill and recycling per venue per year. It also helps to keep the wine fresher for longer. [caption id="attachment_887494" align="alignnone" width="1920"] Lil Sis[/caption] The takeaway wine deal comes at a busy time for both venues. The Erko has just revitalised its menu with a new hyper-seasonal selection of eats that utilise produce from a local community garden. Ex-Chiswick chef Ethan Robinson is behind the revamp — with the new offerings including zucchini fritti, kingfish ceviche, octopus salad, a standout chicken schnitzel and $2 oysters on Sundays. Over at The Abercrombie, the pub, nightclub and rooftop bar is officially celebrating one year since it reopened under the guidance of Solotel. After sitting vacant for years, the Chippendale stalwart reemerged last summer, quickly returning to its place as a cornerstone of the city's party and music scenes. [caption id="attachment_924567" align="alignnone" width="1920"] The Erko, Steven Woodburn[/caption] Head to The Erko, The Abercrombie or Lil Sis to score a takeaway squealer of wine for $25.
For everyone who's yearned for a sunny, sandy, surf-filled holiday over the past few years, screens big and small have come with a warning: be careful what you wish for. In M Night Shyamalan's Old, hitting a gorgeous beach meant ageing quickly. In The White Lotus, it sparked eat-the-rich dramas. While the horror movie remake of Fantasy Island arrived just before lockdowns and travel restrictions, it unleashed terrors in scenic surroundings (and a terrible movie upon audiences). And in the Tim Roth-starring Sundown, escaping to Acapulco permanently isn't as blissful as it sounds. Come the end of July, The Resort will keep this chaotic vacation streak going, all via an eight-part streaming series that'll hit Australia via Stan from Friday, July 29. Here, Nick Offerman (Pam & Tommy), Cristin Milioti (Made for Love) and William Jackson Harper (The Good Place) star in a comedy-thriller that's also a mystery and a coming-of-age love story. Plenty can happen on a getaway, after all. Milioti and Harper play Emma and Noah, two high-school teachers who've been married for ten years and head off on a trip to the Yucatan to celebrate. But while seeking a stint of vacation bliss, as well as attempting to reinvigorate a routine relationship and life that Noah at least is content with, they stumble upon a 15-year-old mystery involving Sam (Skyler Gisondo, Licorice Pizza) and Violet (Nina Bloomgarden, Good Girl Jane) — when they were each making the trip to Oceana Vista Resort with their respective parents back in 2007, but weren't seen again. As The Resort's trailer shows, Offerman plays Violet's father, who is still looking into the mystery, too. Also making an appearance: Luis Gerardo Méndez (Narcos: Mexico) as Oceana Vista Resort's head of security a decade and a half back, Gabriela Cartol (Hernán) as the concierge where Emma and Noah are staying, and Parvesh Cheena (Mythic Quest) and Michael Hitchcock (Barb & Star Go to Vista Del Mar) as two Teds who are married to each other. The cast also includes Ben Sinclair (Thor: Love and Thunder) as resort owner, Debby Ryan (Insatiable) as Sam's girlfriend, and IRL couple Dylan Baker (Hunters) and Becky Ann Baker (Big Little Lies) as Sam's parents. Behind the scenes, The Resort hails from showrunner, writer and executive producer Andy Siara (Palm Springs, Lodge 49), as well as producers Sam Esmail (Mr Robot) and Chad Hamilton, and was shot throughout Puerto Rico, the Dominican Republic and Mexico. Check out the trailer for The Resort below: The Resort will start streaming in Australia via Stan from Friday, July 29. Images: Marisol Pesquera / Peacock.
One of the most significant fashion designers of the past century is the subject of one of Australia's most significant fashion exhibitions, with the National Gallery of Victoria dedicating its big summer blockbuster show to the late, great Alexander McQueen. For fans of pioneering, boundary-pushing threads, Alexander McQueen: Mind, Mythos, Muse's four-month season promises to be better than Christmas — complete with more than 120 garments designed by the icon, plus artworks, sketches, videos and photographic works that inspired him. First revealed back in May, and now on display from Sunday, December 11, 2022—Sunday, April 16, 2023, Mind, Mythos, Muse has taken over the NGV International. Inside the Melbourne cultural institution, fashion devotees will find walls and halls filled with a stunning display, as created in collaboration with the Los Angeles County Museum of Art (LACMA). All things McQueen first graced LACMA, and now it's Australia's turn. While the LA venue organised the exhibition, drawing upon more than 60 garments and accessories from its own holdings, it contacted NGV about both contributing and running its own season. That's where 50 designs by McQueen from the NGV Collection come in, plus other artworks from each institution. The NGV has been hoping to put an exhibition like this together ever since the designer first made a splash in the early 90s, and Mind, Mythos, Muse does indeed venture back that far. The showcase features McQueen-designed items dating back to 1994, and 25 different seasonal collections — with 20 seasons covered from its the NGV's own holdings alone. Accordingly, attendees can check out examples from the autumn-winter 1995–1996 Highland Rape collection, the autumn-winter 2006–2007 The Widows of Culloden range, and spring-summer 2010's Plato's Atlantis, McQueen's final complete collection before his death in February 2010. Various sections of the exhibition dive into McQueen's oeuvre in different ways. With Mythos, for example, three collections inspired by mythological and religious belief systems sit together. Then, in Fashioned Narratives, four collections that showcase his knack for world-building are in the spotlight. Next comes Evolution and Existence, which hones in on his interest in life cycles and the human condition — and Technique and Innovation, which is rather self-explanatory. Finally, Dangerous Bodies is all about early collections with a focus on eroticism and empowerment. Helping pull together all of the above are behind-the-scenes snaps by photographer Robert Fairer, taking audiences backstage at McQueen's shows — because his parades were an event and an art — and 80-plus historical artworks spanning painting, sculpture, photography, decorative arts and works on paper, all hailing LACMA and NGV's collections.
There's perhaps an unintentional double-meaning in the title of Pixar's new film Brave. Thematically, bravery naturally forms the substance of the lead character's development, but the name's also an interesting take on the company's creative direction. Not only is this Pixar's first film to centre around a female protagonist, it's also the first with a female director (Brenda Chapman). At least... it was until Chapman was replaced by Mark Andrews halfway through. So, 'Brave-ish' perhaps? But then you recall Andrews co-wrote and worked as second unit director on John Carter, which takes us back to plain old Brave (or possibly insane). Of course replacing directors is almost a tradition at Pixar, with this now the fifth time it's happened, and usually the contradictory approach somehow works. On this occasion, however, it's not quite as effective since the competing visions fail to marry quite so seamlessly. The story follows Merida (voiced by Kelly Macdonald of Trainspotting and Boardwalk Empire fame) as a princess in training, though her attention and discipline run as wild as her Rebekah Brooks locks. She favours riding over reading, archery over tapestry and mischief over miss congeniality - all to the amusement of her father King Fergus (Billy Connolly) and the chagrin of her Queen mother Elinor (Emma Thompson). Tensions come to a head when it's announced three eligible clansmen will be competing for her hand in marriage, and in defiance of her mother she shuns tradition and sends the kingdom into turmoil. It's no surprise the 'animatography' in Brave is exquisite. Pixar's ability to imbue its characters with rich emotions, even when they're inanimate, is as impressive as it is now assumed, and the opening shots of the highland vistas are so photorealistic they could easily be mistaken for the opening shots of Prometheus. Ultimately Brave is probably Pixar's worst film to date. However, anything by Pixar will still be better than most of the other films that have (or will) come out this year. That's because the teams at its San Francisco-based headquarters know their story structure, character arcs and emotional triggers better than most, as well as how to make an audience laugh. And laugh you most certainly will. https://youtube.com/watch?v=TEHWDA_6e3M
Gordi may be based in Sydney these days but, given she's originally from nearby Canowindra, her upcoming performance at the Cowra Civic Centre represents something of a homecoming for the indie pop artist. Her most recent album, Our Two Skins, was recorded at her family's farm and released during the global pandemic. Being involved in Great Southern Nights isn't even the first initiative in which Gordi's been involved in 2020; all profits from her single 'The Cost', released in January, were donated to Australian bushfire relief. Be aware that this jaunt to Cowra may be your last chance to see Gordi in such an intimate venue for quite some time as, next year, she'll be supporting alt-country legends Bon Iver on their Australian stadium tour. So, pack your bags, hit the road and catch this one-off gig you're sure to remember.
This Potts Point florist has changed hands over the years, but it's never lost touch with its local customers — and that's because the team here keeps things simple, elegant and exquisitely wrapped. The store's signature blue wrapping paper means if you're receiving a surprise gift, you often know where your flowers have come from before you've read the label. Dropping into the art deco Macleay Street store is a sensory overload — there are masses of colourful tulips, roses and potted orchids, as well as a selection of scented candles and botanical soaps from Ayu and Church Farm respectively. [caption id="attachment_776133" align="alignnone" width="1920"] Cassandra Hannagan[/caption] For those shy of the experience of ordering a bouquet in person, Poho's online store guides you through tonal suggestions and variable pricing, depending on how much you're looking to impress. Whether you opt for natives, a sculptural arrangement or a specific colour palette, you'll see the price vary from $85 for a small bunch to $320 for something lavish. When you're not limited by budget, there are add-ons like handmade chocolates from Kakawa and bottles of Bollinger. Whatever you choose, Ed West and his team will provide the highest quality service they've become known for since taking it over in 2015. Images: Cassandra Hannagan.
You'd think Sydney had reached peak boozy brunch, but, in our opinion, there's always room for one more — especially when bottomless spritzes are involved. Kensington Street newcomer, Barzaari Chippendale has just joined the brunch game, launching a new eastern Mediterranean menu available from 10.30am every Saturday and Sunday. Created by Chef Darryl Martin, the dishes incorporate flavours from the cuisines of Cyprus, Lebanon, Syria and Egypt. You'll start with haloumi-spiked baked eggs and a mezze plate, then move on to your choice of whole rainbow trout with chermoula or spatchcock cooked in vine leaves with salsa and toum (garlic sauce). Want both? You can. The menu is served family-style, so round up your friends and order it all. The mains will also arrive with falafel and heirloom tomatoes and butternut pumpkin with zaalouk (a Moroccan salad of tomato and eggplant). And then, as expected, you'll receive Barzaari's famed baklava for dessert. All of this will set you back $75 — and that includes two whole hours of bottomless spritzes. You can choose from four different boozy, carbonated beverages, including the Strawberry Royal (rose water and freeze-dried strawberry), the Jerusalem Lemonade (gin, orange blossom and lemon) and the Bitter Apricot (brandy, Campari and apricot purée). If 120 minutes of endless spritzes doesn't quite hit the spot, you can add a third hour for $30 a head. Reservations are recommended and can be made via the website. Images: Nikki To.
This article is sponsored by our partners, Byron Bay Council. To book your Byron Bay festival holiday, visit legendarybyron.com.au. Historically, Bluesfest might be the most famous shindig on the Byron Bay calendar. But if you've a tendency to limit your North Coast escapades to an annual Easter visit, you're truly missing out. Byron's got a pretty full organiser with plenty of festivities bubbling all year around — from the glorious aural Meccas of Splendour in the Grass and Falls Music and Arts Festival, to the erudite musings of the Writers Festival and the locally-sourced smorgasbord on offer at Sample. Here are the five best reasons to get behind a kombi wheel and find the '60s still swinging up the Pacific Highway. SPLENDOUR IN THE GRASS What started back in 2001 as a relatively modest one-day festival has transmogrified into one of Australia's biggest national events. From July 25 – 27 over 90 artists — Outkast, Interpol, Lily Allen, Foals and London Grammar among them — will converge on North Byron Parklands for three days of must-see sets. But it's not all about the ears, with installations, panels, comedy, food and pop-up bars aplenty onsite. "Now there’s an expectation that festivals do a lot more than music, and art is one of the essential elements," explains Splendour Arts curator Craig Walsh. "I try to create a program which can integrate across the site itself and create different kinds of experiences for audiences... We try to support new and experimental work and we see that as adding to the identity of the festival." Splendour in the Grass runs July 25 – 27 at North Byron Parklands. BYRON BAY WRITERS FESTIVAL Just days after Splendour comes to an end, poets and playwrights will pour into Byron for the Writers Festival. Held August 1 on Belongil Beach at the North Byron Beach Resort, the festival attracts some serious names up north. This year, the BBWF lineup's big tickets include Richard Clapton in conversation with David Leser, John Safran discussing true crime novel Murder in Mississippi and a John Weiley retrospective presented by Kerry O'Brien. "It’s a very relaxed format," says founding chair Chris Hanley. "It’s tents by the sea, so it’s very interactive... You can glide from session to session and taste what is going on. You can wander and sit on the beach. There is no other literary festival I know of with such a beautiful site." Byron Bay Writers Festival runs August 1 – 3 at Belongil Beach, North Byron Beach Resort. SAMPLE FOOD FESTIVAL A true foodie pilgrimage, Sample celebrates the distinctive flavours of North Coast fare. For one day of feasting on September 13, the Bangalow Showground will flood with local producers, farmers, celebrity chefs and exhibitors for this colossal food festival. Indulge in $5 and $10 tasting plates, get busy with classes covering everything from raw foods to cheesemaking, watch cooking demos and kick back to live music. With over 15,000 visitors are expected to attend, Sample is one of Byron's premier food events. Sample runs 8am – 4pm on September 13 at Bangalow Showground. BYRON BAY SURF FESTIVAL Unlike many other surf fests — centred around checking out who's mastering the biggest, most untameable waves right now — Byron Bay Surf Festival is a truly all-encompassing event for surfers and punters alike. Last year's festival involved ancient Hawaiian Olo demos featuring Dave Rastovich and Tom Wegener, surf yoga sessions, wooden surfcraft workshops, a money-free surf swap meet and a rule-free surf comp open to beginner, expert and in-betweener surfers. So far, 2014 is promising a Surf Shorts Film Comp (get your entries in asap), with the remainder of the program soon to be announced. Byron Bay Surf Festival runs October 24 – 26 at Byron Bay and at various spots throughout Byron's town centre. FALLS MUSIC AND ARTS FESTIVAL Every year, thousands of live music aficionados flock to the three-day Falls Music and Arts Festival in Lorne, Victoria and Marion Bay, Tasmania, to usher in the new year. Last year, Byron nabbed its own piece of Falls action, holding the very first edition at North Byron Parklands. With the artists hopping across the three festivals in an applause-worthy feat of logistics, Falls fuses exceptionally high-quality lineups (with a noted emphasis on blues and roots) with stunning natural landscapes and all the chai you could possibly drink. This year's program is yet to be announced, but if you're after a guaranteed thumbs up of a New Year's Eve you should lock this one in already. Falls Festival runs December 30 – January 15 at North Byron Parklands. Image by Paul Smith. Feeling festive? Head to legendarybyron.com.au and get planning your Byron Bay holiday.
Book in a date with 2 M3GAN 2 Furious now: even if it doesn't take that name, which it won't, a sequel to 2023's first guaranteed horror hit will come. Said follow-up also won't be called M3GAN 2: Electric Boogaloo, but that title would fit based on the first flick's TikTok-worthy dance sequence alone. Meme-starting fancy footwork is just one of the titular doll's skills. Earnestly singing 'Titanium' like this is Pitch Perfect, tickling the ivories with 80s classic 'Toy Soldiers', making these moments some of M3GAN's funniest: they're feats the robot achieves like it's designed to, too. Although unafraid to take wild tonal swings, and mining the established comedy-horror talents of New Zealand filmmaker Gerard Johnstone (Housebound) and screenwriter Akela Cooper (Malignant) as well, this killer-plaything flick does feel highly programmed itself, however. It's winking, knowing, silly, satirical, slick and highly engineered all at once, overtly pushing buttons and demanding a response — and, thankfully, mostly earning it. Those Child's Play-meets-Annabelle-meets-The Terminator-meets-HAL 9000 thoughts that M3GAN's basic concept instantly brings to mind? They all prove true. The eponymous droid — a Model 3 Generative Android, to be specific — is a four-foot-tall artificially intelligent doll that takes the task of protecting pre-teen Cady (Violet McGraw, Black Widow) from emotional and physical harm deadly seriously, creeping out and/or causing carnage against everyone who gets in its way. Those Frankenstein-esque sparks, exploring what happens when humanity (or Girls and Get Out's Allison Williams here, as Cady's roboticist aunt Gemma) plays god by creating life? They're just as evident, as relevant to the digital age Ex Machina-style. M3GAN is more formulaic than it should be, though, and also never as thoughtful as it wants to be, but prolific horror figures Jason Blum and James Wan produce a film that's almost always entertaining. In her job for toymaker Funki, working under brash CEO David (Ronny Chieng, Shang-Chi and the Legend of the Ten Rings), Gemma is responsible for three of the movie's most perturbing aspects. Yes, M3GAN is one of them. But the "cyborg puppet show", as David initially dubs it dismissively, comes about after his star employee installs listening software in the company's bestselling PurRpetual Pets — aka furry, troll-like trinkets that chat back, poop if you overfeed them and, as a parody-leaning ad openly says, bests IRL dogs and cats by never dying. As technology advances, ignoring how insidiously it's surveilling us is the bargain we've generally struck, but M3GAN doesn't forget it. Fleshing out a story co-conjured up by Saw, Insidious and The Conjuring's Wan, Cooper doesn't forget the other deal we've made with our smart gadgets and even just our ever-present screens, letting them make our lives easier by eradicating plenty of our human interactions. Gemma is meant to be working on a new, cheaper but shinier version of PurRpetual Pets, with a competitor undercutting Funki with a more affordable knockoff to David's dismay; however, her heart belongs to M3GAN. Then, via a tragedy, she's suddenly Cady's guardian — and because she wears flannelette, keeps collectibles and gets cranky about her overbearing neighbour's wandering pooch, she's immediately coded as anything but the mothering type. So, getting M3GAN functional serves multiple purposes, including giving Cady the kind of caregiver that her aunt instinctively isn't. "We're gonna kick Hasbro's dick!" David exclaims when he sees M3GAN in action as a walking, talking, bonding, nurturing, do-it-all bestie-slash-nanny that he can sell for $10,000 a pop. While the doll itself doesn't ever utter anything similar — she's murderous, but also child-friendly — as its AI learns and evolves, it's gonna knock about everyone who threatens Cady and its own existence. Hasbro's wares have scored the movie treatment in the Transformers, Power Rangers and GI Joe flicks and more, and M3GAN makes junk of most. They all largely did that themselves anyway, but none have this film's namesake, who makes one helluva horror nemesis. Clearly the product of ample time meticulously getting the specifics exactly right, M3GAN sports a lifelike-enough appearance that dwells deep in the uncanny valley, and could never visibly be confused for actual flesh-and-blood up close. And yet, the size is right, it pals around with Cady like they're peers and it dresses more like a stylish 70s Barbie than a standard doll. Its physical movements are preternatural, and its arch retorts and reactions — and often just its voice — would make Mean Girls' Plastics wither. Young actor Amie Donald (Sweet Tooth) plays the part, while TikTok star Jenna Davis (Maggie) provides M3GAN's vocals, with every detail pitch-perfect. Execution: M3GAN chiefly slays it, but because Gemma fluffs it (rushing to get the job done, overlooking parental controls as well as parameters for morals and ethics, and being too eager to avoid her guardian responsibilities), M3GAN savagely and repeatedly slays. As the brutal plaything's inventor and main target, Williams is fascinating, too, especially given that she comes to the part — any part — with her most famous past role's considerable baggage. She isn't playing Marnie Michaels as an expert coder here, obviously. In fact, the fact that the deranged toy she's facing patently resembles Williams is a savvy way of having the actor tear down the idea that she's crafted herself an on-screen type. Gemma isn't the uncomplicated hero of the piece, though, as a workaholic who happily outsources caring for a child to an untested gadget, revels in creating AI life to help cope with loss, then finds herself firmly standing in Victor Frankenstein's shoes. There's bite to Gemma's path, and to M3GAN's musings on motherhood, work-life balance, corporate culture and 21st-century chaos, as familiar as they all are — and, even when simply jerkily tilting its head or stealthily sneaking up unexpectedly, to M3GAN. There isn't as much blood to the film, sadly, with needing to appeal to a teen audience ensuring that it never fulfils its gory and deranged potential, including when the body count starts ramping up and the final act goes for adolescent-appropriate broke. What this sci-fi nightmare lacks in splatter, it compensates for with that gleefully campy, tongue-in-cheek and utterly self-aware vibe, forceful as it can be; M3GAN's trailer and its choreography didn't go viral months before the movie hit cinemas by accident. Indeed, Johnstone evokes the right sardonic atmosphere with the efficiency of his central robo-slasher. 2023 was already set to be the year of the big-screen doll thanks to Barbie, but M3GAN stalks the cinematic toy chest formidably and fiendishly first.
On a couple of occasions this year, McDonald's has spread some lockdown cheer by offering burger-loving customers free delivery. Now, with stores open for in-person dining around the country, it's doing something different — serving up daily specials for the entire month of November. This isn't the first time that the chain has run its 30 Days 30 Deals promotion — but it's kicking it off for 2020 with quite the offer. On Sunday, November 1, burger lovers can pick up 50-cent cheeseburgers. All you need to do is order through the MyMaccas app, select the deal, then mosey on down to your closest McDonald's to pick it up. Throughout the rest of the month, a new special will pop up each day. Think $2 Big Macs, $1 McFlurrys and $1.50 thickshakes, as well as $8 share packs, $5 small McChicken meals with a cheeseburger and $8 for two small Quarter Pounder meals.
In his latest role after becoming everyone's favourite fictional TV chef in The Bear, Jeremy Allen White isn't cooking up a storm in the kitchen. There's still plenty of heat in sci-fi romance Fingernails, however. Here, the Shameless and Homecoming actor stars alongside Jessie Buckley (Women Talking) and Riz Ahmed (Sound of Metal), with the trio involved in a love triangle — even though science definitively tells people how their hearts feel. The idea beating inside Fingernails: what if couples took tests to prove whether they were really, truly, genuinely head-over-heels in love? What would that do to romance and relationships? Also, what would happen if the results went one way but you started having feelings for someone else? And, how complicated would the situation be if you worked at a love-testing institute, but still found your emotions disproving its theory? As the just-dropped trailer for Fingernails steps through, Anna (Buckley) and Ryan (White) took the test three years back, got a positive result and settled into their relationship. Then Anna meets Amir (Ahmed) at her job at the love-testing institute, which is where all that questioning comes in — as soundtracked in the sneak peek by Yazoo's 'Only You'. The film marks the English-language debut of Greek writer/director Christos Nikou, who first made a splash with the similarly high-concept Apples — and took a few cues there from The Lobster and The Favourite's Yorgos Lanthimos by adding a new entry to the Greek Weird Wave. That flick pondered and parodied a pandemic in glorious deadpan, imaging a world where amnesia has wipes memories at random. Nikou both helms and pens again with Fingernails, which premiered at this years Telluride International Film Festival and will release in select cinemas on Thursday, November 2, then stream via Apple TV+ from Friday, November 3. Alongside White, Buckley and Ahmed, the film features Luke Wilson (Fired on Mars) and Annie Murphy (Black Mirror). Check out the trailer for Fingernails below: Fingernails will release in select cinemas on Thursday, November 2 and stream via Apple TV+ from Friday, November 3.
The human race has been obsessed with epic tales since the beginning of recorded history. From Homer’s Odyssey right up to the Doctor Who box set, not only have we sought to test the limits of our physical and psychological endurance, but we have enjoyed it. Maybe it's the thrill of the extreme that keeps us hanging on, or our addiction to escaping the boredom of our own lives. But at a time when our attention spans are shortening, ADHD is on the rise, and our linkbaited, schizophrenic multiscreen world is perpetually distracting us, it seems somewhat of a miracle that Melbourne Festival can program a 10-hour experimental verbatim theatre show, and that it can (almost) sell out. Life and Times is sixth on our list containing ten of the world’s longest theatre shows — though it has plenty of company in an era where 'binge watching' might not be limited to just TV. 3 hours: Sleep No More by Punchdrunk Whilst sitting towards the bottom of the time-commitment spectrum, Sleep No More is worth mentioning for its epic interactivity-commitment: you physically walk through the play, and it can take you hours. Loosely based on Macbeth, it's currently showing in New York at the McKittrick Hotel, a five-floor theatrical wonderland. There is no speaking, and audience members wear white Venetian masks for anonymity. You can follow the performers around or independently explore the sprawling set. 6 hours: Hotel Medea by Zecora Ura and Urban Dolls From midnight to 6am, this Brazilian-British theatre marathon debuted at London's Arcola Theatre in 2010. Presented in three parts, the play reinterprets the ancient Greek myth Medea, about a woman bent on avenging her husband's betrayal. The audience is confronted by relationships between ancient and modern ritual, including that of sleep, and undergoes a warpy, surreal theatre experience (ending with breakfast). 7 hours: Angels in America by Tony Kushner One of Sydney's theatre highlights in 2013 was Eamon Flack's staging of Angels in America at Belvoir Street Theatre. A seven-hour, Pulitzer Prize-winning saga in two parts, Angels is set in New York in the 1980s at the height of the AIDS epidemic and deals with the fallout of McCarthy era politics, religion, sexuality and personal struggle. A true humanitarian tale with lots of time to get to know the characters. 8 hours: Gatz by Elevator Repair Service "Should I read the book or watch the play?" How about you do both at the same time! When employee James Gatz finds a copy of F. Scott Fitzgerald’s The Great Gatsby amidst the clutter on his desk one morning, he picks it up in curiosity, and begins to read. Eight hours later, you've made it through the entire book, word-for-precious-word, thanks to Gatz and a 13-strong cast of co-workers in a low-budget rental office. 9 hours: Lipsynch by Robert Lepage Like the opposite of a silent meditation retreat but with the ability to produce a strangely similar effect, Lipsynch takes time to explore speech and the human voice and how they connect us together. The play follows a multicultural spectrum of nine characters, each with speech-related jobs, from opera singer to speech therapist to interpreter to voiceover artist, interweaving them amidst a visually stunning and theatrically inventive set. After not having talked for nine hours, it's hard to know what to say when the curtains close on Lipsynch. 10 hours: Life and Times by Nature Theater of Oklahoma "Can you tell me your life story?" This is the question that the artistic directors of the Nature Theater of Oklahoma asked Kristin Worrall, one of the members of their company. Now her 16-hour collection of responses is a 10-hour, verbatim theatre experience, and the aim is to develop it to 24. Combining traditional theatre, non-traditional theatre, song, dance, film, installation art and who knows what else they can pack into those hours (presumably quite a lot), it’s on show in Melbourne from 22-26 October, 2013, at the Melbourne Arts Centre Playhouse theatre. If you still aren’t sold, just know that the marathon performance includes a BBQ dinner and snacks served by the company. 22 hours: The Warp by Ken Campbell Writer, actor, director and comedian Ken Campbell achieved notoriety in the 1970s for his 22-hour staging of Neil Oram's play cycle The Warp. The play's hero is Phil Masters and it traces his many previous lives over a period of a thousand years. The main actor is required to be on stage for all but 5 minutes of the play (five and a half times longer than Hamlet), and when it was staged in 1997 in East London, the lead actor had a meltdown about two-thirds of the way through, extending the performance to 29 hours. 23 hours: The Bald Soprano by Eugene Ionesco The Warp has been superseded by what's now officially classified in the Guinness World Book of Records as the longest continuous dramatic performance, sitting at a comfy 23 hours 33 minutes and 54 seconds. US-based company the 27 O'Clock Players performed this absurdist comedy in a gazebo in New Jersey in 2010. The Bald Soprano itself is only about an hour long; however, it features a looped ending which requires continuous repetition of the play. On this occasion it was repeated 25 times. 24 hours: Quizoola! by Forced Entertainment So this is getting a bit ridiculous now, but it's best not to ask questions. Or is it? Aptly titled theatre company Forced Entertainment originally staged a six-hour version of this game-show/improvisation/performance bonanza before taking it to new heights (or rather lengths) this year at London's Barbican. What happens is, six performers sit in alternating pairs in a circle of lights, wearing smeared clown make-up, and ask each other questions. Beginning as a banal chat, the performance moves towards pub quiz trivia, beyond philosophical probing and into CIA interrogation. Questions are provided by director Tim Etchells, the company and the audience (who are free to come and go as they please). A long time: Synecdoche, New York by Charlie Kaufman This is technically a movie with a run time of 124 minutes, but it is a movie about the most epic theatre work ever. Theatre director Caden Cotard (Philip Seymour Hoffman) tries to replicate life as realistically as possible in theatre and constructs his set in a huge warehouse somewhere in downtown Manhattan. A growing cast is directed to act out the banalities of their lives, and as the years pass, and the actors keep on acting their life-roles, Cotard becomes immersed in the play and his work-life balance is epically disrupted by doppelgangers and ultimate creative confusion, unable to end until Cotard himself does.
Spunky Bruiser's founders Bex Frost and Christian Olea sum up the brand's aesthetic as "distinctive, lusciously gritty and unapologetic". Celebrating sustainable design, the duo use recycled and reclaimed materials to hand-make one-off garments for men, women and kids, taking a firm anti-mass production stance and proudly turning the usual shopping experience on its head. Trends are ignored ("Our designs are made to be eternally relevant," say the couple), as is standard sizing (garments come in "you size"). Instead, the pair specialises in custom making pieces to suit not only a person's frame, but their personality too. This often means incorporating sentimental materials belonging to the client into the work — they're particularly known for re-working tapestries into eclectic, eye-catching jackets. They even offer to patch up any wear and tear for the lifetime of the garment. As Bex and Christian say, there's nothing quite like it out there. Images: Steven Woodburn
New Year's Eve means different things to different people — but if celebrating it in the biggest way possible is your approach each year, then you've likely either made a date with Beyond The Valley before or wanted to. Need some motivation to head to the festival at Barunah Plains in Victoria to celebrate 2025 turning into 2026? Dom Dolla, Addison Rae, Kid Cudi and Turnstile should be plenty. That's who is headlining across the Sunday, December 28, 2025–Thursday, January 1, 2026 event — and yes, if you fancy spending the New Year's Eve countdown with Dom Dolla, you can. This lineup is also a helluva way for Beyond The Valley to mark a milestone, given that it's the fest's tenth anniversary. [caption id="attachment_1005091" align="alignnone" width="1920"] Shevindphoto[/caption] Dom Dolla will cap off a year that's already spanned soldout Madison Square Garden gigs, plus stints at Lollapalooza, Bonnaroo, EDC Las Vegas and Ultra Miami — and will see him play his biggest-ever Aussie headline show at Allianz Stadium in Sydney in December. For Addison Rae, this is her Australian festival debut. Kid Cudi heads Down Under for the first time in a decade, too. The lineup also spans Spacey Jane, I Hate Models, KETTAMA, Chris Stussy, Ben Böhmer, The Temper Trap and Luude, plus JoJo doing an Australian-exclusive show, as well as 070 Shake, DJ HEARTSTRING, VTSS, SWIM, Pegassi, Channel Tres, Balu Brigada, Fcukers, Jane Remover, Miss Kaninna and a heap more. New for 2025 is The Lounge Room, with Kat Sasso hosting podcasters and other folks getting chatting — such as Undiagnosed Anthony; AFL footballer Tom Mitchell with the Ball Magnets podcast; more Aussie Rules stars thanks to Sam Draper, Nick Butler and Charlie Comben; Dr Esmé Louise James; Sez; Ash McGregor; and David The Medium. Plus, stage-wise, the Valley Stage is getting a new look and the Dance Dome is scoring a revamp. You'll also be able to enjoy a wellness program featuring meditation, saunas and cold plunges, for relaxing between sets. Beyond the Valley 2025 Lineup Dom Dolla Addison Rae Kid Cudi Turnstile Spacey Jane I Hate Models KETTAMA Chris Stussy Ben Böhmer The Temper Trap Luude JoJo 070 Shake DJ HEARTSTRING VTSS Patrick Mason SWIM Prospa Josh Baker NOTION Pegassi Cassian Channel Tres Mallrat Balu Brigada Fcukers glaive Jazzy ZULAN sim0ne TEED Bad Boombox b2b mischluft Clouds bullet tooth KILIMANJARO Narciss not without friends Juicy Romance Ollie Lishman Chromeo (DJ set) RONA. Bella Claxton DICE Jane Remover Julia Wolf Young Franco Kaiit Miss Kaninna 49th & Main Dombresky BL3SS Torren Foot B2B Airwolf Paradise ATRIP Linska CYRIL HoneyLuv Larissa Lambert Inside Kru Tyson O'Brien SYREETA TV Rock Willo Sex Mask BOY SODA The Tullamarines EGOISM Chloe Parché Brent Honey Emma Moon Morphena MAD.DAY Mell Hall Tina Disco Séarlait House Mum B2B Haus of Ralph Loosie Grind Afrodisiac B2B Baby G Cooper Smith Mon Franco Bertie Shanti The Lounge Room hosted by Kat Sasso 200 Plus Ash McGregor Ball Magnets Club Elevate David The Medium Esmé Louise James Sez Undiagnosed Anthony Teach Us Consent Beyond The Valley runs from Sunday, December 28, 2025–Thursday, January 1, 2026 at Barunah Plains, Wentworths Road, Hesse, Victoria. Ticket presale registrations are open now, with festival presales from 11am on Thursday, August 28, 2025. General sales kick off at 12pm AEST on Friday, August 29, 2o25. For more information, head to the fest's website. Beyond The Valley images: Lady Drewniak, Ashlea Caygill, Kelsey Zafiridies.
Sydneysiders — and those planning a trip to the harbour city — can get their cultural kicks IRL again, with most major NSW cultural institutions back in action. And, with Sydney home to so many galleries, museums and art spaces, there's no shortage of arty events to add to your calendar. One to bookmark for the warmer months: A retrospective exhibition on multidisciplinary artist Lindy Lee that's taking over leading contemporary gallery MCA Australia. Titled Lindy Lee: Moon in a Dew Drop, it is the most comprehensive exhibition by the artist to date — and it's opening on Friday, October 2. The celebrated Australian Chinese artist has a practice spanning over four decades and works in everything from painting to sculpture. Her Chinese ancestry underpins much of her art; Lee's works are inspired by Daoism and Ch'an (Zen) Buddhism philosophies and she often examines the connection between humanity and nature. From flinging molten bronze and burning paper to allowing ink to spill and rain to transform surfaces, Lee's process is varied, experimental and inquisitive. Expect more than 70 works, including huge installations, vibrant wax paintings and metallic structures — and rarely seen works from the artist's personal collection. You'll also spy a few new commissions, one of which will be proudly exhibited on the museum's outdoor forecourt. To mark the exhibition's launch, Lee will be giving a talk on her art practice on Wednesday, October 7, which you can catch in person or live stream from home. [caption id="attachment_782750" align="alignnone" width="1920"] Destination NSW[/caption] MCA Australia's exhibition Lindy Lee: Moon in a Dew Drop launches on Friday, October 2. The gallery is currently open 10am–5pm Tuesday–Sunday, with COVID-19 measures in place. Entry is free and unticketed. Top images: Lindy Lee, 'No Up, No Down, I Am the Ten Thousand Things' (1995/2020), courtesy of the artist and Sutton Gallery, Melbourne; Lindy Lee, 'The Silence of Painters' (1989), Museum of Contemporary Art, gift of Loti Smorgon AO and Victor Smorgon AC; Lindy Lee, 'Exploding Suns' (2019), installation view, photography by Ng Wu Gang; Lindy Lee, 'Book of Kuan-yin' (2002), courtesy the artist and Sutton Gallery, Melbourne; and Lindy Lee, 'Untitled (After Jan Van Eyck)' (1988), collection of The University of Queensland, gift of Mary Dwyer in memory of Paul Dane Tilley. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
These days, a free tertiary education is something of a myth — your parents might have got it, you know some other countries offer it, but you've certainly given up all hope of getting any sort of affordable qualifications (particularly with the prospect of fee deregulation). But when the NSW Government released its 2018 budget back in June, it included some surprisingly good news: it is now free to complete selected apprenticeships in NSW. As announced by Premier Gladys Berejiklian and outlined in the NSW Budget 18/19 papers, the State Government will put $285.2 million towards covering course fees for up to 100,000 TAFE courses and apprenticeships. All 121 apprenticeships currently funded under the government's Smart and Skilled program will be covered, and they're pretty varied, running from a Certificate IV in Commercial Cookery to a Certificate IV in Engineering. Most cost around $2000 to complete, so this will make a huge difference to prospective students who can't afford to foot the bill usually associated with studying. To be eligible for the free courses, you have to be over 15 years old and either an Australian or New Zealand citizen, a permanent resident or hold a humanitarian visa. The decision to make these courses free comes off the back of a similar promise from the Victorian Government to make 30 new courses fee-free from next year. The free courses in Victoria are a little broader in scope, though, and include qualifications in nursing, accounting and mental health.
Is it possible to make a heist movie that's inspired by detective fiction but takes some cues from reality, including riffing on the director's own mother's experiences and her work as a filmmaker? Then, can such a flick become a charming crime caper that's effortlessly fresh and oh-so French, and yet also could've been made during both the French New Wave and American cinema's glorious 70s era? With his latest feature The Innocent, consider actor, writer and helmer Louis Garrel 100-percent guilty. Consider the film itself an utter delight, too. And, consider it gorgeously shot (by César-nominated Les Misérables cinematographer Julien Poupard), smartly penned (by Garrel, gumshoe novelist Tanguy Viel and Garrel's The Crusade co-screenwriter Naïla Guiguet) and winningly cast, with the latter including Little Women's Garrel himself opposite Portrait of a Lady on Fire's Noémie Merlant, plus Roschdy Zem (Other People's Children) and Anouk Grinberg (The Night of the 12th). Actually, in his fourth stint as an actor-turned-filmmaker following 2015's Two Friends, 2018's A Faithful Man and 2021's The Crusade, Garrel hasn't just assembled a stellar core quartet of actors. In addition to that, he has them anchoring a movie that overtly explores the role of acting in everyday life. Sylvie Lefranc (Grinberg) is a theatre thespian and teacher, as initially observed showing imprisoned men the tricks of the board-treading trade. In her class is Michel Ferrand (Zem), who she swiftly marries — with Sylvie's thirtysomething son Abel in attendance but hardly approving, especially because this isn't her first set of jailhouse nuptials. He's worried about his mom and suspicious about his new stepdad, which gives him a distraction from grieving for his recently deceased wife and hearing about her best friend Clémence Genièvre's (Merlant) tumultuous love life. He knows that Sylvie's head-over-heels infatuation isn't a performance, but is the just-released Michel's claim that he's now on the straight and narrow all for show? To answer that question, Abel gets a-tailing throughout Lyon with the game and eager Clémence's help. This couldn't be a heist film if they found nothing amiss, of course, with ex-con Michel's plans linked in with the cute little florist shop he's opened to make Sylvie's dreams come true — claiming that a friend had rented them the space for free, which is obviously far too good to be accurate. So, Abel is faced with his own spate of acting to protect his mum. Michel can't do the job without assistance from him and Clémence playing decoys, and his mother will suffer if he doesn't aid and abet an armed robbery pilfering lucrative Iranian caviar. Yes, as well as being a heist movie, a romance, and a drama about parents, children, love, loss, moving on and second chances all in one, The Innocent is a delicious and hilarious farce. There's a clear contrast at the heart of The Innocent: women who love quickly and deeply, as Sylvie and Clémence do, and men who are hesitant and guarded, as Abel and Michel prove. In much lesser hands, that juxtaposition might be dated and cliched, not to mention needlessly and gratingly stereotypical. Thankfully, adding to the lengthy list of things that The Innocent manages to be, and breezily, it's also an intelligent, textured and savvily scripted character study. Even when they're overtly acting a part — for work, for each other and, in the widowed Abel's case, often with himself — Sylvie, Abel, Michel and Clémence are each lived in to the point of seeming ready to walk right off the screen. Crucially, every move they make is steeped in their fleshed-out stories and backgrounds, rather than mere convenience, too. Garrel, Viel and Guiguet have penned these characters with nuance, intricacy, and realistic emotions and motivations. Thoughtful touches abound around The Innocent's stars; see: Abel's job as a marine biologist at a local aquarium, where Clémence also works, which nicely stresses the difference between analysing and diving in — and also provides a dazzling setting for pivotal scenes and shots. The film makes wonderful use of Sylvie and Michel's florist in a comparable way, the space literally blooming with colour and life but its roots not what they seem. The Innocent's casting can't be underestimated, though, as particularly seen in Grinberg, Merlant and Zem's efforts. Grinberg steps into Garrel's IRL mother Brigitte Sy's shoes, given she too is an actor who got married in prison, and does so with a gregarious and yearning spark. With a sense of lightness here, Merlant keeps showing her exceptional range, boosting a growing resume that also includes Jumbo, Paris, 13th District and Tár. And Zem, a director himself — including of 2011's Oscar-shortlisted Omar Killed Me and 2016's Monsieur Chocolat — is sincere, determined and charismatic, and also helps turn a bit with a bowtie into something special. As for Garrel, he enlists himself for the fourth time as the fourth character called Abel (although in A Faithful Man and The Crusade, they're the same figure), and he's again ace under his own direction. When your godfather is Jean-Pierre Léaud, one of the faces of the French New Wave ever since starring in the movement's seminal film The 400 Blows, perhaps being drawn to spirited and soulful movies about emotional chaos just comes with the territory. Garrel keeps writing, directing and performing in them, with The Innocent his most entertaining instance yet. Cinema was always in his blood as well as his orbit, seeing that his father is French filmmaker Philippe Garrel, whose pictures he often features in (such as 2013's excellent Jealousy); Sy clearly has an acting history (including 2018's Invisibles); his sister Esther also pops up on-screen (as seen in Call Me By Your Name); and his grandfather is the late actor Maurice Garrel (César-nominated for La Discrète and Kings and Queen) — and it shows. As conveyed in celluloid dreams, heists, crime capers, mysteries and noirs frequently involve throwing an array of moving parts together in high-stakes circumstances, then seeing what fits, sticks, struggles and leaks. French greats Rififi and Bob Le Flambeur, both of which The Innocent feels tied to, knew this. US highlights The Long Goodbye and The Last of Sheila, which it similarly brings to mind, capitalised upon it as well. In all of their many guises, these narrative setups and mainstays strike a chord because they so vividly reflect life's mess, just in heightened circumstances — and Garrel is equally well-aware of that. The Innocent's French pop-synth soundtrack gifts the already fast-paced film with a marvellous sense of bounce, but also reflects exactly what the movie is: a supremely finessed, funny, endearing and engaging flick that echoes for everyone.
Formerly known as the Toowoon Bay Pie Shop, Flour & Co is a family-run bakery and coffee house that knows what it takes to create quality baked goods. The business has been in the family for the last 30 years, so locals — and visitors familiar with Toowoon Bay — are well acquainted with this little spot. As well as having some of the area's best pies, cakes, breads, toasties and raw treats (like its signature raw 'Snickers' slice), Flour & Co also serves up top-notch brews made on No Label Coffee. This sustainable, ethical and organic label imports beans from Tanna Island, Vanuatu, which make for a clean and smooth coffee with lots of chocolate and nut flavours.
We've all had those days when it feels like nothing is going your way. You'll be sitting at your desk, starring helplessly at the screen, hoping inspiration or productivity will strike. For photographers and freelancers, getting out of a creative rut can feel like an impossible task. Working solo can have a ton of perks, but incidental collaboration certainly isn't one of them. As the largest photographic hub in the Southern Hemisphere, Alexandria's SUNSTUDIOS has seen its fair share of lonesome creatives walk through its doors. The creative space houses six professional studios, an extensive retail showroom, state of the art printing services plus an enormous rental department that has people dropping in regularly. But despite all this, General Manager Alan Brightman still felt something was missing. His solution to filling the void? The Treehouse, a co-working space of likeminded visual freelancers seeking to connect and collaborate with new faces. Assisted by Matt Whale (managing director of the innovative design and business consultancy group How To Impact), the space is set to welcome members into a one-of-a-kind creative community. "It's able to provide an environment in which emerging talent can be supported, assisted and guided by people who are already established in the business," says Alan. Based within SUNSTUDIOS' renovated 1930s woolshed, The Treehouse sports two levels of independent workspaces along with meeting rooms, lockable storage and on-site priority access to printing, rental equipment and studio hire. But these guys don't want The Treehouse to become just another communal working hub. When they were doing their first build, they'd invite photographers in and incorporate their feedback into the design of the space. And what resulted from 18 months of research and discussions with over 50 photographers is a space able to adapt to its occupants. Walls have been deliberately left blank and every inch of the space is carefully considered. Alan and Matt hope that members themselves will contribute to creating a thriving shared environment, perfect for inspiring the individual's own productivity. "We've arranged the desks and screens so that people feel like they're in an open area that has enough privacy without being in little shoeboxes," says Matt. With a dedicated community manager selecting each and every resident, the emphasis on community at The Treehouse's is clear. As Alan and Matt say, it's very important they have "the right people" in the space. And while nearly all of their upstairs six-month residency desks have already been snapped up, the drop-in desks downstairs remain open for those who just need a refreshing change of pace or help breaking out of a bout of creative block. The Treehouse at SUNSTUDIOS is located at 42 Maddox Street, Alexandria. For more information, visit their website. Images: Kimberley Low.
It's nice to escape out of the big city sometimes. Just a hop, skip and a jump (90 minutes) from Sydney, the Pullman Magenta Shores Resort is a worthy way to exit hectic Sydney and get a little quality R&R in. Beachfront and with numerous, luxurious pools, the resort is nestled in between Tuggerah Lake and the sea, so swimming is probably #1 on your holiday priorities list. For those who can drag themselves away from their sunlounger, the resort is the perfect gateway to the New South Wales Central Coast. Around summer, this area is your go-to for outdoor adventures ranging from surfing and paddleboarding to quad biking and ziplining through the treetops. Take your pick from beaches like The Entrance, Bateau Bay, Shelly Beach, Copacabana or Macmaster's, enjoy your cold-drip coffee barefoot in the cafes of Avoca and Terrigal, and breathe in a big gulp of fresh air at Bouddi National Park. So you can further remind yourself that you're out of the city, all rooms at the Pullman Magenta Shores (choose from a studio apartment up to a three-bed villa) have relaxing nature views, just so you can remind yourself that you're out of the city. You can kick back in the Lagoon Pool, the heated lap pool indoors if it's a bit nippy, or even the beach rock pools if you want to go crab-watching. The Resort is also home to the Magenta Shores Golf & Country Club, designed by Ross Watson and 18-holes long to fully occupy your vacation days. You're only allowed on this private green if you're staying at Pullman Magenta Shores, or if you've invested in a pricey membership, so take advantage. If you're tuckered out from the activity time or golf isn't your bag, head to the on-site Vie Spa to pamper yourself in one of their five treatment rooms. Once you're hungry from all the relaxing, head over to the resort's fine-dining Barrett's Restaurant, or Shallows Bar – there's a tasting menu as well as a wood-fired pizza oven and a range of share plates on the menu, so your belly will be just as happy as your relaxed muscles.
The sun is dying, and only a mission to space can potentially save life on earth and all of humanity. Sound familiar? If you've watched Sunshine from 28 Years Later duo Danny Boyle and Alex Garland, then it should. This one should ring a bell, too, if you caught The Martian: an everyman character gets stranded solo well beyond the third rock from the sun. Combine elements of two excellent sci-fi films from years gone by and you have Project Hail Mary — at least based on the just-dropped first trailer for the 2026 release. It isn't by accident that The Martian pops to mind, either. American novelist Andy Weir wrote the book that 2015 feature was based on. A decade later, the same applies, this time telling a tale about a science teacher who becomes an astronaut — and the planet's only hope. Ryan Gosling (The Fall Guy) plays Ryland Grace, who usually teaches the sixth grade. In parts of the Project Hail Mary's debut sneak peek, he stresses that he's putting the "not" in "astronaut" — and he's both sceptical and reluctant about the task being asked of him. In other moments in the film's first trailer, he's 11.9 light years from home, all alone, and uncertain why after waking up with no memory about what he's doing in space. Also included: attempting to discover why the sun is dying, using his science skills in a manner far beyond what he'd ever expected and making friends while soaring through the heavens. Audiences Down Under can make a date with the end result in March 2026 — and watch Gosling tackle space again after portraying Neil Armstrong in 2018's First Man, as part of a cast that spans Sandra Hüller (Anatomy of a Fall), Lionel Boyce (The Bear), Ken Leung (Industry) and Milana Vayntrub (Going Dutch), too. Project Hail Mary also marks the first picture directed by filmmakers Phil Lord and Christopher Miller in more than a decade, when the pair had both The Lego Movie and 22 Jump Street in cinemas in 2014. In the years since, they've been busy, however — such as initially being slated to helm Solo: A Star Wars Story, then getting replaced by Ron Howard (Jim Henson Idea Man), and producing everything from Spider-Man: Into the Spider-Verse and its sequel to the very different Brigsby Bear and Cocaine Bear. Check out the first trailer for Project Hail Mary below: Project Hail Mary opens in Australian cinemas in March 2026.
Sydney's 120-year-old Queen Victoria Building has long been a haven of decadence, but it's taking things up a notch with with the launch of not one, but two new luxurious bars. From this Friday, the CBD shopping precinct will house a Champagne bar, Reign at the QVB, with bar-restaurant Esquire Drink + Dine to follow the week after. And in a win for that part of the city, they'll both be open late, right up till 2am. A vision of marble, brass and musk pink, Reign is a regal sort of spot, taking over the space once home to the level one ABC store. It'll be pouring a sprawling selection of over 150 Champagnes and sparkling wines, with plenty of bubbly tasting flights on offer, alongside signature cocktails like the De Nonancourt: a blend of vodka, fig liqueur, cucumber and Champagne syrup. The snack menu is very broad and covers all bases, from the refined (plates of oysters, duck liver mousse and steak tartare) to the two-handed (meatball and cheese sliders and an okonomiyaki burger) to the straight-up late-night eat variety (dumplings and pork fried rice). If you're looking for more of a sit-down meal, head one level up to Esquire from March 28. The venue, which is just as opulent, takes its cues from the supper clubs of New York, with an old-world fit-out of oak, leather and parquetry flooring. It's a moody, dapper backdrop for settling in with a fittingly expansive offering of whisky, cocktails and wine. [caption id="attachment_711151" align="alignnone" width="1920"] The interior at Esquire.[/caption] From the kitchen comes a sophisticated spread of reimagined comfort food. Think gruyere-stuffed jaffles with fries and a pork jowl schnitzel sided with mustard, radish and burnt lemon. You can also choose from four cuts of steak and a whole roast chicken for two, which is used across two courses. Both venues are open from 11am each day, surely to cater to post-shopping snacks and business lunches. Best of all, they're both kicking on late, open for eats and drinks right up until 2am Thursday through Sunday. Both will be overseen by a team of hospitality guns, including Matthew Beaumont as Group General Manager of Beverage (The Star, Merivale), Damien Worthington (QT Hotels, The Winery) in the role of Executive Chef and Fabio Nistrio (Sokyo at The Star, Bambini Trust Restaurant & Wine Room) heading up the tightly curated drinks program. Find both restaurants at the Queen Victoria Building, 455 Druitt Street, Sydney. Reign at the QVB will open on level one (best accessed via the Druitt Street entrance) from Friday, March 15 and Esquire Drink + Dine will open up on level two (best accessed via the Market Street entrance) two weeks late on Thursday, March 28. Both will be open from 11am–midnight Monday to Wednesday, and 11am–2am Thursday to Sunday. UPDATE: MARCH 18, 2019 — Esquire was previously slated to open on Friday, March 22, but it will now be opening on Thursday, March 28. The article has been updated to reflect this.
"I'm always looking to do something new and something that excites me, and something challenging — and I think this is all of those things," Tony Armstrong tells Concrete Playground about a unique project on the ex-AFL player-turned-TV mainstay's resume. The former ABC News Breakfast sports presenter has previously hosted television shows about dogs, Australia's untold history, famous Aussie stuff, plus sport in general and football specifically. Variety has been the spice of his on-screen career so far. But Eat the Invaders was destined to stand out; a series about putting Australia's invasive species on the menu will do that. "When I think about the kind of career I want to have, I don't necessarily want to ever be pigeonholed into one thing. And this was a great opportunity to stretch my skill set," Armstrong continues. "It was just so — I can't begin to explain how good the pitch deck and that first impression of the way the idea was going to be presented was. It was just so good. I was hooked from then." Eat the Invaders' title applies literally. Across six episodes, all of which are available to stream via ABC iView, Armstrong tours the country to explore whether animals that are waging war on Australia's native critters and plants should end up on our plates. In the process, he tucks in. Whether camel, carp or even cane toads are being considered as potential meals — rabbits, deer and sea urchin, too — each instalment dives into the history of its chosen creatures, their impact upon Australia's landscape, how people regard them, eradication efforts, the attitudes around each animal as food and why they might appeal as a meal. The show also puts its rhetoric where its mouth is in another way, with Armstrong heading to Tasmanian art gallery Mona in every episode for a feast featuring the ingredient in the spotlight. Joining him for the series of dinners: everyone from Poh Ling Yeow, Claire Hooper and Nat's What I Reckon to Rona Glynn-McDonald — who happens to be his partner — and her filmmaker father Warwick Thornton (The New Boy), plus Dr Karl Kruszelnicki and Geoffrey Robertson. Also driving the series, both from Mona, are artist and curator Kirsha Kaechele and acclaimed culinary figure Vince Trim. The former's Eat the Problem project — an exhibition and a book — sparked Eat the Invaders. The latter is the gallery's Executive Chef, and therefore tasked with whipping up Mona-worthy dishes using the show's menagerie. In addition, Armstrong checks in with professors Andrew Lowe and Phil Cassey, invasion biologists, as he steps through why each animal could be a candidate for the end of someone's fork. This isn't just the type of show that doesn't grace screens every day, or the kind of project that doesn't come Armstrong's way often, either — it was also a helluva way for its host to travel around Australia. "I felt like I was getting away with something: in a mail plane from Alice Springs airport, going west for three hours, flying over some of the most-beautiful country in the world, and I'm just like 'what a privilege — what an absolute privilege it is to be able to do this for work'," he notes. "Most people have to work really hard and then take time off, and then pay to do that. That wasn't lost on me." Most people don't try the most-controversial animal on the Eat the Invaders menu, too, whether they're holidaying around the nation or not. When it comes to contemplating eating cats, Armstrong welcomes the conversation that he hopes the series will inspire, including about the destruction waged by the animals so beloved as pets. We also spoke with the A Dog's World, Great Australian Stuff and Tony Armstrong's Extra-Ordinary Things star — and former Adelaide, Sydney and Collingwood footballer, and recent Memoir of a Snail voice actor — about the challenges of making the show, which ingredient should become an everyday staple and cognitive dissonance around Eat the Invaders' topic. What excites him about a new project, plus Armstrong's journey from the footy field to here: they're part of our chat as well. On the Animal That Immediately Stood Out Among Eat the Invaders' Different Species "Cat. Cat for sure. Because I know how much people love them — and how love can be blind. Cats can make great companions, all that kind of thing, but the damage that so many cats have done — feral and domestic — is crazy. They are killing machines. And our native animals here, because cats are a relatively recent introduction when you consider how old so-called Australia is, a lot of the animals don't view cats as predators yet in the way that they might view others. They don't have those thousands and thousands of years of adaptation to know how to deal with them. So the damage that cats are doing is immense. And what a great hook to get people in to watch an episode that isn't actually about — it's about eating cat, but it's not actually about eating cat. I can't wait to get in arguments. The show is also about our prejudice. Why is it okay to eat a cow? What's the difference? I don't see the difference. Maybe it's because cats in popular culture are presented in a certain way, so we don't necessarily think about them in the way that we should. And that's not to say that people shouldn't own cats and all that kind of thing. I think dealing with cats, it's about how can we be better owners? How can we be more responsible at that end? I don't want people not to have fun with an animal they love — but I want them to be responsible and think about the native animals that are getting smoked by cats." On the Biggest Challenges of Making Eat the Invaders "I reckon the biggest challenge with any show that's factual is how do we not make it boring? How do we keep it simple?. Because we could have gone down the path of crazy, crazy high-end and deep-dive science — we could have done that. Then it's also how can you be compelling enough to get people to listen to you talking about eating cat?, for instance. That's quite the tightrope to walk. And then it's also 'god, I hope when we're out here in the desert, because we've got one day here, we get a cat'. We might not. We had, I think, a day in WA to find camels, and we were lucky, we found a bountiful amount. But when we arrived on the station, they were like 'hey, look there's a huge chance we don't see any camels'. So there's that as well — trying to remain positive and upbeat about stuff, and also taking calculated risks. You can plan as hard as you want and then things can go wrong. So I guess the other thing is about being as adaptable and as quick-thinking as you can be." On Humanity's Cognitive Dissonance Around Animals When It's Considered Acceptable to Eat Some But Not Others "I think so much of it is nurture. So much of it is where you're brought up, what you've done as you've grown up, the way you as an individual approach the world — do you approach the world with a growth-type mindset where you're happy to be curious and all that kind of thing, or are you more conservative, are you more fixed? And then, are you someone who's willing to have a respectful debate? This cognitive dissonance is just so, so interesting. I think so much of that is baked into nurture through all the different touchpoints that make us who we are." On the One Candidate in Eat the Invaders That Left Armstrong Certain That It Should Become an Everyday Food "Carp. It's so easily accessible. The reason why I don't think cat is that's just not going to happen. The reason why I don't think camel is because, as delicious as it is and as many of them as there are, and how there's an industry waiting to happen, the infrastructure to set that industry up is just going to take so much investment, so the barriers to entry for that are too high. I totally think with carp, that is such a perception thing on how the animal tastes. Everyone just thinks of it as a shit fish, right? But if it is prepared properly, and killed properly, humanely, ethically, all those kind of things, it is delicious. It is so yum. And if you saw that episode where we're eating at Africola in Adelaide, that's some of the best food I've had. And that's carp. And Mark and Duncan just prepared two beautiful dishes showing the versatility of carp fillet versus carp in a salad. So it's a versatile fish. It takes on all of the flavours of the food around it. There's so much carp. And we already have a fishing industry. So I think that would be the most viable one — but also I am the last person who should ever, ever take charge of a business, so huge caveat right there." On the Species Explored in the Series That Are Part of Armstrong's Own Diet "So I already ate camel. Not all the time, but going to the Vic Markets, there's camel that you can buy — you can buy little camel steaks and that kind of thing. And it's delicious. It is bloody delicious. I've had it beforehand, but since the show I actually ironically haven't eaten much. I also have eaten quite a lot of rabbit in my time as well. So camel and rabbit are ones that were already part of my diet. But I think in the winter, I'll cook a lot of rabbit. I want to make stews and little pasties and stuff like that with rabbit." On What Excites Armstrong About a New Project, After a Unique Journey From Three AFL Clubs to an Array of TV Shows, Presenting Sports on News Breakfast, Film Voice Work and More "I think first, as I'm as I'm getting older and I suppose more established, it's the quality of the work that is the first thing I think of. I've always thought about that, but the very first thing I think about is 'do I think this will be well-executed and do I think I can have a role in that?'. When Memoir of a Snail came along, it was like 'hell yeah'. I've done voice acting for Reef School and that kind of thing, and I really enjoy that. I think now it's a mixture of 'is it something new and exciting and challenging?' and then 'do I think it will be good?'. That's kind of where I'm at. Probably the only world I haven't really gone into is proper performance, and that's something interests me. It's just something where if I'm like 'oh yeah, I'm pumped. That sounds cool. I'm excited. I'm a bit nervous', then I know I'm in the right spot." On Whether Armstrong Imagined the Path His Career Has Taken Back When He Was Drafted to Play AFL "Not even in the slightest. When I got drafted, in my mind I was like 'sweet, I'm going to become an AFL legend' — because that's what everyone thinks, right? Right now I'm supposed to be a bagillionaire former player who is the best ever, and I've just retired and now I smoke cigars and cruise around my many properties. Unfortunately, that wasn't quite the case. [caption id="attachment_843998" align="alignnone" width="1920"] A Dog's World with Tony Armstrong[/caption] We were talking about 'not a bad way to see the country' before, and I was just like 'I'm constantly on sets or I'm in a voice booth, or I'm somewhere doing something' — and I'm like looking left and right, and I'm like 'when are they going to realise that I don't know what the fuck I'm doing? The jig's going to be up soon, Tone'. I'm so grateful, and I work and all of that stuff, which everyone does — but yeah, a lot of pinch-myself stuff." Eat the Invaders streams via ABC iView.
Are you a cat person or a dog person? Alongside whether or not you're a fan of pineapple on pizza, pet preference is one of humanity's great dividing factors. Some folks love the unconditional affection that a barking bestie brings. Others thrive on the contented purrs of a meowing mouser sitting on their lap. Whichever camp you fall into, here's something that even the most-avid pup proponents and feline fanciers can agree on: that an exhibition dedicated to both cats and dogs, charting their place in art, design and human history, is a delightful must-see. Cats & Dogs is that showcase, giving NGV Australia in Melbourne's Federation Square one of its big summer highlights. It's a great time to be an art lover in the Victorian capital, or visiting the city, with all things Yayoi Kusama taking over NGV International and beyond — and also this thoughtful and adorable exhibition bringing joy via more than 250 cat- and dog-focused works at the Ian Potter Centre until Sunday, July 20, 2025. If your camera roll demonstrates your firm belief that there's no such thing as too many pet pictures, consider this the wide-ranging display that understands, then illustrates that idea — literally — via art. Pieces by Rembrandt van Rijn, Francisco de Goya, Pierre Bonnard, David Hockney, Jeff Koons, Hulda Guzmán, Atong Atem, Charles Blackman, Grace Cossington Smith and Nora Heysen are among the works featured, spanning both international and Australian artists. And yes, because cats and dogs don't always get along, the exhibition places dog pieces on one side and cats on the other. For plenty of pet lovers, you could hang all the pictures in the world of cats and dogs in a gallery and it'd instantly become a cherished art experience, but NGV International has arranged its showcase thematically to dig into what these two types of cute creatures mean to us. Using works from the NGV Collection, it explores subjects such as working dogs and cats, how the two pets feature in mythology and the occult, and their significance in religion and spirituality. So, expect cattle dogs, superstition-inspiring black cats and everything in-between, Also included in a display that ranges from ancient history to today: a survey of cats in popular culture. And if thinking about moggies and art gets you thinking about Théophile-Alexandre Steinlen's 1896 Chat Noir art nouveau poster, the recent acquisition by the NGV is part of the exhibition. Paintings of cats and dogs, prints of cats and dogs, drawings of cats and dogs, photos of cats and dogs, sculptures of cats and dogs, fashion featuring cats and dogs: they're all covered, as are textiles and decorative arts heroing the two critters. Other specific highlights include Atomicus, the surrealist photography by Philippe Halsman with Salvador Dalí pictured next to flying cats; Thomas Gainsborough's two-metre-high oil painting Richard St George Mansergh-St George, focusing on a soldier and his hound; Atong Atem's 2022 self-portrait Maria of Mars, complete with a lapdog earning atttention; pieces by First Nations artists, such as wooden carvings of camp dogs by Far North Queensland's Aurukun artists; and fashion by Alexander McQueen, Romance Was Born and others. Do you know in your bones that your own cat or dog belongs in the same company? There's a pet portrait gallery, too, where attendees can share images of their own pets. Images: Installation view of Cats & Dogs at The Ian Potter Centre: NGV Australia from 1 November 2024 to 20 July 2025. Photos: Eugene Hyland and Tom Ross.
Were I your mother I'd have only one piece of advice: do not enter the world of stand-up comedy. It is a scientifically-proven fact that the audience wants the comic to fail, because most humans are both sadistic and terrified of their own shortcomings. But what if the comic also wanted to fail? Would the cruel audience find it funny if failure, strangely, meant success? Enter Brown Council, performance artists-turned-comedians (or vice-versa) and Big Show, their latest project at Locksmith Gallery. Manifesting as conical-capped Dunces, this quartet beats the notion of entertainment into grim submission, pushing the comedic drive to its limits in an endurance performance of escalating violence. Prepare to laugh, then cry, and finally realise how much of a jerk you are for wanting to torture fellow humans like this.From 3pm on Saturday December 19 Locksmith are holding a Big Show Closing Party / Christmas Shindig in the gallery.
In February 2012, on the eve of the release of Polica's debut album Give You the Ghost, Justin Vernon (Bon Iver's frontman) told Rolling Stone, 'They're the best band I've ever heard'. A month later an appearance at SXSW inspired The Huffington Post prediction: 'This band is going to be huge'. Now Polica, originally from Minneapolis and formed out of soft rock group Gayngs, are bringing their dreamily melodic and percussively exhilarating live show to the Antipodes. While so many indie beats-based acts fall prey to monotony, a refreshingly creative energy drives Polica's sound. Vocalist Channy Leaneagh glides over undulating synths, deft bass lines and compelling polyrhythms, delivered through a combination of R&B-influenced electronica and two drum kits. The product is a constantly shifting and exquisitely melancholic, yet uplifting, soundscape that certainly has Bon Iver addicted. https://youtube.com/watch?v=h6WgWCIkH9U
When Baz Luhrmann decided to bring The Great Gatsby to the screen, he enlisted 2010s Sydney to double for 1920s Long Island and New York. Now, a decade after the Australian director's Oscar-winning movie hit cinemas, Sydney Opera House is following in the filmmaker's footsteps, turning itself into a The Great Gatsby-themed pop-up club while hosting a The Great Gatsby-inspired cabaret variety show. From Saturday, December 16, 2023–Sunday, February 25, 2024, GATSBY at The Green Light will take over the Sydney Opera House's Studio with an array of excuses to pretend that it's a century ago — and that you're on the other side of the globe. The GATSBY part of the big summer event's moniker refers to the entertainment, while The Green Light is the temporarily rebadged venue where what's being dubbed a "theatrical experience" will take place. First, the show: taking its cues from F Scott Fitzgerald's text, which will also date back a century when 2025 hits, GATSBY gives the classic text the aerial, burlesque, dance and circus treatment. As performers show off their skills, live vocals will accompany their efforts, all on a glittering stage. Then, the club: The Green Light will also owe a debt to prohibition-era speakeasies, and will feature cabaret tables for attendees to sit at while watching the performances. Canapé and cocktail packages will be on offer, with themed drinks including the Green Light gimlet, the Blind Tiger martini and the Reggio manhattan. GATSBY at The Green Light hails from director Craig Ilott, who adds the event to his resume alongside Smoke & Mirrors, La Clique Royale at Edinburgh Festival's The Famous Spiegeltent, and also American Idiot, Amadeus and Velvet Rewired at Sydney Opera House. With GATSBY co-producer Stuart Couzens, he was also involved in L'Hôtel, the dinner theatre experience which turned the exact same space into a French hotel with cabaret, circus and burlesque. "Our treatment of GATSBY has been akin to that of a concept album; riffing on the essence of a familiar text through a new form to create an evocative experience," said Ilott, announcing GATSBY at The Green Light. "We've taken elements entrenched in the 1920s — the vaudeville, the fashion, the hospitality — and remixed them with a bold 2020s beat, with the aim of creating an evening that feels both contemporary and captivating." [caption id="attachment_681696" align="alignnone" width="1920"] Hamilton Lund[/caption] [caption id="attachment_857577" align="alignnone" width="1920"] L'Hotel, Claudio Raschella[/caption] [caption id="attachment_857579" align="alignnone" width="1920"] L'Hotel, Claudio Raschella[/caption] GATSBY at The Green Light will take over the Sydney Opera House's Studio from Saturday, December 16, 2023–Sunday, February 25, 2024, with ticket pre sales from 8am on Wednesday, August 30 and general sales from 9am on Friday, September 1. Head to the Sydney Opera House website for more information. Top image: Tom Oldham.
Secret Sounds, who are the minds behind musical festivals like Splendour in the Grass, have just launched Supper Club — a series of one-off dining experiences over the June long weekend. Sydneysiders will be treated to dinner and a show as part of these limited-time pop-ups that see musicians paired with chefs, mixologists and wine purveyors across the city. As part of Sydney's winter arts festival, Sydney Solstice, Supper Club will activate in Circular Quay at Mary's Underground and in a secret Sydney location for three unique nights of music, food and drinks. Kicking off the series is 'Food and Music for the Soul', the creation of legendary Gunditjmara and Bundjalung musician Archie Roach who will collaborate with Bundjalung chef Mark Olive, aka 'The Black Olive' of the TV series The Outback Cafe. Olive will bring his passion for native Australian ingredients in combination with Roach's music for a night of storytelling and Australian indigenous cuisine. 'Dinner at Nonna's' will see eccentric singer-songwriter Donny Benet bring his nostalgic 80s-style pop to Mary's Underground in collaboration with Toby Stansfield, Head Chef of Fabbrica Pasta Shop. Guest can expect to be serenaded by Benet while tucking into homemade pasta and sauces with Italian wines. [caption id="attachment_813835" align="alignnone" width="1920"] Toby Stansfield[/caption] Come Sunday, Ten Hats, the new collaboration between Elizabeth Mitchell (Alberto's Lounge), Ella Stening (Native Drops) and Maddison Costello (Sidehustle DJs), is throwing an indulgent brunch in a secret Sydney spot. Guests will be encouraged to snack from the dance floor with brekkie cocktails on hand alongside music from the multi-talented electronic musician Clypso and an unannounced roster of special guests. Topping off the long weekend party is a reunion of The Dip, the restaurant formerly inside the beloved CBD bar and live music venue Goodgod Small Club. Opened in 2011 by Andre and Bianca Levins, The Dip served up to American-style barbecue and burgers to partygoers through the early 2010s before it made way for Jonkanoo Canteen in 2014 and Goodgod's eventual closure in 2015. The Levins will be joined by Mitch Orr (Pilu, ex-ACME), Clayton Wells (Automata) and Mike Eggert (Totti's/Pinbone) to recreate the hearty meals of The Dip, while the music will be handled by a roster of former Goodgod regulars including Halfway Crooks, Joyride and a reunion of the dance music trio Hoops. Supper Club will run from Thursday, June 10 – Sunday, June 13. Tickets are on sale from midday on Friday, May 28. Top image: James Adams
Sydney sweet spot KOI Dessert Bar is going whimsical this month with a one-day pop-up restaurant inspired by Disney's upcoming blockbuster, The BFG. The restaurant, aptly named Rotsome, will open for one day only on Monday, July 4, just a few days prior to the film's Australia-wide release on June 30. The menu is the brainchild of Masterchef 2015 favourite, Reynold Poernomo, and the immersive dining experience is meant to stimulate your tastebuds and imagination alike. The details of the "deliciously disgusting" three-course degustation is still under lock and key, but will include a "snozzcumber" and some form of steaming green goo drink. Rotsome follows Sydney conventions with a strict no reservations policy; the restaurant will run on a first-come first-served basis from 1-6pm. All you grown-up BFG fans out there will have to hold your horses, though. As part of the deal, all "giants" (aka adults) will need to be accompanied by at least one "childler" (a small child over six years old) to get a table. Now's the time to suggest your siblings/nephews/nieces/cousins really need a day off school — you best get calling now before your brother beats you to it.
Spoiler warning: this interview incudes specifics about The Survivors if you haven't watched the full series before reading. "Being new," Thom Green offers. "If it's fresh. If you haven't tackled it before. That's always a good drawcard, right?". "I really love a strong perspective in storytelling," adds Shannon Berry. "Good team, good filmmaker," pipes back in Green. "If it's someone you've always wanted to work with, whether that be a director or producer, a writer, an actor or an actress, that's always another good keyword or a key factor when picking a job," he furthers. And for Berry, too, " I think well-written". She continues: "I love reading scripts. Scripts are the baseline for everything, and I think when you get a script and it's just really good and you can really imagine everything, that's what's super exciting. It's reading a script and you go 'I cannot wait to see how this turns out' — or 'I cannot wait to be a part of it'." These are some of the pivotal elements that Green and Berry, co-stars in The Survivors, look for in a new project. With the six-part Netflix adaptation of Jane Harper's 2020 novel of the same name, they've ticked those boxes. Green comes to the series with a packed resume that already spans Beneath Hill 60, Dance Academy, Halo, Downriver, Eden, Of an Age, Ladies in Black, Exposure and Apple Cider Vinegar, to name just a few of his previous credits. Berry is an alum of Offspring, Romper Stomper, The Wilds, Foe, Winner, High Country, Fake, Watson and more. The pair have encountered all of these crucial aspects before, then, but bringing an adaptation of such an acclaimed author's work to the screen — a writer whose Aaron Falk books have proven huge hits on the big screen as The Dry and Force of Nature — was always going to stand out. In The Survivors, Green plays Sean Gilroy, one of two of characters who lost their older brothers to a tragedy 15 years prior. When Toby Gilroy and Finn Elliott attempted to rescue the latter's sibling Kieran (Charlie Vickers, The Lord of the Rings: The Rings of Power) from flooding coastal caves during a storm and didn't make it home, the scenic Tasmanian town of Evelyn Bay was forever changed. Kieran left quickly. Sean remained. Their respective parents — Damien Garvey (Nugget Is Dead?: A Christmas Story) and Robyn Malcolm (After the Party) portray Brian and Verity Elliott, Martin Sacks (Darby and Joan) is Julian Gilroy — are understandably still haunted by their grief a decade and a half later. As the anniversary of the incident approaches, Kieran comes home, his partner Mia Chang (Bridgerton season four's Yerin Ha), another ex-local, plus their new baby with him. The pain of a loss like this won't ever subside. The town's close-knit community hasn't been telling itself the full story, though. Everyone knows that someone else went missing on the same day that Toby and Finn drowned, but 14-year-old Gabby Birch's (Eloise Rothfield, How to Make Gravy) disappearance isn't treated in the same way. Berry plays recent arrival Bronte, who is staying with Gabby's sister Olivia (Jessica De Gouw, The Union), has become close with her fraying mother Trish (Catherine McClements, Apple Cider Vinegar) and is so furious that the teen's absence keeps being overlooked that she begins investigating it herself. With Kieran's return at its core, The Survivors charts the past lingering over and colliding with the present in multiple ways, then, including when there's another tragedy and the police start searching for a killer. [caption id="attachment_1008349" align="alignnone" width="1920"] Graham Denholm/Getty Images for Organic PR.[/caption] With George Mason (Black Snow), Miriama Smith (End of the Valley), Johnny Carr (Strange Creatures), Julian Weeks (Prosper) and Don Hany (Neighbours) also among the cast, Australia's newest Harper adaptation is filled with folks grappling with trauma, no matter where their tale starts or ends. Some have lived it for much of their lives. Others are determined to interrogate it. In their roles, Green and Berry are tasked with tackling the reality in different ways. Sean might appear externally laidback, but he's clearly deeply impacted by the events of 15 years ago. Bronte views Evelyn Bay, plus Gabby's disappearance and Finn and Toby's deaths, with outsider eyes — and, while making friends and settling in, even if only briefly, is driven to do what she can to redress a wrong. Being cast in The Survivors was an exciting prospect for both Green and Berry for an array of reasons — those key factors listed above and more. Green was already a fan of the book, while Berry revelled in the experience of reading it knowing that she'd be stepping into its tale. What does being part of a series like this mean to the two Australian talents? What did they initially see that they could bring to Sean and Bronte? When an intimate dynamic among a tightly bound community teeming with secrets and complicated family dynamics is so pivotal, how do you cultivate that with your co-stars? They're some of the other topics that we dug into with Green and Berry, alongside leaving an imprint in a limited time, the sense of responsibility that accompanies translating Harper's novel to the screen, the long-running appeal of murder-mysteries in Australia and more. On Being a Part of a Tasmania-Set Mystery Series About Tragedies Past and Present Colliding — and One That Adapts a Jane Harper Novel Shannon: "Well, this was my first time going to Tassie. I've never been to Tassie before. So it was amazing to come with the show. And I was just so excited to work with so many Aussie legends. And I've worked before with both Cherie Nowlan [The Irrational] and Ben Lucas [Nautilus], the directors, so it was really exciting to come back together with them again. And I think just it's really amazing to tell Australian stories and to film them here, and to show how beautiful our country is. Tasmania is just such a beautiful place, it kind of became a character within itself. And that's what I really loved about it." Thom: "I think for me, I loved the book. I absolutely adore the book. So that was a huge reason why I wanted to do it. Tasmania as well. I love Tasmania. And then it was the cast. It was the cast, and Cherie and I had worked together on Dance Academy so many years ago, and so that was also — there were so many factors on why I wanted to come do this. But I think that it was the book, mainly, because I was such a big fan. I was like 'I've got to be a part of this'." On Green and Berry's Starting Points with The Survivors on the Page — and Their Approaches to Helping Bring the Book to the Screen Thom: "I read it the year it came out — and then when I was cast in this, I didn't actually go back to the book. I knew the story, but I think I was actually drawing more from stuff I'd seen, to give it my own flavour. So that was building the wardrobe, and the hair and makeup, and you're building all that. So I didn't go back to the book. I didn't try to draw anything from that. I decided to take a step back and do my own thing, so hopefully it did it justice." Shannon: "I read the book. I had read The Dry previously, so I was familiar with her work. Love The Dry. But I had not read The Survivors until I found out that I was cast on the show. So that was super exciting. I think it's such a rare experience to read a book for the first time and see your character's name and go 'that's me' — which was just a really cool, really cute experience. And I'm a huge reader. I love to read. So it was just really special to read it and imagine myself in that world and imagine all the potential. And I think it's been absolutely amazing to watch it. It makes me giddy to think about." Thom: "Yeah, it's one of those things as well, like you can do jobs and sometimes the experiences can be less than glamorous — and this was actually so much fun. We all just got along so well as well, so it just makes it, you go into work each day enjoying it, and then you're wrapping for the day and everyone's hanging out with each other. And it reads on the screen." Shannon: "100 percent." Thom: "It always reads on screen." On Building the Show's Close-Knit Character Dynamic with the Rest of the Cast Shannon: "I feel they made it so easy. It got to the point where I knew I wasn't going to be working on it for a whole lot of time, and meeting you all, I then got very jealous that I wasn't going to be able to spend as much time with you guys [to Thom] as the rest of them — because everyone was just so lovely and so welcoming, and it very quickly really did feel like a family vibe. I always feel that when I step into Aussie spaces with Aussie cast and crew. Everyone's just absolutely the best. So I did feel quite jealous when all of my stuff was done and I had to leave you guys to your own devices." Thom: "I think a good indicator is that, what, it's been 14 months since we wrapped, and George Mason was Facetiming me yesterday from Perth, from his next job, to have a yarn. So that's just a good indicator of how well we all got along." [caption id="attachment_1008351" align="alignnone" width="1920"] Graham Denholm/Getty Images for Organic PR.[/caption] On What Green and Berry Were Excited to Bring to Sean and Bronte Thom: "I think that I felt very comfortable talking to Tony [Nowhere Boys, Glitch, Stateless, Clickbait and Fires' Ayres, who is behind The Survivors' streaming adaptation] and to Ben and to Cherie about the complexity of Sean. So that I felt I was able to bring — from my first take, I remember thinking 'I think I know how to do this'. And you kind of do your take and you sort of go 'well, this is what I think'. And Tony came back and said 'that's what we think as well'. So talking to Ben, there's so many layers. Everyone, every single character in this story, has layers. But I think that was what I felt — that's the part I'm quite happy with what I did, was that vulnerability and intelligence." Shannon: "I think with me, I really enjoyed relating to Bronte. We both moved out really young, moved across the country to a different place, and had to make our own friends and find our own way. So that was really exciting, reading the book, to relate to her in that way. And also talking with Cherie a lot about her art project, and she's so passionate about what she does, and I really relate to her in that sense as well. So it was really exciting to talk about her shared passions and how that drives her in this universe. And I just really related to that a lot. So that was super exciting, to remind me of my young days." Thom: "I'm going to say as well, but for Shannon, Shannon wasn't with us the entire time. So when an actor has to come on, and only come in to do a day or two, and then knock it out of the park and get on the plane and leave — that's a testament to Shannon." On the Task of Conveying the Impact of Trauma in Layered Performances Thom: "It takes a lot. You've got to really sit with the script for a while, I think. It sounds really morbid to think, but if you've dealt with it, you can draw from that — if you dealt with it your personal life. Some people don't like to do that. Some people do. I like to — I do sometimes. I feel like it helps. But I think it just takes a lot of time of sitting with the director and really fleshing out each layer, as I was previously mentioning — fleshing out each single layer and just building on top of it. So when you get on the set and you're setting up for the take and you look at the director, you go 'okay, now what do we need to remember? This, on top of this, on top of this, on top of this'. And then as long as you're thinking, it usually shows in your eyes and your body. That's how I approach it." Shannon: "Yeah, taking it with the instinct on the day. You've done all your research." Thom: "Yeah. Yeah. Exactly right. You're letting it go. How about you?" Shannon: "Yeah, I agree. I agree with everything that you said. Because a lot of Bronte exploring Evelyn Bay and this, she has this whole relationship with Trish that we never get to see in the show but is so prevalent and so alive throughout conversations — I think a lot of it was, yeah, sitting with the script and thinking a lot about 'what would those conversations have been like?' What would their relationship have been like?'. And having that in the back of my brain. So then, when I went in on the day thinking about where I had met these people before, even where I'd met Sean, when we meet each other, and thinking about how I met Ash [Mason's character] — I think it was just doing a lot of prep, and I write a lot of diaries for characters that I do sometimes. So I wrote a lot in Bronte's POV about where I met those people and what we had done together, and then coming in with that. And then just going on the day with instinct." Thom: "Then, I think on top of that as well, so if you've seen very strong series that deal with it and seeing what works — like what affects you when you watch it? What part of the show do you like? You know, in shows you might watch. So that's another visual to draw from, going 'okay, well that works on camera for that type of genre' — especially for this, the mystery, the murder-mystery genre in particular. You watch some of your favourites, there's too many titles to name right now, but watching what you enjoyed the most of that and going 'okay, can I use that? Can I take a little bit from that and a little bit from that, and put it all together in my little tool chest?'." On Leaving an Imprint and Making the Most of Your Character's Scenes When They're So Pivotal to the Narrative Shannon: "I think before doing the show, it reminded me a lot of Twin Peaks — it reminded me a lot of Laura Palmer. So I was privately calling myself the Laura Palmer of the show. But I think it was definitely a challenge to make sure that — I think the most important thing, for me rocking up, was making sure that I had a strong sense of self within her. And that I had a strong sense of who she was, what her dreams were and why she was there. And yeah, I think it was just made really easy by the fact meeting everyone and getting to work with you [to Thom] and getting to work with everyone, it was easy for her to feel fleshed out and like I belonged — which I think made it a whole lot easier." [caption id="attachment_1008350" align="alignnone" width="1920"] Graham Denholm/Getty Images for Organic PR.[/caption] On Expressing a Laidback Air, Alongside Pain and Vulnerability, in a Storyline That's Keeping Audiences Guessing Thom: "It's so difficult trying to, that balancing act. I still remember days on set with Cherie — and particularly with Cherie with her episodes, and going 'we need to do this again because of A, B and C', and then having to say 'well, we don't, we can't show our hand too early. We can't show this. We can't show that'. So trying to mask certain things. We're trying to throw a curveball. I kept saying to Cherie my biggest thing was trying to mask one aspect with another, and that was trying to help throw people off for the whole thing. But you're 100-percent right, just trying to convey that, it's really tricky. You really need to go through each episode and see where your character's come from, where they're going, and make sure you're following that line, that throughline, the entire way through. Otherwise, people who watch it will go 'that doesn't make sense. Why was this person doing this after doing this?'. I think in the end, I think we did pretty good. I think we did pretty good with keeping that balance. But it's hard to say, right? You watch something and you're like 'could have done this, could have done this'. It's very, very hard — I think, probably the hardest I've had to do that." On Whether Any Pressure Comes with Starring in an Adaptation of a Well-Loved Novel From an Author Whose Other Books Have Already Sparked Hit Films Thom: "I think so. Definitely. The Dry was so successful. And you've got Eric Bana — then you've got Force of Nature with Anna Torv. And then it's like, then you're like 'alright, now it's Shannon and Tom and The Survivors'." Shannon: "I think at the end of the day, you just want to make sure you're walking away, when you're doing the job and then also when you finally get to see it, that you have that feeling of doing it justice." Thom: "Yeah, you're right." Shannon: "And that you feel like you've done the best that you can." Thom: "Yeah, 100 percent." Shannon: "I think I'm really happy. Are you happy? [to Thom]" Thom: "I'm happy. But we had a good team. Like Tony, and Andy Walker [The Survivors' producer, Deadloch], were ... " Shannon: "Amazing." Thom: "I think at times, I don't know about you but for me, it only really dawns on me, I think, when someone like yourself [to Concrete Playground] raises that or brings that up. On set, it didn't feel like that. On set, it just felt like we were making a cool project with our friends and a cool crew. And then afterwards, you go 'oh yeah, shit, that's right. This is — yeah, we're in good company here'." On Why Murder-Mysteries Seem to Strike Such a Chord in Australia — Whether We're Making Them, Watching Them or Both Thom: "It's like when that time — was it like 2010? — when Nordic noir really blew up with Trapped. And I inhaled Trapped and Fortitude, all on SBS On Demand, and it was like then it exploded. And then The Bridge was also happening at the same time, and the American adaptation. And there was Broadchurch. So it was all happening elsewhere, and I think Aussies just flocked to it. As to say why, are we just perverse? Do we just want to watch it?" Shannon: "I think maybe also, I think Australia as an environment is so vast, and I think it's just such an excellent backdrop, too, to a lot of murder-mystery." Thom: "Yeah." Shannon: "Like you think of really good shows like Mystery Road, and there's all of that desert. We always just have such beautiful landscapes for such devastatingly twisted stories, which I think there's something to be said in that contrast." Thom: "I can't understand like the psyche, why we all love it — but I mean, I inhale them. I absolutely inhale them from everywhere, from each country. So I think now, it's like we've got some cracker series that are murder-mysteries, and I'm sure there's more to come. But as to saying why, like why we and devour them so much, I don't know. But hopefully people ... " Shannon: "Devour this one." Thom: " … devour this one the same." On What Green and Berry Make of Their Respective Paths to The Survivors Thom: "My foundation is coming from — I mean, my first job was a murder-mystery, actually, now that I'm remembering. It was actually a murder-mystery for Channel Ten back in the day. But for stuff like Dance Academy, I started with young-adult television, and then I think mine was quite diverse. I went from that to the Halo series for Microsoft in Canada. And it was like guns and aliens. And then it's Of an Age, this romantic, queer love story set in Melbourne. And now it's this murder mystery, which is so, at times, can be quite confronting. Diverse, I think, is the keyword there." Shannon: "I think I agree. It's been — I love working in Australia, and I'm so lucky to have done so many Australian things in my time. And yeah, I think I'm just really lucky to be able to sit here and say 'yeah, I'm an actor. I did it'. I'm from Perth originally, so it was always that feeling of isolation being in Perth and wanting to do acting. But I've just been really lucky. And I've been really lucky to do a lot of incredible things, meet so many incredible people. And then, yeah, getting to work with Cherie and Ben both on The Wilds, separate seasons, and coming back to work with them again, was just such a treat. I've just been really lucky. I think that's the main word, lucky. I'm so honoured to be able to do a lot of things in Australia and beyond." The Survivors streams via Netflix from Friday, June 6, 2025. Images: courtesy of Netflix © 2025.
The stomping singalongs, Guinness stews and rowdy, fiddle-fuelled shindiggery of Paddington's long-serving Irish pub, Durty Nelly's, have seen their last day. There's a brand new pub in the Intersection, sitting where the songs of the Irish were once sung, and making its presence felt in Paddo's pretty streets. Meet The Village Inn, owned by Leeroy Petersen (owner of The Print Room upstairs, brother of Brody, owner of Surly's, Riley Street Garage, The Stuffed Beaver). It's a sharp new spot that's giving pub renovations hope, and it's already pretty packed. With the reopening of the Hotel Palisade, the revamp of the Bellevue Hotel and the recent Vic on the Park-steered reno of The Lord Gladstone, the debate over great and terrible pub renovations is rife in Sydney at present. The Village Inn is the latest of this trend, and they've quite honestly nailed it. With the help of designers Alexander & Co. (Surly's, The Morrison, Daniel San and The Print Room), the space is a quirky jumble of taxidermy, exposed brickwork, leather banquettes, a hand-wrought communal bar and blonde wood tables. The designers have worked within the bones of the 1840s-built pub, swept away any possible remnants of ol' Durty Nelly's, and forged a brand new, genuinely friendly personality in the space. Pub nosh at The Village Inn is a well-thought-out affair, from the usual Scottish tavern-inspired suspects to Actually Interesting Salads. One of the most effective crowdpleasers, The Glenmore ($23) sees a stout-braised lamb shank with white truffle and chive mash, the tender meat falling right off the bone. Thumbs way up for the spring salad ($16), an artful little dish of roast pumpkin, peptic seeds, toasted walnuts and blue cheese croutons, alongside the Rowe salad ($16), a hearty but colourful concoction of winter baby beets, watercress, cashews and chive balsamic dressing. For something a little lighter, the kitchen has developed the 'Mid-Priced Affair' menu, with The Nordic ($17), a little plate of smoked salmon and a teeny tiny dill, pickle and smoked baby potato salad. The Heritage ($17) is full of flavour, with heirloom tomatoes, basil and burratta (but we honestly could have done with a little more burratta for 17 beans). No pub renovation is complete without a novelty food hybrid to get writers sucked in. But the Inn hasn't gone completely OTT, going with a safe mix: 'burwiches' (burgers crossed with sandwiches, so a pretty straightforward concoction). But these aren't your regular tired pub 'wiches, with a steeper price tag but worth every penny. The Big Bad Wolf ($19) is a pork lovers' delight, with three serves of piggery (smoked ham, pork belly and bacon) on one milk bun with a fried egg and gruyere. For the non-carnivores there's The Forbes ($17), a messy, messy creamy egg and chive salad with pickles on a toasted panini. All come served with a generous helping of hand cut chips, but you'll be hard pressed to finish them. While we'll (sorta) pine for the pints of Kilkenny and the knee-slapping live Irish music of Durty Nelly's, we're pretty happy the quirky little pub on the corner has found itself in safe hands. A solid addition to the Paddo pub scene and a prime example of a great pub reno. We'll be back.
After a two-year hiatus and a cancelled 2024 run, Groovin the Moo is officially returning — though not quite in the format longtime fans might remember. Rather than its traditional multi-stop regional tour, the festival will stage a single-day, single-stage event in Lismore on Saturday, May 9. Organisers have described the move as a "deliberate and considered return", signalling a slower, more sustainable rebuild for one of Australia's most-loved regional music institutions. "Starting with a single stage and single-day show allows the festival to rebuild with care, while staying true to its regional foundations," organisers said in a statement. For nearly two decades, Groovin the Moo has been a rite of passage for regional music fans — bringing major international acts and emerging Australian talent to towns often skipped by big-city touring circuits. Past lineups have featured everyone from Billie Eilish and The Kooks to Gang of Youths, Amy Shark and The Veronicas, alongside breakout local artists who've gone on to headline their own tours. But like many Australian festivals, GTM has faced mounting pressure in recent years. Rising production costs, shifting audience habits and challenging ticket sales led to the cancellation of its 2024 edition just weeks after the lineup announcement. At the time, organisers cited insufficient ticket sales and a need to rethink the festival's long-term model. Now, with support from Great Southern Nights, the NSW Government and Destination NSW, the comeback show aims to test a more financially viable structure — while still honouring its regional DNA. "The festival belongs to regional Australia," said Fuzzy CEO Adelle Robinson. "Returning with a one-off show allows us to focus on doing it with the care and responsibility it deserves while the festival industry continues to navigate rising costs and increased pressure." ARIA CEO Annabelle Herd echoed the sentiment, describing the return as "a genuinely special moment for Australian music" and highlighting the importance of regional centres like Lismore in the broader live music ecosystem. For now, the message is simple: Groovin the Moo is back — just smaller, more intentional and (hopefully) built to last. The full lineup and ticket details will be announced in the coming weeks. This article first appeared in Rolling Stone Australia. Images: Supplied
Trade the crowded trains and constant hum of Tokyo's city streets for otherworldly views of volcanic terrain, subtropical jungles and subterranean lakes on your next trip to Japan. From deep-blue waters dotted with islands to towering snow-covered mountains and mangrove forests, Japan boasts a truly diverse mix of natural landscapes, which are home to not only thousands of years of culture and tradition but also impressive wildlife such as brown bears, orcas and red-crowned cranes. Together with the Japan National Tourism Organization, we've put together a guide to some of the most spectacular natural sights across the country — so you have yet another excuse to visit Japan. [caption id="attachment_965458" align="aligncenter" width="1920"] Jodogahama Beach via Shutterstock[/caption] Pacific Coast, Iwate Prefecture Experience sweeping views of the Pacific Ocean from Iwate's coastline, which features a striking stretch of cliffs, distinctive rock formations, underground lakes and tranquil beaches in Japan's north. Part of Sanriku Fukko National Park, the Iwate Coast can be explored by land or water. Take in the 200-metre-high Unosu Cliffs at Kitayamazaki on a boat tour; venture into the Ryusendo Cave to see subterranean lakes with stalactites and bats overhead; and cool off with a post-hike dip at peaceful Jodogahama Beach. [caption id="attachment_965460" align="aligncenter" width="1920"] Mount Aso, Masafarnorth via iStock[/caption] Kuju Mountains, Oita Prefecture Down south, get your steps in at the Kuju mountain range in Aso-Kuju National Park, home to the highest peaks in Kyushu. Whether you choose to make the ascent on one of the hiking trails or opt for a more leisurely stroll on ground level, you'll be treated to remarkable views across the volcanic landscape, especially when the foliage changes in autumn. There's also natural hot springs nearby at Kurokawa Onsen, for you to relax your tired muscles with a long soak at the end of the day. [caption id="attachment_965463" align="aligncenter" width="1920"] Seto Inland sea, SAND555 via iStock[/caption] Seto Inland Sea, Hiroshima, Okayama, Kagawa and Ehime Prefectures There's no shortage of things to discover around the Seto Inland Sea. The 400-kilometre stretch of water connects Honshu, Shikoku and Kyushu, with 700-plus islands in between. Reconnect with nature on a sustainable sailboat tour, or take in the sights from a cycling track – such as the 46-kilometre Tobishima Kaido (which crosses seven bridges) or the 70-kilometre Shimanami Kaido (which spans six islands). For a cultural fix, see world-class artworks scattered against the breathtaking backdrop of the Seto Island Sea at Naoshima, explore the charming canals of Kurashiki, and take in the view of the floating torii gate at Miyajima Island. [caption id="attachment_965462" align="aligncenter" width="1920"] Kurobe Alpine Route, courtesy of JNTO[/caption] Chubu-Sangaku National Park, Toyama Prefecture Immense in size, Chubu-Sangaku National Park has plenty of activities for every season, from trekking the 3000-metre-tall Japan Alps to snow sports and chasing waterfalls at Sanbondaki. In summer, popular pastimes include hiking, wildlife-spotting, biking, fishing and camping, while winter sees the area blanketed with snow. Not to be missed is the famed Tateyama Kurobe Alpine Route, which transforms into a stunning snow corridor from April to June, with stacks of snow reaching heights of up to 20 metres. [caption id="attachment_965457" align="aligncenter" width="1920"] Iriomote Island via Shutterstock[/caption] Iriomote Island, Okinawa Prefecture If you'd prefer to be in warmer weather year-round, head south to the lush Iriomote Island. You'll find more than pristine beaches here, with subtropical jungles, mangrove forests and cascading waterfalls throughout the island. When you're not kayaking through mangroves or cruising through the jungle, make your way across to Yubu Island on an unconventional (and unforgettable) mode of transport — hop on a cart and a buffalo will pull you across the strait while a local guide sings traditional Okinawan songs. [caption id="attachment_965456" align="aligncenter" width="1920"] Ago Bay via Shutterstock[/caption] Ago Bay, Mie Prefecture Culture and scenery collide at Ago Bay, which is dotted with approximately 60 small islands and famed for its pearl farming and Ama divers. These female free-divers have been collecting pearls and seafood in Mie Prefecture for over 2000 years, and still utilise many of their traditional methods to this day. Visit Ama Hut Satoumian to chat with Ama divers while feasting on fresh seafood at the restaurant. Don't leave without getting a bird's-eye-view of the bay from the Yokoyama Observation Deck, which offers impressive views of the peninsula and across the water from 200 metres above sea level. [caption id="attachment_965461" align="aligncenter" width="1920"] Shiretoko Mountains, Saturo S via iStock[/caption] Shiretoko National Park, Hokkaido Prefecture Get close to some of the locals at Shiretoko National Park, where you'll come across wildlife such as brown bears, owls, sea eagles, seals and orcas. With a range of landscapes — from mountains to forests and rivers — the UNESCO World Natural Heritage site is home to almost 60 land and marine animal species. Come during winter to walk across drift ice, snowshoe through the icy forest and witness the snow-covered landscapes. In spring and summer, visitors can spot brown bears and waterfalls on a boat tour, cycle through the Shiretoko Pass, explore the Shiretoko Five Lakes, or hike along the Kamuiwakka Hot Falls (which are fed by natural onsen waters). [caption id="attachment_965459" align="aligncenter" width="1920"] Kushiro Shitsugen National Park via Shutterstock[/caption] Kushiro Shitsugen National Park, Hokkaido Prefecture For even more wildlife spotting, head nearby to Kushiro Shitsugen National Park to catch a glimpse of deer and numerous bird species, including the iconic and endangered red-crowned crane. Kayak, canoe, or hike through Japan's largest wetlands for views of towering waterfalls, the port city of Kushiro, the Kushiro River and the Pacific coastline. If you'd rather take it slow and steady, head to one of the many observation decks by car or with a leisurely stroll, or you can even hop aboard a steam train that meanders along the river. Discover more and start planning your trip to Japan at the Japan National Tourism Organization website.
After nearly two decades of continuous service — no mean feat in Sydney's fickle dining scene, even without a global pandemic getting in the way — Bronte Road Bistro served its last plate of steak frites in January 2026. In its place comes Bronte Road Fish. While it's from the same crew behind the original bistro, this iteration is a decidedly more casual affair, trading duck à l'orange and French wines for tuna smash burgers, silky soft serve and margarita slushies. The menu, by Chef-Owner Matt Barnett, is as straightforward as it gets: a fish burger, tuna smash burger, prawn katsu burger and mushroom burger sit alongside fish and chips, salads and soft serve (with optional toppings). Barnett also spent time perfecting his potato scallops, striking a balance between shattering crunch and moreish umami. [caption id="attachment_1073233" align="alignnone" width="1920"] Nikki To[/caption] Co-Owner Stewart Parson has assembled a tight drinks edit featuring a handful of wines by the glass and bottle — plus a small selection of cellared reserves — alongside $10 beers and crowd-pleasing cocktails priced at $12, including margarita slushies, gin and tonic on tap and RTD spritzes made in collaboration with Marrickville's Ester Spirits. Just up the hill from Bronte Beach in Charing Cross, the venue occupies a cosy cottage with a relaxed neighbourhood feel. A sunny courtyard shaded by a yellow-and-white striped awning makes it an ideal post-swim stop, whether you're settling in for a burger and slushie or popping by the soft-serve window on your way home. [caption id="attachment_1073234" align="alignnone" width="1920"] Nikki To[/caption]
