Melbourne's got the Queen Victoria Market (and, more recently, Il Mercato Centrale). Adelaide's home to the Adelaide Central Market. And now, Sydney has scored its very own destination that'll finally give the Harbour City the market it's been crying out for, in the form of Hay St Market at Paddy's. The most significant new development in the Market City complex since the opening of the 1909 Dining Precinct, Hay St Market has radically transformed a 3,000-square-metre section of Paddy's Market into a bustling, world-class food destination, the likes of which Sydney has, surprisingly, never seen. The sprawling hawker-style market boasts over 48 traders plating up more than 25 international cuisines, and is open from morning until night, seven days a week. Headlining the food offer are star chefs Luke Nguyen and Mark Olive. Nguyen has his finger in a number of proverbial pies at Hay St Market: he's serving up his dad's closely guarded pho recipe and its 24-hour broth at Pho Chu Lap, creative dumplings (think: Singapore chilli crab and laksa varieties) at Luke Luk Dumplings, and reimagined banh mi at Madam Banh Mi — like the signature bo kho, in which a crispy baguette is filled with tender braised wagyu brisket and the traditional fixings, and is served with a bright, zingy salsa for dunking. Meanwhile, Olive's seafood-focused menu at Little Midden draws on Indigenous Australian flavours and techniques, like in the smoked blue gum barramundi and bell pepper skewers, which are given a lift with saltbush and pepperberry. Elsewhere, you'll find Cypriot barbecue, handcrafted pies, an oyster bar, smash burgers, Italian desserts, Spanish and Polish delis and more. There's fresh food available, too — former Rockpool head butcher Tim Casey is showcasing prime cuts at Love Me Tender, Paris-trained cheesemonger Christina Murphy is curating the selection at The Cheese Table, and veteran greengrocer Frank Canturi is bringing fresh local and seasonal fruit and veg at greengrocer The Signorelli Bros. Beyond the food, you'll also find flowers, homewares, books and more. Hay St Market is also Sydney's first fully licensed market, with two bars on site. Cans & Crates stocks over 180 canned drinks from around the world, including cocktails, beer, wine and zero-alc options, while Traders Bar serves up craft brews, regional wines and classic cocktails. "We've left no stone unturned in creating Hay St Market at Paddy's — an affordable destination that Sydney can be proud of, where visitors can eat, drink and shop," says Joseph Murray, group CEO at Doltone Hospitality Group, which is overseeing operations at the new precinct. "Inspired by some of the world's best markets, we've built something extraordinary that harnesses Sydney's cultural diversity, offers a twist on tradition and taps into our collective love of food and beverage." Hay St Market at Paddy's is now open at Market City, Haymarket. For more info, head to the venue's website. Images: Esteban La Tessa.
John Malkovich took time off from being John Malkovich to be Everyone Else for a change. Shot by Sandro Miller in Los Angeles, a new series of photographs dubbed Malkovich, Malkovich, Malkovich recreate some of the most iconic portraits in recent history — from John and Yoko to Che Guevara, Dorothea Lange's Migrant Woman to Andres Serrano's Piss Christ. According to the exhibition statement, Miller decided to undertake the project in 2013, wanting to honour the photographers whose work had inspired him and shaped his career. After selecting thirty five images to recreate, Miller got in touch with his ol' mate Malkovich — who apparently immediately agreed. "John is the most brilliant, prolific person I know," says Miller. "His genius is unparalleled. I can suggest a mood or an idea and within moments, he literally morphs into the character right in front of my eyes. He is so trusting of my work and our process… I'm truly blessed to have him as my friend and collaborator." All at once creepy and genius with Malkovich rocking an excellent Marilyn and a spot-on Dali, the series is actually less about Malkovich than it is an homage to the photographers responsible for the portraits themselves: Dianne Arbus, Annie Leibovitz, Art Shay, Dorothea Lange, Alberto Korda. That being said, it's supremely satisfying to see Malkovich in dress-up like this — his Jack Nicholson and Albert Einstein are top notch. Sandro Miller, Albert Watson / Alfred Hitchcock with Goose (1973), 2014 Sandro Miller, Philippe Halsman / Salvador Dalí (1954), 2014 Sandro Miller, Alberto Korda / Che Guevara (1960), 2014 Sandro Miller, Andy Warhol / Green Marilyn (1962), 2014 Sandro Miller, Andy Warhol / Self Portrait (Fright Wig) (1986), 2014 Sandro Miller, Annie Leibovitz / John Lennon and Yoko Ono (1980), 2014 Sandro Miller, Arthur Sasse / Albert Einstein Sticking Out His Tongue (1951), 2014 Sandro Miller, David Bailey / Mick Jagger "Fur Hood" (1964), 2014 Sandro Miller, Herb Ritts / Jack Nicholson, London (1988) (A), 2014 Sandro Miller, Andres Serrano / Piss Christ (1987), 2014
There's a crumbling, dinky old pub on Parramatta Road that you've probably driven past a hundred times. It's not on a corner, it's not particularly flash, and it's wedged between Ray's Outdoors and Istanbul on Broadway. But now it's set to be Camperdown residents' new go-to local — the lord mayor of Chippendale's The Lord Gladstone has revamped one of the suburb's legitimately hidden gems: The Hampshire. Playing partner pub to the Lord Gladstone, the Lady Hampshire (get it?) is the latest project from prolific Sydney publican Paddy Coughlan. Co-founder and ex-CEO of the Riversdale Group (The Vic on the Park, The Marly, Kinselas) and now founder of boutique Sydney pub company Bourke Street (The Glad), Paddy specialises in taking an underperforming pub and giving it new life, rather than building a brand newie. This time, it's Camperdown's long lost Hampshire, which has sat quietly closed for two years on Parramatta Road. The masterpiece of the pub has to be a giant mural by Sydney artist Scott Marsh, who's painted every last Aussie 'legend' you can think of, from Kath and Kim to Cathy Freeman, Adam Goodes to Steve Irwin (not sure about Reg Reagan, but that's just me). Out back, the Hampshire boasts a great openair beer garden, with a big screen primed for AFL grand finals and Rabbitohs matches — something pubs like The Vic have become known for. Alongside a custom smoker for smoked meats on the weekends, Paddy plans to lower the shed roof to create a hanging kitchen garden. Food-wise, the Hampshire will follow the lead of its predecessors, with classic pub grub done bloody well. They're going heavier on the tacos than the Gladstone, with eight on the menu, from baja fish to mushroom to 'drunk chicken' (tequila-drunk). Of course there's a range of burgers, featuring the 'Camperdowner' beef burger with double American cheese, streaky bacon, onion rings, fried egg, grilled pineapple, beetroot and the rest. Also on the menu, chicken schnitties and parmas, and a casual deep-fried Gaytime. But how will the Hampshire stand out in a renaissance of pub grub? "My theory on that, and I say this to all our managers, is you can go to most pubs in Sydney who have a pub-style menu, if you just read the menu they all read exactly the same — they've all got a schnitzel, a burger, a steak, a couple of other things right? But it's how it's cooked is the difference." His main piece of pub grub advice? "Beware the heart-shaped schnitzel... No two schnitties should look the same." The Lady Hampshire is open at 91 Parramatta Road, Camperdown. The kitchen is open 12-3pm for lunch, 6-9pm for dinner. For more info, visit their Facebook page. Check out the pub pre-renovation over here. Images: Steven Woodburn.
A local Sydney gin distillery has placed itself right in the mix of the Marrickville brewery crawl with a colourful new bar. Unexpected Guest started as a passion project on the Northern Beaches and quickly picked up steam, building a cult fanbase for its vibrant orange Kombi that would operate as a portable bar at weddings and events. Now, the team has picked up and moved to the Inner West, opening a playful distillery bar just a couple hundred metres from The Bob Hawke Beer and Leisure Centre, Batch Brewing Company and Baba's Place. "We really played that waiting game because we wanted to be in Marrickville. We wanted to be amongst the breweries," says Communications Manager Carl McEvoy. "We want people to jump in, have a drink, learn about our gins and then move to another distillery, or move to a brewery, or go out for dinner. We love that culture." The new bar is decorated with Unexpected Guest's signature shade of orange and the four fun characters that appear on the front of the distillery's four varieties of gin. You'll also find the beloved Kombi parked down the back when it's not away at events. If you're lucky, you might even head in on a day when DJs have set up on its tow tray to provide the day's soundtrack. Alongside the splashes of colour around the bar, the bathroom has also been given a flashy makeover. "It was quite a feat, but we have made everything about those bathrooms hot pink," explains McEvoy. "This place was a mechanic workshop, and then it got turned into a gym, and now it's a distillery, but it was just like the most economical bathrooms, just for gym members. So turning them into fun bathrooms for a distillery was so much work." Catering to groups big and small, the distillery boasts a classic selection of drinks to showcase the crew's wares. There's a $20 tasting flight, a series of gin and tonics, and a standout cocktail to pair with each of the four gins on offer. The Young Tom's Bathtub Gin is paired with yuzushu and soda for a sleek take on a tom collins, for instance, while the Disco Flamingo's Pink Gin is transformed with Gelato Messina lemon sorbet and sparkling wine in the I Scream and Squawk cocktail. Gin-averse visitors who have wandered in with their spirit-loving friends can opt for Green Vineyards wine, Willie the Boatman beers or Strangelove non-alcoholic ginger beer. "We've had a really nice introduction to the breweries around us. And, when we chatted with them, we thought it was a little bit moot to sell their beer," continues McEvoy. "So, we talked to Willie the Boatman, who's sort of just out of our area, and they were really keen because it meant the people that were coming to us weren't necessarily going to go all the way over to them." Venture further down the menu, and you'll discover a refined list of bar snacks featuring gin nuts, olives, taramasalata and truffle salami. There's also a basque cheesecake sourced from A.P Bakery and paired with a raspberry gin coulis — perfect for a group nightcap where everyone leans in for a spoonful of dessert. Adding to the community energy of Unexpected Guest, the menu concludes with a suppliers list so you can source your own yuzushu or gelato, and a selection of beloved breweries, distilleries and restaurants nearby for anyone looking to kick on. Unexpected Guest is located at 12 Cadogan Street, Marrickville. The distillery bar is open 3–8pm Thursday–Friday, 12–8pm Saturday and 12–6pm Sunday. Images: Daniel Kukec.
In Sydney, you can roast any way you like — be it a massive Yorkshire pudding packed with meat, potatoes, stacks of veggies and buckets of gravy, or Dewsbury pork belly with sides of leek fondue, apple purée and mustard jus. But sometimes, there's nothing better on a Sunday afternoon than keeping it simple at a neighbourhood pub. If that sounds like you, factor the Red Lion Hotel in Rozelle into your weekend plans. Every Sunday, you can kick back with a traditional roast for just $27. Chilly day? Grab a seat by the fire, where you'll warm up in no time. After all, there's nothing quite like feasting in front of roaring flames when the wind's howling outside. Alternatively, rug up and head out to the balcony, where you'll catch lovely sunset views. People have been doing it since 1828, when the Red Lion opened. It's since had a $1.5-million reno, which has given the pub a good tidy-up — while still keeping its charming feel. Middle and bottom images: Kitty Gould
It has been more than two decades since Harry Potter and the Philosopher's Stone first brought its magic into our lives, and muggles still share one particular dream: to attend Hogwarts. Yes, it's a fictional setting. Yes, we all know that. But that still hasn't stopped all manner of places trying to make the school an enchanting reality, from HP-inspired wizarding schools to huge brunches held in Great Hall-like spaces to activewear decked out in house colours. London's Warner Brothers Studio Tour is going one step further as part of its The Making of Harry Potter exhibit: it's letting visitors try on authentic Hogwarts robes. Short of casting a spell to go back in time and star in one of the eight Harry Potter films — or somehow finding your way onto the Fantastic Beasts' set — that's as close as you're going to get to some actual Hogwarts action. The specific tour wizard obsessives will want to take is the Behind the Seams experience, which dives into the costumes created for the movie franchise — all 25,000 of them. Sketches, finished outfits and stories about their creation are all part of this wander through a workshop-like environment, with threads worn by Cedric Diggory, Professor Sprout and even Voldemort on display. That's all great and bewitching, but the main attraction is the chance to pick your house colours and pop on a robe that featured in one of the movies. We'd tell you to BYO wand, but you've probably already thought about that. Anyone finding themselves in London over the next few months can take the Behind the Seams tour between May 23 and July 22, with sessions running daily until June 2 and then every weekend afterwards. Tickets cost £65, which includes the one-hour costume frenzy — but no, you can't wear your Hogwarts garb for the whole hour, sorry — as well as the standard studio tour, complete with a walk through the Forbidden Forest and a wait on Platform 9¾. For more information, visit the Behind the Seams website.
It's the little things that make the difference. And no one knows it better than The Little Guy, the most recent watering hole to join the Glebe Point road strip. Boysenberry cider, (free!) popcorn, a homely upstairs lounge-room and a 16-strong beer list are just some of the things that make this place stand out from the ever-expanding universe of small bars. The insanely friendly owners Anna and Dynn – formerly of The Clock in Surry and World Bar in the Cross - have somehow managed to retain their love for bar-goers, welcoming every patron through the door as if they were a best bud. They even admitted that the inspiration for the venue's name came from a drunken night out in Melbourne (a 'research trip'), which makes this joint all the more likeable. The beer selection is pretty astounding, featuring mostly local, lesser-known brews like Port Mac's 'Wicked Elf' and 'The Hangman' pale ale from Sydney. The wine list too stays largely within Oz, but features the odd Albarino from Spain and Nero D'Avola from Italy. The Old Mout Boysenberry Cider ($9) is tart and refreshing, and is worth a try if you can get past the fact it looks like pink lemonade. Byron Bay's Stone & Wood Pacific Ale ($8) is very light and approachable but if you're after something a little more robust, hand your car keys over to the bartender and go for the 2-in-1 Sierra Nevada (8.5%). Their short and sweet cocktail list is also worth a gander. The Passion of Ryest ($14) makes for a perfectly balanced rye whisky sour with fresh passionfruit, rounded off with Wild Turkey American Honey. The eats list is brief, but sophisticated and well-crafted. Cheeses, dips, cured meats and seafood (courtesy of Australia On APlate) come separately ($8) or together on a tasting board ($20). The Black Peppercorn Pâté, coupled with Jamon Serrano and pungent Woodside Edith Ashed Goats Cheese (warning: it's a pash-killer) is top-notch. The Little Guy has only a small team of staff, so to get the most out of your visit head down early evening and nab yourself a spot up at the bar. Otherwise you'll be competing with a heaving Friday night crowd. It'll be exciting to see this Little Guy grow over the coming year. Dedicated to supporting local sellers, it's run by the little guys, for the little guys, and it's setting the standard for the rest of the small bars in the inner west. Put this one on your to-do list for 2012.
Following in Taika Waititi and Jemaine Clement's footsteps isn't easy, but someone had to do it when What We Do in the Shadows made the leap from the big screen to the small. New format, new location, new vampires, same setup: that's the formula behind this film-to-TV series, which is now streaming its fifth season via Binge in Australia and Neon in New Zealand. Thankfully for audiences, Matt Berry (Toast of London and Toast of Tinseltown), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga) and Kayvan Novak (Cruella) were enlisted as the show's three key bloodsuckers in this US spinoff from the New Zealand mockumentary, all in roles that they each seem born for. The trio play three-century-old British aristocrat Laszlo, his 500-year-old creator and partner Nadja, and early Ottoman Empire warrior Nandor, respectively, who all share an abode and the afterlife in Staten Island. In cinemas, the film version of What We Do in the Shadows already proved that the concept works to sidesplitting effect. Vampire housemates, they're just like us — except when they're busting out their fangs, flying, avoiding daylight, sleeping in coffins, feuding with other supernatural creatures and leaving a body count, that is. On TV, What We Do in the Shadows has been showing that there's not only ample life left in palling around with the undead, but that there's no limit to the gloriously ridiculous hijinks that these no-longer-living creatures can get up to. Based on every season so far, including season five, here's hoping that this vampire comedy continues forever. It was true as a movie and it's still true as a television show: What We Do in the Shadows sparkles not just due to its premise, but when its characters and cast are both as right as a luminous full moon on a cloudless night. This lineup of actors couldn't be more perfect or comedically gifted, as season five constantly demonstrates. Berry's over-enunciation alone is the best in the business, as is his ability to play confident and cocky. His line readings are exquisite, and also piercingly funny. While that was all a given thanks to his Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace history, What We Do in the Shadows is a group effort. Demetriou and Novak keep finding new ways to twist Nadja and Nandor's eccentricities in fresh directions; their characters have felt lived-in since season one, but they're still capable of growth and change. Some ensemble comedies only shine when their talents combine. Some let one or two stars do all of the heavy lifting. As stellar as Berry, Demetriou and Novak each are, What We Do in the Shadows is the sharehouse ideal of a TV comedy: everyone contributes no matter if they're together or alone. That includes Harvey Guillén (Werewolves Within) as Nandor's long-suffering and ever-dutiful familiar Guillermo, and Mark Proksch (The Office) as energy vampire housemate Colin Robinson. At the series' outset, Guillermo could've just been a tagalong offsider and Colin that exhausting friend everyone has, but with vampire-centric spins. Guillén and Proksch are now not only scene-stealers — especially the former's looks to-camera and the latter's deadpanning — but the source of some of the show's savviest jokes and the subjects of a few of its best episodes. With its game cast making everything they touch a comic gem, TV's iteration of What We Do in the Shadows has never been afraid to take risks as its episodes have soared by. In season four, that meant watching Colin grow up again from a baby — and it was hilarious. Over its run, the show has also seen Guillermo discover that he descends from the undead-hunting Van Helsings, a precarious history given his usual companions. He still desperately wants to be a bloodsucker himself, however. Indeed, that continuing conflict is season five's starting point, with a bitten Guillermo not quite sinking his teeth into anyone yet, worrying about why and also struggling with keeping his possible transformation a secret from Nandor. If Nandor finds out that Guillermo has been turned by his convenience-store cashier pal Derek (Chris Sandiford, Moonfall), wounded pride and a fractured friendship won't just be the end result. As the familiar discovers, being given the chomp by anyone other than the vamp he serves is a faux pas punishable by death — his own, and his master's out of deep shame — in otherworldly circles. This plot strand is season five's new direction for Laszlo, too, as he commits to helping understand why Guillermo isn't feasting on necks like a typical bloodsucker. As he experiments and assists, Nadja endeavours to battle a hex. She also learns that a Little Antipaxos neighbourhood exists right there in Staten Island, gaining a tonic for her frequent homesickness. Season five's storylines get Colin draining souls on the local campaign trail, running for the borough's comptroller purely to feed during debates and other political events. Plus, The Guide (Kristen Schaal, The Bob's Burgers Movie) makes her presence known — more than that, she'd like to be seen as one of the gang — after her time as an envoy to the Vampiric Council, then aiding Nadja with running her vampire nightclub. Visits to the mall and to space, staging a pride parade with perennially clueless neighbour Sean (Anthony Atamanuik, Little Demon), trying to get Nadja's ghost laid: that all happens in early episodes across this latest season. So does What We Do in the Shadows' best staple, aka this supernatural crew bickering, bantering and roasting each other. Case in point: season five finds occasion for Laszlo and Nandor to squabble over whether wit and charm or hypnotism is the best way to bend humans to a bloodsucker's will. What We Do in the Shadows' characters are so well fleshed-out now, and so delightfully performed, that having two of them argue and attempt to one-up each other remains gleaming comedy. The show's writers aren't slumbering. Sharpness and silliness still combine in gags everywhere — about Laszlo learning that he's Kim Cattrall in a Sex in the City quiz, just for starters, and in having Nadja's spirit ask speed-daring partners "how do you feel about taking the virginity of a dead ghost?" as well. Spending eternity with someone, or a quintet of seasons to-date, means loving hanging out with them, though, and this show is understandably mesmerised. Check out the trailer for What We Do in the Shadows season five below: What We Do in the Shadows' fifth season streams via Binge in Australia and Neon in New Zealand.
Nestled in one of Sydney's most historic spots is the latest venture by St Peters' Aslan Coffee Roasters. Bringing a slice of the inner west to the CBD, this cafe provides The Rocks with its best coffee — amd we're mighty glad to see good brews finally make their way to this part of the city. On the bar, you'll find everything from a house blend to on-tap nitro coffee and single origin drops, all sourced from Indonesia. Once you've hit your caffeine quota, grab a bite to eat from the Indonesian-inspired menu. Try the pork satay grilled over charcoal with roti paratha, slaw, spiced gherkin and sriracha mayo.
Australian barbecue is a big deal, and Sydney's restaurant scene wouldn't be the same without it. Though Aussies may be known for their BBQ, we by no means limit ourselves to the standard backyard barbecue nosh. Sydneysiders are lucky enough to have barbecue joints from around the world at their disposal, from slow-cooked Texan barbecue to self-cooked to Japanese yakitori to Brazilian churrasco — you name it, we've got it. We've put together a list of the best barbecue spots, spanning across all the different cuisines, continents and condiment reccommendations. So get your appetites ready — you're gonna need 'em. Top image: Papi Chulo.
Jessi Singh, the mind behind some of the country's best Indian restaurants, now has a home on York Street. Pinky-Ji is Singh's second Sydney outpost, launched with the help of former Chin Chin chef Johann Jay, who built a cult following throughout Australia with his unorthodox eateries in Melbourne, Byron Bay, Adelaide and Surry Hills. "Pinky-Ji is the younger, sassier, and more independent version of our much-loved Daughter In Law," says Singh. "The menu in our venue will bring all of the fun and unauthentic food that Daughter in Law is synonymous with — with a slightly more elevated twist." At Pinky-Ji, you can expect flamboyant decor, including images of Bollywood stars, neon lighting and red velvet furniture to create an extraordinary atmosphere of luxury. When exploring the menu, keep an eye out for the seven key sections — snacks, raw, street, grill, wok, tandoor and curry — plus bread, sides and drinks. Kick things off with a snack like a curry crab croqueta ($8). From there, dip your toes into the Mumbai Corn, accompanied by chilli lime yoghurt, paneer and curry popcorn ($16). If you're looking for a menu item that packs an extra punch, opt for the half-lobster covered in Sri Lankan coconut curry leaf sambal ($48). You'll find that many of the menu items can be shared around the table. From the wok section, you can order crab fried rice with chilli oil ($30), while the curry selection spans from unauthentic butter chicken ($32) and fragrant yellow vegan dahl ($22) to coconut prawns ($32) and lamb rogan josh ($32), all of which can be paired with aged basmati rice ($6), garlic or sesame naan ($5-$12), and roti ($5). There is no shortage of crowd-pleasers. Still feeling indecisive? Opt for the Chef's Selection. For $65 per person, this includes Balls of Happiness for entree, kingfish ceviche, cauliflower, shakarkandi chaat, tandoor chicken, alongside a variety of curries with rice and naan, plus a pistachio dessert. Finally, when the time comes to pair a drink with your curry, you can opt for a classic cocktail or peruse the help-yourself craft beer fridges for a hoppy treat. To top off all of the eccentric fun of Pinky-Ji, the private dining room features a karaoke machine loaded up with songs from the 70s, 80s and 90s. You'll find Pinky Ji in our list of the best degustations in Sydney. Check out the full list here.
We're all devoted to our own local cafe, but there's no denying that the inner west has had particularly rich pickings of them lately. After a spate of new openings in 2012, the area offers everything from big-breakfast old faithfuls to fine-dining-trained chefs and experimental commune-type sanctuaries. But if there's one quality that ties these disparate breakfast-to-lunch hangouts together, it must be their sense of community. They all pride themselves on their local and hyperlocal produce, in-house preparation techniques, and nose for what their most important customers — locals — want. So if you're an inner westie, here's our guide to the ten best cafes you'll want to visit and revisit. And if you're not from the area, well, it's time for an expedition. 1. Cornersmith Cornersmith is a legend worthy of its reputation. Originally a thread shop, the space is beautifully pared back, with a stark, tiled wall, a mustard ceiling and nary a vintage poster or knickknack in site. It feels a little French and a little like you’re sitting in a large kitchen of an old Australian home. A blackboard displays the simple menu, including a list of what fresh produce they have in that week. The menu revolves around these ingredients, which the co-owners, James and Alex, gather locally as much as possible — Marrickville residents who grow vegetables trade their excess for a jar of home-made jam or relish. Everything is made from scratch (they even have their own beehive), the service is super-friendly, the coffee is great. 314 Illawarra Road, Marrickville; www.facebook.com/pages/Cornersmith/294576130569750 2. The Grounds of Alexandria The team behind the Grounds have taken an industrial warehouse and transformed it into a homely, wholesome sanctuary. In fact, it's almost a town. There's the garden, which grows produce for the kitchen and doubles as an outside eating area for take-away meals. Listen carefully, you'll find the chickens around here too. There's also a kids' playground, gardening classes, on-site bakery, and a coffee roasting facility incorporating testig and a boutique school. On a Saturday morning, the place is brimming with families, children joyously patting ducks, bunnies, and guinea pigs that don't look too perturbed by the attention. It's tempting to see this as some kind of cult — though one that truly justifies the following.The only downside of this experimental paradise that we can see is the time you're likely to wait to get fed. Turn up early, plan a weekday visit, or pack your patience and wait for a table with a coffee in the garden. Building 7A, 2 Huntley Street, Alexandria; www.groundsroasters.com 3. Double Roasters Double Roasters has breathed life into a 1950s warehouse. Inside the cafe is a wave of activity: the espresso machine is purring away, with the barista furiously pumping out hot coffee; the coffee blender is sucking and spitting out aromatic beans; and staff are scurrying back and forth with plates of food. One of the selling points of Double Roasters is its passion for coffee. Single origin beans are roasted on site in 12kg batches, ensuring superior quality and consistency. The food menu is straightforward, but you'll definitely get bang for your buck. 199 Victoria Rd, Marrickville; www.doubleroasters.com 4. Excelsior Jones It's hard not to fall in love with Excelsior Jones. The friendly cafe sits in what used to be an old corner store in Ashfield and is a welcome addition to a quiet neighbourhood that was, before Excelsior, devoid of a local haunt. Co-owners Anthony Svilicich and James Naylor are both ex Le Monde, and also on board to bring a touch of brilliance to the modest menu is Adrian Borg, who previously held stints at Assiette and District Dining. House-cured salmon hash with pearl shallots, fried buckwheat, poached egg, and fresh herbs ($16) is nourishing and tasty to say the least, while the bacon and egg sandwich with capsicum relish and aioli ($10) will please any fan of this staple. The team is incredibly enthusiastic about providing a place where locals and people from all walks of life are welcome and feel comfortable, and the atmosphere definitely reflects this. 139 Queen Street, Ashfield; www.excelsiorjones.com 5. The Counter There's been a gradual takeover in the inner west cafe scene of smaller, well-designed cafes that focus primarily on coffee. Which, of course, a good cafe should. But the Counter in Petersham has also managed to include all the right eggs in its basket. Breakfast options are simple but with added tasty flares such as sourdough bread or homemade mayonnaise. The Smith's Sister ($14) is a classic of slow poached eggs and bacon on sourdough, while the Mr Smith Sambo ($9.50) mixes a soft egg, bacon, tomato relish, and mayonnaise between toasted sourdough. While there is limited space and you might find yourself having a bit of a wait for a table, the delightful staff, and fast service means you won't be frustrated by this smaller cafe. 96 Audley St, Petersham; 02 9560 2949 6. The Rag Land It's no secret that Redfern is definitely on the up. A little more gentrified, a little more hip. And while the Redfern/Waterloo border isn't exactly Sydney's most happening hotspot just yet, the Rag Land — a play on its Raglan Street location and light, bright bric-a-brac interior — is certainly a place worth visiting. Great food, sweet digs, and some winning coffee from one of the nicest teams we've met for a long time ranks high in our books. It's also more than reasonably priced, welcoming, unpretentious, community-minded, and has FBi radio peeps winging it down the road. 129 Raglan Street, Redfern 7. Black Star Pastry Just off King Street in Newtown, this hole-in-the-wall patisserie is unlike anything you've ever seen. With rebels in the kitchen and hipsters on the floor, Black Star is one of a kind. What sets them apart from the rest? The creativity tablespooned into every single mixing bowl. And the end result? An eclectic combo of offerings, sure to wow all of one's senses. For beginners, we recommend the strawberry watermelon cake with rose cream (four potions for $24). Then, try the lemon meringue tart with basil jelly, a genius concoction that will have you ordering a dozen at a time. For the kids, there's Ginger Ninjas ($4), which have replaced the somewhat jaded gingerbread man at this happening hotspot. 277 Australia St, Newtown; www.blackstarpastry.com.au 8. Trainspotting Choose life. Choose a job. Choose breakfast. Given it shares its name with the famous nineties drug film, it’s apt that Trainspotting is drawing addicts — albeit of a different kind. The brainchild of Cameron Macpherson, previously of Restaurant Pepper in Balmain and Pier in Rose Bay, this unassuming café is giving Lewisham locals a long-awaited caffeine kick, and coffee connoisseurs something new to buzz about. The breakfast menu features the usual suspects as well as a number of in-house specialties. The Trainspotting Envy ($13) — poached eggs on a bed of spinach leaves topped with a feta and basil sauce — goes down a treat. Shop 1, 3 Victoria Street, Lewisham 9. Paper Cup Paper Cup is a Middle Eastern treat in the inner west. As well as coffees (Coffee Alchemy beans, roasted in nearby Marrickville) the tiny galley service area puts out a focused breakfast menu and sandwiches, with Middle Eastern flavours providing a hit of spices and texture to the signature dishes. Arabian-style bircher muesli with poached fruit, yoghurt, pistachios and honey ($10), and the Dr Shakshuka eggs poached in cumin and chilli-infused tomato sauce with local ricotta and fetta ($13) are both excellent. There is a sweet local vibe here. The staff chat to the customers, and one of the parents from the school across the road supplies the gluten free chocolate brownies; another the chai tea. Everything else (besides the bread) is prepared right in front of you, with the assistance of an induction cooktop and slow cooker. 157/161 Cambridge St, Stanmore; papercupcoffee.com.au 10. Fleetwood Macchiato There's plenty to like about Fleetwood Macchiato aside from its punchline sagacity. The cosy cafe in the quiet neighbourhood of Erskineville is inviting from the moment you step in. Owners Tara, David, and Jai have previously already worked together so are no strangers to the industry and it's obvious. The simple fit out of wood panelling and white walls is home to a combination of good food, relaxed atmosphere and friendly service. Bread is provided from Organic Bread Bar in Paddington and it's worth noting that whatever they're putting between the slices is homemade and incredibly mouth-watering. A bacon and egg roll comes smashed with avocado, mustard mayo, spicy sriracha sauce, pickles, and mushrooms ($12.50) and a wholemeal baguette is overflowing with fig, taleggio, fennel, and a well-dressed watercress and mesclun salad mix ($11). 43 Erskineville Road, Erskineville; www.fleetwoodmacchiato.com By the Concrete Playground team.
It's the fun side of Wednesday, you've settled in at your favourite bar, and a couple more whisky sours wouldn't hurt. But when the lights come on at midnight you've got limited options this side of Elizabeth Street. Until Saturday, when a new neighbourhood bar and boutique music venue opens for business. The Soda Factory, located in the old home of Tone nightclub, is the latest venture from Graham Cordery of Experience Entertainment and his partner Michael Chase. They've stripped the place back to its industrial bones and, armed with a late-night trading licence, are aiming to bring something different to the 2010 postcode. "I'll go to a bar and what I really enjoy about it is the quirky features of the decor, or the really great service where they'll make me a cocktail customised to my taste," says Graham, "but what I don't enjoy is having to walk out the door at midnight." His solution has been to combine high-end cocktails, restaurant-quality food, and great entertainment under the exposed beams of one lofty roof. As for quirky features, you get that before you're even technically inside. To get in you first walk through Bobby's Boss Dogs, a fully legit fast food joint with neon sign, checkerboard floors, and a shiny chrome bar top. Pull up a stool and eat in, or pull on the handle of the coke machine to reveal the grungier Soda Factory. All the furnishings precede the year 1960, from comfy booths and mid-century furniture to tin chairs and wooden crates that can be moved out the back when things necessitate a dance floor. To have a fully functioning business with a secret door is, as Graham says, "absolutely a first" in the area. So what will you be drinking once you're in? The boys have brought Mitchell Warters over from London, where he spent the last two years mixing drinks at Richard Branson's members-only Roof Gardens to curate a cocktail menu in keeping with the old-school factory theme. Groups can go for share siphons like The Seabreeze Spritz ($35), a mix of cranberry, ruby red grapefruit, and fresh lemon with Ketel One Vodka served sparkling from a real '50s seltzer bottle. There are also ice cream-topped floats ($14) and a 12-strong list of specialty cocktails, including Graham's personal favourite, the Chocolate Passion Martini ($17) with Mozart dark chocolate liqueur, passionfruit, Tuaca liqueur, and Kettle One. Michael is also a trained chef and the guys are planning to make use of the full restaurant kitchen by rolling out a 1950s-inspired Italian share plate menu in April. It's "the kind of place where you can get a feed and a cocktail, as opposed to a purely music venue where you’ve got your standard fare of a VB lager or a vodka soda". Until then, nine gourmet dogs are on offer for $10 each, including the Frank Sinatra (a classic New York street dog with frankfurter, American mustard, pickles, and onion rings) and the Johnny Drama (beef sausage, bacon, sour cream, avocado, and tomato salsa). The entertainment has a slightly more contemporary flavour. Graham has spent over two years curating line-ups at Ivy and has a wealth of electronic music knowledge. He's already locked in Brooklyn's DJ Spinna, influential Manchester producer Greg Wilson, and hip-hop DJ pioneer Grandmaster Flash, but don't expect to only see stuff that requires turntables or softsynths. Michael used to scout talent for MGM Distribution and has already roped in a couple of exciting live acts including Australia's own Electric Empire, and during the week it might be local DJs or up-and-coming indies. "Anything that we feel to be cool [is going to get some airtime], whether it's Grandmaster Flash or a nu-disco DJ or a live band or an indie set," says Graham. "It could be jazz, could be blues, could be soul." But The Soda Factory is "first and foremost a bar", meaning there's only a cover charge when something really exceptional is on. Grandmaster Flash is only $20 and Greg Wilson just $15 on the door. Settle in early and you don't have to pay a thing. And on school nights there's plenty of low-key and free stuff to keep the locals satisfied. "Every Monday is movie Mondays. We're starting off with Ferris Bueller's Day Off on the twenty-fifth, so that should be pretty cool. Tuesday is Dollar Dogs, so just one dollar for a hot dog every Tuesday. Wednesday we're going to do a night with local talent; anything and everything that's on the more relaxed side of things. It could be an acoustic session or soul, but it will be definitely live. After that things get a little more upbeat." Says Graeme, "Anyone's welcome to drop by at any time, but we also have great gigs." Sounds good, guys. We'll see you Saturday. Mon - Wed 5pm - late, Thurs 5pm - 2am, Friday 5pm - 5am, Saturday 5pm - 5am; 16 Wentworth Ave, Surry Hills 2010. Update: The Soda Factory has finished its fit-out. Check out the pictures below.
Already home to everything from raindrop cakes to Nutella gyoza and salted caramel gyoza — and known to experiment with lemon meringue dumplings and marshmallow dumplings as well — Harajuku Gyoza clearly likes getting creative with its sweet treats. The chain is also fond of trying out new things with its savouring dumpling range, too, as its mac 'n' cheese and pepperoni pizza versions showed; however, it obviously has a soft spot for the kind of desserts that you won't find on any old menu. From Thursday, September 1, that includes Japanese air cheesecakes, the latest addition to the Australian gyoza brand's dessert lineup. You might've seen them online. Afterwards, you might've tried to whip them up yourself as well. The viral recipe hails from the back of a cream cheese packet in Japan, and has won fans thanks to its simplicity — but getting someone else to make it is even easier, naturally. Harajuku Gyoza now has its own two takes on the dessert available, both for $6. One comes dusted with kinako powder and paired with a pot of brown sugar syrup for you to pour over the top. Or, you can opt for the matcha variety of the fluffy air cheesecake, which features a white chocolate and matcha sauce. Whichever you choose, you'll find them at the chain's four stores — two in Brisbane, one on the Gold Coast and one in Sydney. And if you fancy tucking into the new gyoza after devouring two old favourites — cheeseburger gyoza, which is stuffed with burger pieces, aged cheddar, onion, pickles, mustard and tomato sauce; and mozzarella gyoza, which is filled with the obvious, then deep-fried and sprinkled with Twisties salt — that's up to you. Harajuku Gyoza's Japanese air cheesecakes are available at all Australian stores — at Darling Harbour in Sydney; at South Bank and the CBD in Brisbane; and in Broadbeach on the Gold Coast — from Thursday, September 1.
Boasting space for 300, RAFI is an expansive North Shore venue delivering a sleek after-work and weekend go-to with multiple weather-proof indoor and al fresco areas. The impressive bar and eatery comes from Applejack Hospitality, the hospitality group behind beloved venues like The Butler and Forrester's. Some of RAFI's many different spaces include a semi-al fresco glasshouse coined The Arbor which connects to the large indoor dining room with a geometric island bar, stocked and ready to make a variety of bright cocktails, as well as coffee. There's also a chef's kitchen which will host a variety of intimate dining experiences led by Head Chef Matias Cilloniz, plus a greenery-filled outdoor terrace set in the centre of the North Sydney highrises. Highlights of the fitout include floor-to-ceiling windows and marble mosaics set within the floors. The bar stools are adorned with fabric designed by Walmajarri Aboriginal artist Jimmy Pike, who has taken inspiration from the flora and fauna of outback Australia. "We set out to create a space that was youthful and playful. Drawing inspiration from exuberant colours and patterns, our design reflects Applejack's energy and warmth," lead designer and longtime Applejack collaborator Luchetti Krelle said. Outside, cosy pastel tones are replaced with bright summery elements. The Arbor's terrace features a European-inspired vision of striped fabric banquettes, coloured umbrellas, private outdoor gazebos and plenty of foliage. The food offering showcases local seafood and fresh veggies cooked over the kitchen's charcoal grill. Scallops paired with pickled turnip, ponzu and wasabi ($24), grilled lobster (market price), crispy lamb ribs ($42) and honey- and chilli-infused eggplant ($21) are just a few of the inventive dishes on the menu. "Our food is meant to surprise and nourish with simple dishes creatively combined to be as tasty, nutritious, and sustainable as possible," said Cilloniz, who has arrived in Sydney from Peru to head up RAFI's kitchen. "Our team is focused on delivering an amazing experience starting at sourcing our produce with care to pouring a glass of wine, honouring the produce, the producers, and our team, while our guests enjoy themselves." Whether you're looking for a North Shore catch-up on the terrace, a chef's table banquet or a private function area, there's a spot for you at RAFI. Images: Steven Woodburn
In The Accountant 2, Christian Wolff is back, as is Ben Affleck (Air) in the role. Jon Bernthal (Daredevil: Born Again) returns as the numbers-whiz character's killer-for-hire brother Braxton, too. The first film's Cynthia Addai-Robinson (The Lord of the Rings: The Rings of Power) and JK Simmons (Juror No 2) also reprise their parts. Behind the camera, director Gavin O'Connor not only helms the follow-up to his own 2016 release, but makes his third movie in a row — including The Way Back, which isn't part of the franchise — with Affleck starring. Screenwriter Bill Dubuque (Ozark) is among the familiar folks backing up for another The Accountant flick as well. With so many tried-and-tested talents onboard, this thriller sequel's return to the world of its titular figure — a forensic accountant with autism who started the initial picture fixing the books for criminal organisations — could've just taken rinse-and-repeat approach. That wouldn't have meant making a movie that's as much an odd-couple buddy comedy, however, by playing up the chalk-and-cheese relationship between Affleck and Bernthal's characters. Balancing intense action scenes with line dancing likely wouldn't have been in the mix, either. Also, Addai-Robinson's Marybeth Medina, who is now a Deputy Director in the Treasury Department, may not have been so central — indeed, Affleck calls her "the lead in the movie". No one involved in The Accountant 2 was interested in making a comeback just to do what they've already done. That's particularly true for Affleck, who so rarely steps into a character's shoes twice — except as Batman and Bruce Wayne in the now-defunct DC Extended Universe, and also as Holden McNeil in the View Askewniverse. Boot scootin' to 'Copperhead Road' as a way of flirting is also a brand-new development for him, and one that not everyone was convinced would make the final cut. "I was like 'this scene will never work'," advises Bernthal. "I was like 'there's no way that's going to work. Like, why is he? Like, what? How is this — what does this scene have to do with anything?'. And as soon as I saw him go out there, I was singing that song. I love that song. I love that. It was so good." "If you asked Jon before we shot that scene, he was saying 'this is going to get cut from the movie'," adds O'Connor. "There's no way. I was like 'why are we even here?'," responds Bernthal. The moment does hit its mark, and also perfects what The Accountant 2 is shooting for character-wise with Christian and Brax. One is trying to connect with others, including romantically — this isn't the only sequence in the film about Christian's love life — and finds that his penchant for numbers and patterns is an unexpectedly ideal fit for line dancing. The other is attempting to assist his brother to embrace more than just his routine. Together, the siblings are also endeavouring to repair their long-fractured relationship. [caption id="attachment_1001142" align="alignnone" width="1920"] Eric Charbonneau/Amazon MGM Studios via Getty Images[/caption] When The Accountant 2's team get together to chat about it at a press conference for the movie — returnees Affleck, Bernthal, O'Connor and Addai-Robinson, plus franchise newcomer Daniella Pineda (Cowboy Bebop) — they're animated and enthusiastic. The film benefits from their passion, even as it combines its comic turns, dancing and brotherly bonding with the fact that it's still an action-thriller that plunges into dark territory. This time, Christian's skills are needed, as are Brax's, after an acquaintance's murder. In a narrative that involves human trafficking, Marybeth is on the case, enlisting the brothers' assistance as she searches for the culprit, and also investigating how the situation connects to a family from El Salvador. Why was Affleck keen to return? When did O'Connor start thinking about which elements of the first film he wanted to pick up in a second flick, and where things would be different? How did humour work its way in — and what was Bernthal's response to the buddy-comedy aspect? The group answered these questions, too, while also digging into why Affleck sees Addai-Robinson's Cynthia as the movie's protagonist, the movie's action scenes and emotional arcs, and, yes, the line dancing. On Why Affleck Was Keen to Add a Very Rare Sequel to His Resume Ben: "This is a movie where, after the first one, it was successful and I was really proud of it, but it had a longer life in terms of the just real-life feedback that I get from people, what movies they would mention when they come up to me. And so I definitely was aware 'oh wow, that movie seems to still be being watched'. I think it's also a function of the fact that streaming really started to take off after this movie, so people had the opportunity to pick what movie they're going to watch, that sort of thing. And also I just love this character. I really enjoyed playing it. Gavin and I both very much were drawn to the idea of bringing Jon back and expanding on that, because we both really were like 'this guy's fabulous and we love it' — and I think we both felt like there was a lot more to do. And the only thing that I think, that I would rephrase from your question, is they really brought me back. Bill and Gavin spent a lot of time in the intervening years developing and putting together, in a quite typical-of-Gavin, meticulous, patient, detail-oriented, character-driven way, what it could be. Because both were quite mindful of not wanting to repeat it, not wanting to just 'oh hey, they like the first one, let's just figure something out and do another one'. So everything about it was appealing to me." On When O'Connor Started Thinking About Which Aspects of The Accountant He Wanted to Bring Back for a Sequel — and What to Change Up Gavin: "Just a lot of conversations with Bill in regard to — there's certain DNA that it was important to preserve. And then after that, it was a lot of left turns and just try to refill the tank in a very different way. And I in no way wanted to recycle the same thing that we did in the first film, so it was it was just a matter of 'how do we just start recreating the character in a way that is putting them on a different journey, integrating Brax, wanting to bring Cynthia back?'. We knew the key in the ignition was to kill Ray, because I wanted it to be personal for both of these guys. And most importantly, and we had these conversations, I just want to make a movie that was fun and entertaining — and put people in the seats, and go to a movie theatre and the lights come down, and have a communal experience where they can walk out of the theatre and go 'man, that was a fucking ball. That was just a great. That was a great time at the movies'. And that's really what we were going for." On Playing Up the Odd-Couple Buddy Comedy — and When Bernthal Found Out That That Would Be the Case Jon: "I don't know that I was ever really told that. I don't know that." Ben: "It was bait and switch." Jon: "Look it was — it was, yeah, little bit, a little bit. I was like 'what?'. But Bill's writing is so unbelievably strong. And Gavin and I, we're very close. And you work with Gavin, he's always going to whittle it down and try to get to the truth of the character, and there's no stone left unturned. It was a real thrill for me to get back. And I think with Ben, it just kind of happened that way. I mean it's there, it was very much supported by Gavin to let moments linger and let it exist naturally, and play the moments in between the beats. He's unbelievably funny and he has such a — it sounds corny, he's just mastered this character in such a way that there's just so many little moments of truth that are going on that you love, but can also drive you crazy from the right point of view. And I feel like we were really — I was really — let off the leash to have a real opinion about that." [caption id="attachment_1001143" align="alignnone" width="1920"] Eric Charbonneau/Amazon MGM Studios via Getty Images[/caption] Gavin: "I don't think we ever said like 'oh, it has to be funny', when I say I wanted the movie to be fun and entertaining. Jon and I had so many sitdowns were we would just be dissecting the character, and 'what's the intention of this scene?' — but once you just put these guys together, they both have specific wants. And if you're not getting your wants — and both these guys are slightly, the characters are slightly bonkers, right, in certain ways, so if they're not getting their wants, if you just let them do their thing, it was such a fertile environment for them just in the scenes that it just created. They weren't trying — the reason I think it works is because they weren't trying to be funny. No one was trying to be funny. They were so engrained in their characters and they had very specific wants. And if you're not getting that, it's like banging your head against the wall." Ben: "And also Jon took pleasure in torturing me. So that was really just funny." On What Addai-Robinson Was Able to Explore in Her Role the Second Time Around Cynthia: "I think I always viewed Marybeth as the entry point for the audience, because she's observing and seeing all these things unfold around her and reacting in kind. And myself as an actor, same thing. I think back to working on the first movie: I was nervous and I was kind of out of my depth in a way, just trying to present as if I wasn't, which I think, for Marybeth, it was a similar type of situation. And here we are, eight years later, when we started on the sequel — and Marybeth has evolved, grown. She's in this elevated position within the Treasury Department. And for myself as a person and an actor, I felt like I had also grown, and it was like 'all right, I'm going to be returning to a situation that's familiar. I feel a little bit more comfortable, a little bit more confident'. And so that was really nice for me to feel like 'okay, I'm feeling like I can handle what I'm now getting thrown at me' — which is, again, this dynamic with Ben and Jon's characters. And just again being, for the audience, that point of entry. So all of their shenanigans, I also got to just bear witness to and be like 'all right, these guys are kind of crazy and they're also kind of challenging my view of how to serve justice', really." [caption id="attachment_1001144" align="alignnone" width="1920"] Eric Charbonneau/Amazon MGM Studios via Getty Images[/caption] Ben: "The secret of this movie is that Cynthia is the protagonist, really. She's the lead in the movie — she's the entree for the audience, which means we get to play character parts. And there is a kind of relief from not having to carry a certain — there a whole bunch of expectations and stuff that go with being the lead in the movie, because as Cynthia says, the audience is really projecting themselves onto you. And so we're like a dual aggravant in some ways to her. And if you look at the math of the story, it's about her being brought into this, seeing this person be killed, trying to find out what it was and what she has to go through to get there, and the resolution of her story. And that's something that I find very artful and interesting, where this person is the lead of the movie and you have these dual character actors in there. So that affords Jon and I the luxury of doing this two-hander odd couple. " On Bringing a Heightened Level of Female Action to the Film Daniella: "I would say this is definitely next-level. I mean, it's not necessarily a character you see all the time. I feel like it's kind of changing a bit. I saw a video the other day of these two American eagle chicks in a nest, and one of the siblings just takes out the littler one, takes out the nest, and I was like 'oh hey, I know that girl. That's all nice'. But at the same time, you want to see that eagle hunt and you want to see that eagle fly — and there is something really compelling about watching a predator do their thing. At the same time, I felt like there's more to her. There's more layers there. So she's not just a stone-cold killer. It's the type of role that I would like to see more women get to play. They're certainly here in the real world. And I love to beat the shit out of Cynthia — but we were hugging, we were hugging in-between takes, and it was nice. I got really lucky. I had a good partner. It was fun, it was fun — but as she'll tell you, it was brutal." Cynthia: "It is pretty good — and what's very satisfying is we've now had opportunities to see the movie with audiences, and when you hear an audience audibly gasp, then you know you're doing something right. Because it means that the stakes and how invested people are in these characters, they are literally leaning forward, and with each blow, each hit, it's like 'aaaahhh'. So I think that's a nice vote of confidence to hear those gasps." On How The Accountant 2's Action Stands Apart From Affleck and O'Connor's Past Projects Ben: "To me, what makes it interesting, and what made me think that we could do something that would actually connect with an audience in the sense that they feel something for what's happening, is because Gavin's approach is not about 'this is a shot where visually it looks cool because of XY and Z elements, and we're going to construct it in such a way', and then you have to reverse-engineer why in the world you would be doing something that would lead you to that place. It's always driven from 'what does each character want? Why are they doing this?'. There's a grounded reason for it. And then his gift is to take that and make that visually compelling." Gavin: "Yeah, and not try to make it feel stunt-y — or some of these, we can cite action movies that are great, but it just feels like the action is in front of the characters. And for us, and the same with the girls, we were always coming from character. So what we were always tracking when we got to the third act was like 'how were these guys working together? How are they now united?'. We knew what the stakes were. We knew what they wanted. So inside of the action and the choreography, really, it was about the emotional line between the two brothers and how are they going to try to accomplish this together? And that was really what the conversations were about. The action is like dance, right? It's just doing it in beats. But action isn't emotional — and disposable violence, who cares about it, right? So it was really evoking emotion because you care about the characters." On How Bernthal Approached His Character's Emotional Arc — and Balanced It with the Demanding Action Sequences Jon: "You can't lie in a fight. You just can't lie — it's all, what you want is right there. And so if you're going for it, you've just got to know what you're going for and why you're going for it. I think more than any director I've ever worked with, Gavin has an appetite and an availability, and a hunger, to go back and to really get into what makes these guys tick. He'll talk to you as long as you want to talk to him about where these guys came from. And what's so beautiful about this being a second film — I think for me with Braxton, he's really shrouded in mystery in the first one. There was a point, you really don't know too much about him, but you have these amazing flashbacks to see how these two boys were raised and what their relationship was with their dad. And it really is the crux of what is really bothering both of them, and what's really bothering Brax: the roles that we've always filled for each other, getting each other's back, having to be there for each other, the lack of being there for each other. So then for it to culminate — it just doesn't culminate just in a gunfight, it culminates in 'hey, I'm there for you. I'm getting your back. You're getting mine. We're joined forever'. And it's a way, for lack of a better word, of showing how much you love somebody — and violence can actually be that sometimes." On Affleck's Line-Dancing Scene Ben: "That was one of the fun things about this thing, was the idea that here's a guy who's trying to figure out — he wants to have a relationship with a woman, he's trying to figure out how to do that, how to put yourself out there. He's not comfortable extending himself. He doesn't really know how to flirt exactly. He's not comfortable, like so many of us — it's not easy for anyone figuring out relationships, particularly the very early part where you're trying to gauge 'what does this signal mean? Is this person looking at me? Do they like me? Am I going to humiliate myself if I go over there?'. And what he does is kind of a lovely thing, which is he uses something that he's comfortable with — which in that case is the ability to recognise and identify the pattern of line dancing, because it is so structured and patterned — to participate in this. And it's the perfect way that he's comfortable to stand next to this woman who he's attracted to and wants to connect with, because it's kind of like parallel play with little kids. You don't have to look at somebody and engage them, but you get to be with them and do something next to them, and he finds a way that he's comfortable doing that. And it required, yeah, a lot of me. I probably am not going to get a lot more demands for my line-dancing work. I don't know. The phone hasn't rung yet. But it was really fun to — I think what's charming about it is when somebody puts himself out there to do something, at least I hope, that they're not necessarily great at, but they're trying. And I mean, really at the end of the day, that's sort of all any of us can do. Some of us are great at things — like Jon, the fighting comes easy to him. The action scenes with him are like playing in a basketball movie and this guy, you're like 'oh, you played professional basketball — okay, great'. And whereas these women of action, like you said then Danielle, they trained like crazy and brought incredible aptitude. Those fight scenes are a function of tremendous commitment and dedication and emotional perseverance that was astonishing. And for me, I'm coming at this line dancing thing like 'I don't really have the natural gifts but I'm willing to try.' I would say they did a hell of a lot better with the action I did with the line dancing. Luckily for me, it wasn't supposed to be good." Gavin: "The other thing about the scene that we were trying to accomplish, that was really important, is obviously there was that happening but we just left the plot of the movie. It was like 'we're going to leave the plot for a while', because that whole scene is really about the brothers. They've been in all this conflict driving up to that scene, and then at the end of the scene on the Airstream he says 'let's go get drunk'. And then that scene became 'they're still kind of in conflict trying to figure it out' — but once he goes to dance, Brax is like, that started to unite the two brothers, and it was just baby steps to get these guys there. So that was the other thing." Ben: "And it anchors the audience, having him celebrate for his brother, like that's who you're connecting to." Gavin: "Totally. Totally, yes. 'Yeah, 'that's my big brother up there'. It's beautiful." The Accountant 2 opened in cinemas Down Under on Thursday, April 24, 2025. Film stills: courtesy of Warrick Page, Amazon MGM Studios / Prime Video © Amazon Content Services LLC.
Fittingly located on Waratah Street in the centre of Mona Vale, Aqua Rosa's beautiful flower arrangements are sure to brighten up your day. Chose between native bouquets of banksias, bottlebrushes and dried eucalyptus, to pretty pink posies and elegant orchids, or pick up a cute knick knack for a gift. The friendly staff are on hand to help pick out the perfect florals, and to put together an arrangement that could be mistaken for an art installation. Images: Trent van der Jagt.
Plenty of different noises have echoed across Sydney's Entertainment Quarter over the years, given everything that the precinct has ever hosted. The next sounds that the venue's showring will hear: the Ministry of Sound, thanks to its huge dance music orchestra show. Back in 2021, Ministry of Sound hit 30, and then marked that occasion in 2022 with a three-day warehouse party in The Rocks for Vivid. It mightn't be celebrating a milestone in 2023, but the brand that started as a London club night back in 1991 is busting out its classical tour — aka an orchestral gig that's filled with decades of dance music bangers — and bringing it to the Harbour City in March. Taking place from 2.30–10pm on Saturday, March 18, Ministry of Sound Classical is the answer to a question you didn't know you had. Ever wondered what classical renditions of Basement Jaxx, Darude, Röyksopp, Robin, Underworld, Moby, Fisher and more — played by an orchestra, and with live vocals — would sound like? This is your chance to find out. On the bill: the Ministry of Sound Orchestra, of course, as well as Sneaky Sound System, Tommy Trash, The Potbelleez DJs, Freestylers and K.I.M from The Presets. Other DJs and performers set to do their thing include Vision Four 5, U-GO-B, Kid Kenobi, Minx and Jaime Doom from Bang Gang Deejays. Conductor Vanessa Perica will lead the musicians, while live vocals will hail from Sneaky Sound System's Miss Connie, plus Lady Lyric, Karina Chavez, Rudy, Nat Conway and Solomon Pitt. There'll also be multiple places to grab a bite, a beer garden and a gin bar. As for what you'll be listening to, the list of tunes getting the orchestral treatment also spans songs by Robert Miles, Cafe del Mar, Shapeshifter and Temper Trap. And yes, it all sounds a lot like Synthony, which does the same thing — but who doesn't love getting multiple opportunities to hear dance-floor fillers given a classical spin? MINISTRY OF SOUND CLASSICAL 2023 SYDNEY LINEUP: The Ministry of Sound Orchestra with DJ Goodwill Miss Connie Lady Lyric Karina Chavez Rudy Nat Conway Solomon Pitt Sneaky Sound System (LIVE) Tommy Trash The Potbelleez DJs Freestylers K.I.M (The Presets) Vision Four 5 U-GO-B Kid Kenobi Minx Jaime Doom (Bang Gang Deejays) Mark Dynamix Sveta Abel Ming D John Ferris Lorna Clarkson Nick Law Trent Rackus Kyro Ember Stacie Fields The Ministry of Sound Classical tour will hit The Entertainment Quarter, Sydney, on Saturday, March 18. For tickets from 8am on Tuesday, January 31, head to the tour website.
The spooky season may still be underway, but the festivities will turn Christmassy before you know it. Even if it shocks the system, early gift shopping never hurts anybody. It's a good thing the good people at Cambridge Markets have organised artisanal events all over Sydney until Christmas week. The season kicks off in the south with the Cronulla Christmas Market, which will take over Don Lucas Reserve from Saturday, November 16 to Sunday, November 17, from 10am–4pm. The following weekend (Saturday, November 23), across town in Rhodes Foreshore Park, will be the Rhodes Christmas Festival from 10am–4pm. Later that week, in the western suburbs, head to Centenary Square after work on Thursday, November 28, for the Parramatta Christmas Festival (from 3.30–7.30pm). Heading into December, the Royal Randwick Racecourse will host a Christmas festival from 1.30 to 7.30pm on Friday, December 6. If you can't make it to Randwick, check out the Ryde Christmas Market at Anderson Park instead on Sunday, December 8, from 10am–4pm. On Saturday, December 14, Burwood Park will host the Burwood Christmas Market from 12pm–9pm, which will also feature live music and a fireworks show. On the home run to Christmas, you really should have your gift shopping done by now. However, you've still got some opportunities on Saturday, December 21. In Sydney's south, the Green Square Christmas Market will run from 10am–4pm, while further west, you'll find the Wentworth Point Twilight Christmas Market from 6pm–10pm. Looking at this hefty list, you've got more than enough opportunities to get your Christmas fix. Whether it's gift shopping, a family day out or a wholesome date with your S/O, get your calendars and tote bags ready — it's market time. Cambridge Christmas Markets are coming to various locations all over Sydney. For more information on dates and times, visit the Cambridge Markets website.
Auckland is a city built on stories. Some are told in theatres that once hosted Bette Davis and Bob Dylan. Some on the slopes of former volcanoes. The rest, you'll have to find for yourself in the city's cobbled streets and galleries. Tāmaki Makaurau (Auckland's) charm blooms beyond the tourist stops. Past the Sky Tower and steeple of St Patrick's Cathedral, you'll spot an unassuming vintage facade. Here, at 53 St Patrick's Square, The Motor House forms the foundation of Hotel Indigo Auckland. Once a showroom for Cadillacs and motorcycles, it now acts as your key to the city. Inside midtown's tallest building, warm wood panels, Māori art, and leather touches make an unexpected home out of the building's industrial bones. [caption id="attachment_1037197" align="alignleft" width="1920"] Hotel Indigo Auckland[/caption] But the best part? The hotel's position puts you at the heart of the city. Here, your neighbours are indie bookstores, laneway bars and suburban swimming spots. Here's how to plan a weekend getting lost in the hills, islands and laneways of Tāmaki Makaurau. [caption id="attachment_1037201" align="alignleft" width="1920"] Maungakiekie[/caption] Wide Open Spaces Auckland was built around the valleys and ridgelines of 53 ancient volcanoes. You can see it in the sprawling, green knolls of Maungakiekie. Also known as One Tree Hill. These Teletubbyland-esque hills act as Auckland's best viewing platform. Back in the city's heart, find Khartoum Place. Shady trees and a fountain's trickle make it a pocket of calm that locals retreat to. Check out the tile artwork in honour of the Women's Suffrage Movement in New Zealand and have a break to caffeinate. Take a short stroll and you'll find yourself at the wharf. Catch a ferry 40 minutes off the coast and you'll land a world away on Waiheke Island. Sundrenched vineyards, shaded olive groves and your footprints on white sand beaches await. Or, dive right into the harbour at the Karanga Plaza Tidal Steps: a totally free swimming area on the shores of the city. Take Notes on the Culture Follow any street in Auckland, and you'll find yourself at a crossroads of culture. Here, Māori culture threads through so much of the city, linking with European history in the wharves, cafes and museums. Auckland Art Gallery Toi o Tāmaki is home to the world's largest collection of New Zealand art. Enter through majestic kauri tree columns to spend a day working through four levels of exhibitions. Plan your visit to Aotearoa in November, and you'll catch the Elam School of Fine Arts annual graduate show. Take a stroll through midtown and you'll find a slew of independent bookshops like Unity Books, Time Out Bookstore, and Hard To Find Books. Read local stories spun into poems or get lost in the whodunnits of local crime author legend Ngaio Marsh. [caption id="attachment_1039738" align="alignnone" width="1920"] Hotel Indigo Auckland[/caption] Dine Like the Locals Vulcan Lane was once an unnamed and muddy track. Today, it's a meeting point of some of Auckland's best bars, cafes, restaurants and boutique shopping. The Queensferry Hotel was one of the first to move in over 200 years ago. It's Auckland's oldest pub, but its menu is modern and best enjoyed al fresco while people-watching. Each Thursday, the laneway comes alive with free jazz performances from local music schools and seasoned pros. Follow the warm cathedral light down St Patrick's Square and you'll find Bistro Saine. Here, beyond the art-filled lobby of Hotel Indigo, you'll find this modern take on the classic European bistro is a destination in its own right. Leather banquette seating, antique tableware and perfectly cooked steak makes it easily to forget you're not in Paris. [caption id="attachment_1037203" align="alignleft" width="1920"] The Civic Theatre[/caption] Read the Stars The 1930s were Auckland's golden age. Theatres, cinemas and music halls were soundtracked by Māori soprano Ana Hato and The Beatles. Legendary spots like Everybody's, The Roxy, and Peter Pan Cabaret may be gone, but their legends live on in the feel of the streets. The Civic Theatre is perhaps the magnum opus of Auckland's golden age. Inside, giant, golden elephants and carvings of Buddha line the walls alongside gaudy chandeliers. Above it all—for no reason other than opulence—is a replica of the Auckland night sky at 10pm on Saturday, April 20, 1929. Bette Davis, The Rolling Stones, Nick Cave, Bob Dylan, and even the Dalai Lama have visited. Nowadays, you can catch a musical or comedy show there. [caption id="attachment_1037204" align="alignleft" width="1920"] Hotel Indigo Auckland[/caption] The Perfect Base When your step count is nearing new heights, Hotel Indigo Auckland makes for the perfect place to rest your tired feet. The hotel's historic home, The Motor House, plays the role of muse. In each corner, you'll find nods to the past. From the scaffold-inspired wardrobes and vintage fixtures to the factory facade still bearing the names of its former owners, you can feel the stories of Auckland past in each inch of the hotel. Step out from the lobby and you'll be met with a view of the Sky Tower and Auckland at your feet. Want to stay in the thick of it? Find out more about Hotel Indigo Auckland here. Lead image: Hotel Indigo Auckland
Peering at Yayoi Kusama's work doesn't just mean being surrounded by dots, pumpkins and tentacles; stepping inside her infinity rooms; and spying mirrors, balls, flowers and rainbow hues aplenty. It also means relishing every moment with her immersive art. One trip to a Kusama showcase, whether at her own Tokyo museum or elsewhere, is never enough. However long an exhibition's season runs for, it's not long enough, either. Melbourne's NGV International, the host of Australia's largest-ever Kusama retrospective, understands this — and it is giving art lovers more chances to enjoy the artist's wonders. Yayoi Kusama, as the current exhibition is called, opened on Sunday, December 15, 2024 and runs until Monday, April 21, 2025. That end date isn't being delayed, sadly, but the gallery is extending its hours instead across the showcase's final weeks. Revealed on Friday, March 21, the news was unveiled a day before a significant occasion: Kusama's 96th birthday on Saturday, March 22. Of course, this'd be exciting no matter when it was announced. From Saturday, April 5–Wednesday, April 16, the exhibition will operate from 8am–6pm. Melburnians, if you fancy exploring Kusama's work before or after the nine-to-five grind, this is your chance. Over the Easter long weekend, you'll have even longer to head by, which is also great for visitors from elsewhere making the trip to Melbourne for the break. From Thursday, April 17–Monday, April 21, the exhibition will be open from 8am–midnight daily. The National Gallery of Victoria's spectacular tribute to Kusama includes the Japanese icon's brand-new Infinity Mirrored Room–My Heart is Filled to the Brim with Sparkling Light among its ten immersive installations, breaking the world record for the number of such pieces by the artist assembled in one spot. In total, there's 200 pieces on display, taking over the St Kilda Road gallery's entire ground floor with a childhood-to-now survey of its subject's creative output. Across the eight decades of art on display, some pieces have never been seen Down Under until now. Some are sourced from private collections, and others from Kusama's own personal stash. Here's yet one more drawcard: the NGV is throwing Friday-night parties as part of the exhibition, too, running until Friday, April 18. Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court, the artist's Ascension of Polka Dots on the Trees wrapping the trunks of 6-plus trees in pink-and-white polka-dotted material: they're also key elements of one of the most-comprehensive retrospectives devoted to the artist to be staged globally. Other highlights include NGV International's glass waterwall going pink, but with black rather than white dots; Kusama's new version of Narcissus Garden, which dates back to 1966 and features 1400 30-centimetre-diameter silver balls this time around, sitting in front of the waterwall and in parts of Federation Court; and the yellow-and-black spheres of Dots Obsession hanging over the Great Hall. Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Flower Obsession is another participatory piece, returning from the 2017 NGV Triennial. Again, you're asked to add to the work. Here, red flowers are applied to a domestic space — and again, obliterating it is the mission. If you adore the artist's way with mirrors, you'll want to see 2016's Chandelier of Grief, which features baroque-style chandelier spinning within a hexagon of mirrors; 2013's Love Is Calling, where tentacles in different colours spring from both the floor and the ceiling; and 2017's The Spirits of the Pumpkins Descended into the Heavens, which gets viewers peering at glowing pumpkins as far as the eye can see through a small peephole. In Invisible Life, convex mirrors line a twisting and multi-hued corridor. With its six-metre-tall tendrils — which are covered in polka dots, naturally — the yellow-and-black The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe from 2019 is striking without using a looking glass (or several), and has made its Australian premiere. Prefer flowers instead? Set within a dotted space, All My Love for the Tulips, I Pray Forever from 2013 sees a trio of giant tulips loom over audiences. Overall, Yayoi Kusama steps through the artist's 80-plus years of making art via a thematic chronology. While a number of pieces hail from her childhood, others are far more recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they all appear. Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne until Monday, April 21, 2025 — including from 8am–6pm between Saturday, April 5–Wednesday, April 16, and from 8am–midnight between Thursday, April 17–Monday, April 21. NGV Friday Nights: Yayoi Kusama runs each Friday until Friday, April 18, 2025. Head to the NGV website for more details and tickets. Images: Visitors and artworks in the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photos: Danielle Castano, Sean Fennessy, Tobias Titz and Kate Shannassy.
Drinking sessions with your mates are a cornerstone of the weekend. But, for those fur baby parents out there, there's nothing worse than getting stuck in and then realising you have to rush out to take care of your pup. For you, the best session is one when your best two-legged and four-legged mates are all there. We've teamed up with American Express to show Sydney dog owners that you don't need to choose between seeing your friends or hanging out with your pup. These American Express-accepting spots offer some of the best food and bevs in the city, all while catering to your doggo with special menus, play areas and outdoor seating. Looking for a spot where your dog is welcomed as much as your, er, human friends? These venues are here for you. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
No one makes neon-lit, red-hued, emotion-dripping tales of yearning and loneliness like Wong Kar-Wai, as everyone who has seen 2000's In the Mood for Love knows. It isn't the Chungking Express, Happy Together, 2046, Ashes of Time: Redux and The Grandmaster filmmaker's only masterpiece, but the 1960s Hong Kong-set romantic drama is utterly unforgettable as it unfolds its love story against a backdrop of festering societal tension. Viewers have fallen for the film for almost a quarter of a century now. Sydney Opera House clearly feels the same way. Back in 2020, it hosted and livestreamed dreamy song cycle In the Mood — A Love Letter to Wong Kar-Wai & Hong Kong, which delivered exactly what its title promised. At 2pm and 7pm on Saturday, March 22, 2025, the venue will also welcome in the Australian premiere of In the Mood for Love in Concert. As everything from Batman, Back to the Future, Home Alone and Spider-Man: Into the Spider-Verse to The Lion King, The Princess Bride, Black Panther and Star Wars films has in the past — and plenty more — the iconic movie will return to the big screen while an orchestra brings its score to life. In this case, the film will flicker across Sydney Opera House's HD silver screen as conductor Guy Rundle leads a 39-piece group of musicians playing live. The BAFTA-nominated and César-winning film — which also picked up two awards at Cannes, including Best Actor — stars the great Tony Leung (Hidden Blade) and Maggie Chen (Better Life) as Chow Mo-wan and Su Li-zhen. In a complicated time and place, the two neighbours are drawn together when they begin to suspect that their partners are not only being unfaithful, but that they're having an affair with each other. While In the Mood for Love is rightly acclaimed for its affecting performances and evocative direction, as well as its gorgeously lush cinematography, its score is just as exceptional. Indeed, the filmmaker has called it "a poem itself". This is a stellar opportunity to find out why — and to discover why this movie, and Wong Kar-Wai, keep proving so influential.
Neutral Bay has a new laneway bar and it focuses on one of the best food pairings in existence — wine and cheese. The Cheese and Wine Co started out as a beloved Instagram account and online wine store and has now opened its first venue, showcasing Australian drops and artisanal cheeses. The casual bar sits on Grosvenor Lane, just around the corner from the institution that is The Oaks. Focusing on homegrown wines and cheeses from around the country, the new bar will include a few international names on the list as well. The wine list will rotate every three months on a seasonal basis and be limited to 50 wines maximum, with the list currently at 33 different drops. It spans from easy-to-drink vino to wines geared for a more complex palate, so both novice oenophiles and budding sommelier types can feel at home here. If you find a wine you really like, you'll eventually be able to take it home with you — all of the wines will make their way onto the online shop once they're rotated off the bar list. On the cheese side of things, the bar has 13 different types to choose from at the moment, with specialties like deep fried camembert and baked brie also making the menu. And like the wine, this list will change regularly as well. Cheese boards are served as share platters alongside charcuterie, salumi and other antipasti, so eating with your hands is encouraged. If you're looking for a taste of the lot, check out the monthly cheese and wine nights, where winemakers and cheesemongers will be invited to show off their stuff. The Cheese and Wine Co is now open at 1 Grosvenor Lane, Neutral Bay. Opening hours are Tuesday through Wednesday from 4pm to 9pm and Thursday through Saturday from 4pm to midnight.
Winter is upon us, the gloves and beanies are out of storage, and it's time to start loading up on sweets and carbs. That's how every June starts — and, this year, Krispy Kreme wants to help with the latter. How? By giving away an extremely excessive number of doughnuts. You're probably now wondering what constitutes an excessive amount of doughnuts. No, polishing off a packet by yourself doesn't count, at least in this instance. Krispy Kreme's giveaway is going big, with the chain slinging 10,000 original glazed doughnuts on Friday, June 7 in conjunction with National Doughnut Day. Whether or not you're a big fan of food 'days', we're guessing you are quite fond of free doughnuts. To snag yourself a signature glazed freebie, head to your closest Krispy Kreme store, with Sydneysiders able to hit up 18 spots stretching from Penrith to the CBD. The National Doughnut Day deal isn't available anywhere other than Krispy Kreme stores, or via online orders or third-party deliveries. There's also a limit of one freebie per person, and the giveaway only applies to the original glazed variety. The 100,000 doughnuts will be spread across the participating stores around the country, so you'll want to get in relatively early if you want to kick off your Friday with a free sweet and doughy treat. Obviously, whether you nab one or not is subject to availability.
Stages graced with international acts? Check. A hefty lineup led by Lizzo, Flume and Mumford & Sons? Check again. Gumboots aplenty, everyone from Pussy Riot to Tony Armstrong, and three wild days at North Byron Bay Parklands? Tick them off the 2023 Splendour in the Grass checklist, too. A graveyard, though? No one had that on their Splendour bingo card, but it's part of this year's fest thanks to ABC series War on Waste, which is drawing attention to fast fashion. Sometimes, you need to see a problem to truly grasp it. That's an approach that folks have been applying to the vast piles of textiles that end up in landfill for some time — in 2022, Joost Bakker filled Melbourne's Federation Square with 3000-plus kilograms of fashion waste, for instance. A cemetery symbolising discarded clothing items is another eye-catching away to get everyone thinking about the issue, with this pop-up gracing Splendour for its full 2023 run from Friday, July 21–Sunday, July 23. "Fast fashion has exploded! We've moved to ultrafast fashion, even though 30 percent of clothing in the average wardrobe has not been worn in the last year," said War on Waste host Craig Reucassel. "We're throwing out ten kilograms of fashion per person each year. To make only the cotton clothes that we throw out each year would take as much water as there is in Sydney Harbour. Meanwhile, over 60 percent of our clothes are made from plastic derived from fossil fuels." "Through this activation, we hope to engage the festival community in meaningful conversations about the impact of fast fashion and inspire them to embrace more sustainable and ethical practices. Buy less and wear it longer!" Reucassel continued. Splendour attendees will spot the graveyard opposite the Forum and Comedy Club, acting as a commentary on the 227 million kilograms of clothing that goes to Aussie landfills every year. The site's tombstones jokingly pay tribute to items bought and scrapped quickly, yet won't decompose for hundreds of years, and offer facts about the problem. Everything featured has been recycled or repurposed, and all materials used will be recycled or repurposed again after Splendour is over. As well as getting festivalgoers thinking about their outfits, the cemetery pop-up is timed to promote War on Waste's third season, which hits the ABC from Tuesday, July 25. Splendour in the Grass runs from Friday, July 21–Sunday, July 23, 2023 at North Byron Bay Parklands — head to the festival website for further details and tickets. Images: Georgia Jane Griffiths.
Google's innovation in geo-location tools and imaging has significantly changed how we view and interact with our world. What with Street Art View, allowing users to tag their favourite street art; People Finders connecting friends and loved ones in times of disaster; and artists capturing incredible images from Google Earth, Google blurs physical existence with digital presence to connect us in amazing ways. Whether you want to check out a destination before hitting the road or travel to the other side of the globe without leaving your seat, Google Street View can take you there. With the launch of an all new look and enhanced interactivity, real-world navigation from your net browser has never been so awesome. When you load up Google Maps, areas outlined in blue highlight where Google Street View is available. Google's loveable stick-figure Pegman will light up yellow too. Drag him onto your desired location to view the 'hood, and click on the arrows on the ground to take a little stroll. Back in 2007 at Street View's inception, only select major cities had the feature. Since then, teams of photographers have worked tirelessly to compile incredible images from around the world. Stitched together, the images form 360 degree panoramas which afford gorgeous glimpses of far away places - so good it feels like you're really there. https://youtube.com/watch?v=MwCrjfmCgO0 [Via Mashable]
Bored of your usual Wednesday-night entertainment? Head to Friend in Hand for something a little different — crab racing. Expect crisp-and-cold schooners of Reschs, Coopers, Young Henrys and Fat Yak whilst you watch an upturned bucket of hermit crabs race to the finish line. They've been doing it every Wednesday night at 8pm for the past 22 years. Image: Kitti Smallbone
Who hasn't gone on vacation, soaked up their idyllic temporary surroundings but felt pangs of envy towards a few specific fellow travellers who seem to be having a better time than everyone else? That's how Speak No Evil begins — and it's meant to be relatable. The situation that Louise Dalton (Mackenzie Davis, Station Eleven) and her husband Ben (Scoot McNairy, Invincible) find themselves in while travelling to Tuscany with their daughter Agnes (Alix West Lefler, Dead Boy Detectives) is a classic grass-is-greener setup. When the American couple look at the brash but charismatic Paddy (James McAvoy, His Dark Materials) and his wife Ciara (Aisling Franciosi, Stopmotion), and as they get to know them over dinners and drinks, they wish that they too were that happy, that carefree and that relaxed. Hopefully no one has endured IRL what comes next in this Blumhouse horror movie directed by Eden Lake and The Woman in Black's James Watkins, which remakes 2022 Danish film Gæsterne, also called Speak No Evil in English. Reluctantly on Louise's part but eagerly by Ben, the Daltons accept an invitation to spend a weekend with Paddy and Ciara, plus their son Ant (Dan Hough, Hollyoaks), at their rural property back in Britain. Actually, we've all been in a scenario where passive-aggression simmers behind smiles and plastered-on friendliness, social discomfort flavours every interaction and toxic masculinity festers. For the Daltons, however, this second getaway turns particularly grim when they discover what lurks behind the blissful facade that their hosts were such experts at projecting in Italy. Both versions of Speak No Evil take viewers on an unsettling trip — but only the do-over boasts powerful performances by McAvoy and Davis. While no one in the cast puts a foot wrong, including Davis' Halt and Catch Fire co-star McNairy, The Nightingale standout Franciosi and the feature's youngest actors, its two leads are tasked with encapsulating the film's clashing sides. Paddy presents himself as earthy and approachable, packaging up his ideas of manhood — notions that can be called traditional at best and outdated if you're still being polite — with a seemingly wholesome, laidback vibe. Louise is understandably constantly anxious and worried, and yet just as persistently eager not to cause a scene. The more time that she spends in Paddy's farmhouse, the more that she realises that she's being forced to ignore her every instinct about him. Speak No Evil also unpacks why that reaction also feels so familiar. These are complicated and layered roles to play, and a balancing act on both McAvoy and Davis' parts. That's one of the things that attracted them each to the movie, the two tell Concrete Playground. For McAvoy, he's back in the darker psychological terrain that he traversed in Split and Glass for M Night Shyamalan — chatting with us back in 2017, the filmmaker called the actor's work in the former "fearless; he was just very fearless about the whole thing" — and also in the unrelated Filth before that. He credits his excellent, can't-look-away efforts both in Split and Speak No Evil to great writing first and foremost. "I was lucky enough on those two particular jobs, this one as much as any other, to be able to feel really strong going into it and make strong choices," he explains. For Davis, she adds another complex portrayal to a resume teeming with them (see: the aforementioned Station Eleven, Black Mirror's 'San Junipero' episode, Blade Runner 2049, Tully, Happiest Season and more), all while ensuring that she's never repeating herself. "Not retreading footsteps that I've already walked in" is what gets her excited about any new role, she advises. "That's a weird mixed metaphor. Honestly, I read so many scripts and I barely like any of them, and then one comes and you're like 'oh, maybe this is a fucked-up little thing to do'." Davis sums up Speak No Evil perfectly, as audiences Down Under can experience in cinemas from Thursday, September 12, 2024. We also chatted with the film's lead pair about the rollercoaster ride that the movie takes viewers on, where inspiration came from to flesh out their parts, being able to see themselves — or aspects of them — in their characters, digging into what it means not to speak up, ensuring that the movie's emotional journey feels logical and more. On McAvoy Having No Fear When Diving Into Dark Roles, Such as in Split and Speak No Evil James: "I think when you've got a good text and you've got a good character drawn well with a good arc, you've got a solid foundation from which to jump. And that was definitely the case with Split, and that was definitely the case with Speak No Evil. And they both happen to be Blumhouse movies, which is great because they're underpinned by something — not just pieces of entertainment, which they are, which they deliver upon, but they've also got something interesting to say socially. So it was a really strong foundation that it jumped from. I think when the text isn't so strong, maybe I'm not so fearless and maybe a bit more fearful. But I was lucky enough on those two particular jobs, this one as much as any other, to be able to feel really strong going into it and make strong choices." On Davis' First Reaction to the Script, and What She Saw That She Could Bring to the Role Mackenzie: "I loved it. I hadn't seen the original, and I knew it existed but wasn't really familiar with anything else other than the title. So this is my first exposure to the conceit — and I just love things that feel as dangerous as being hunted and killed, being placed on that same plane. Because committing, not like a social faux pas or a gaffe, but like really offending someone or hurting somebody's feelings in a really meaningful way, you can get kind of the same adrenaline response as you do when you're trying to save your life. And they do feel like mortal dangers at the time, and I liked how it how it dealt with that. I wasn't sure at first, honestly, because there's a lot of Louise looking to her husband to act, and that worried me a little bit. But I had lots of long, really meaningful chats with James Watkins, the director, and he assured me that he was really interested in Louise's experience of being silent. Like, it's one thing to not speak, and it's another thing for the camera to be interested in why they're not speaking and what they're thinking while they're not speaking. And as long as that was part of it, then I thought it was a really interesting role. I think James [Watkins], before we started making the movie, convinced me that that was important to him. Then in the movie, I really see that, that he's interested in how Louise is feeling and it's not always through a monologue." On Working Through Speak No Evil's Many Layers James: "I was just so glad that I was getting to be involved in something that could be entertaining, could make people laugh, could make them jump, give them the horror experience or the scary experience that you want in the cinema in a communal, sitting-down environment — but at the same time, it had stuff to say as well, which elevates it. Blumhouse do that time and again, and they do it so so well. So it's a privilege to be a part of something like that because you get to do two things at once. Also part of it was about a conversation about masculinity, which I feel is quite timely as well — and what men are attracted to at the moment in terms of looking for answers. Somebody like Ben, who's really drifting, really lost, really hurt, really damaged, he's looking for answers. And here comes along this sort of totem of toxic masculinity, but he seems to have the answer to one of the questions in life, which is how to be happy. He seems really happy. In fact, I would argue he is really happy. As much as he's rage-filled and anger-filled, he's also capable of great joy and happiness, and he really enjoys his life. And that's an attractive quality, but it's also a scary thing in somebody who's also got such worrying doctrine." On the Film's Relatable Situation, Including the Balance Between Trying to Keep the Peace and Recognising Your Instincts Mackenzie: "What's important to me is that I can see myself in that situation. I relate to the choices she makes, even when they're stupid. I can understand why she's doing the thing that might feel wrong to an audience, because you get that there are other things at play other than the right thing and the wrong thing. There's the marriage and keeping that intact. And then there's 'oh my god, did I just make some sort of enormous, grievous misunderstanding of a situation where I thought I was saving my family, but actually I was villainising myself and really offending these lovely people who are hosting us?. And am I being a snob?'. There's so many currents of thought that are going on all the time, and you kind of have to choose one to follow. And I get why, for a lot of the movie, she's prioritising, with difficulty, keeping the peace — and then at a certain point the dam breaks and she just cannot do it anymore. I think that's really, really relatable, trying to be all things at once." On the Balancing Act Required for McAvoy to Play Someone Who is Charismatic, Earthy and Seemingly Free-Spirited, and Also Angry, Reckless and Unsettling James: "The whole film is a balancing act, and the whole performance for me is a bit of a balancing act, because you can't go too far one way or the other. You can't go too scary or too safe. You've got to be right in the middle, until the end anyway, because you dissipate the tension of horror or a scary movie if you just go full bore too quickly. And that's the same either side. Too safe, too dangerous. Too masculine, too not masculine. Too safe masculine, too toxic masculine. Too politically correct, too politically incorrect. You have to ride this line so that both versions of him are possible at all times without ever jumping down and nailing your colours to the mast on one side or the other. So it's a bit of a balancing act that was orchestrated by myself and by the director definitely on the day, James Watkins. He did a lot of that on the page, but even then on the day, it was about getting shades, colours and levels so that when he was in the edit, he had the opportunity to calibrate as he went in that environment as well." On Acting Opposite McAvoy's Powerful Performance Mackenzie: "There's a moment in the movie where he has this sort of smile and then his eyes go dead, but then his mouth twitches a little bit still, and it's so unsettling. And he's playing three different things in like one second. And that's what it feels like to work across from him. He's really surprising. He's enjoying what he's doing so much, which is so fun, because you shoot one scene for like six hours. You're hearing the same lines over and over, and what you want is an actor that's finding a new way into it every time so that it feels exciting and stimulating to engage with it, and he just does that in spades. He's a wonderful person and a really great actor." On What McAvoy and Davis Each Drew Upon to Help Flesh Out Their Complex Characters James: "I've got a friend who will look into my eyes and sing me an entire song, and there's something weirdly sort of threatening about it — because I don't know the song and I'm not singing it back with him, but he's singing it like he's singing some old favourite that we both know. I drew on that, because that's a kind of masculinity. That's a kind of 'I'm dominating you right now'. And I actually do that in the film with Scoot — and my mate will watch this and be like 'you're totally doing me right now'. He's nothing like Paddy, by the way. What did I draw upon? I guess, weirdly, myself. I'm not like Paddy, but I could be, and I could be if I'd made different decisions or indulged different parts of my personality and animal instincts when I was younger, or if different things had happened to me and I reacted to them differently. So those parts of Paddy that are objectionable or even attractive that aren't immediately apparent or inflated in me, they're still in me. So it's about imagining them growing. It's imagining them into your mind, and imagining them into your soul and into your heart, and then letting them out on camera. They'll never become a part of me properly, but if you just quite imagine who you would become, who you would be if your life had been different and things had changed in different ways. I think the parts of Paddy that we find objectionable and frightening are in us all. We all have the capacity to kill, and we all have the capacity to steal and to hurt others, to be selfish and to put ourselves before everyone else. And that's kind of what he does. And I think we all have that in us. It's just we've had different experiences or made different decisions to get us there. But you can look at yourself and recognise Paddy, I think." Mackenzie: "For me, I just want things to make sense. I'm almost a bit mathematical about it in going through the script and being like 'okay, well, why does she do this and how does that make sense, and if she does this, then what does this mean?'. And as long as I can make the math — and everybody has their own particular math, there is not one unifying, it's just the logic of that person — as long as her logic feels believable and at least consistent enough, to me, that the inconsistencies are exciting and surprising, then I'm great. It's when things just feel random and I can't find the throughline that I'm like 'meh, probably I'm not the right person to play this part'." On What Davis Would Do If She Was in the Same Situation as Louise Mackenzie: "I think you'd be charmed by dreams. I think it would be fun. I think were I in the situation, I can see myself being like 'I don't want to spend two days at their house, we don't even know them'. And then being like 'you know, you've got to have adventure in your life. At the very least, it'll be like a good story'. And it was. So maybe I would make the same decision. I keep saying I wouldn't, but now I guess I've kind of convinced myself it'll be fun to do something weird." Speak No Evil opens in cinemas Down Under on Thursday, September 12, 2024.
Sydney's egalitarian, not-for-profit organisation Kaldor Public Art Projects is currently celebrating 50 years of bringing groundbreaking, immersive artworks to the Aussie public. To mark this half century of shaping Australia's art space, Kaldor is hosting a free retrospective — Making Art Public — at the Art Gallery of NSW. Each of Kaldor's 34 previous projects has been reimagined and created by noted British artist Michael Landy. One showstopper is Allora & Calzadilla's Stop, Repair, Prepare: Variations on 'Ode to Joy' for a Prepared Piano, which is making its Sydney debut this month. If you're a fan of both art and piano concerto, you can catch this artwork every day until Wednesday, October 30. You'll see the pianists attempt Beethoven's 'Ode to Joy' on an adjusted piano that can be played from within, and walked across the gallery floor, in AGNSW's Entrance Court. Part music, part performance and part sculpture, Stop, Repair, Prepare was first performed in Melbourne back in 2012 as part of Kaldor Public Art Project #26, with the aim to create an experience through dance and music where the audience plays just as important a part as the choreographed performers. Allora & Calzadilla's Stop, Repair, Prepare: Variations on 'Ode to Joy' for a Prepared Piano runs from Thursday, October 17 through to Wednesday, October 30. It will be performed every hour on the hour from 11am–4pm every day, with extended hours until 7pm on Wednesdays, October 23 and 30. On Wednesday evenings you can also hear the pianists speak about the work in an intimate Q&A from 6.30pm.
As Alfred 'Paper Boi' Miles in Atlanta, Brian Tyree Henry has been given plenty to utter. Across the hit Donald Glover-created series' three seasons so far, his rapper character has soared from up-and-comer to global star touring Europe, as chronicled with the show's banter-filled dialogue. But there's one thing that hasn't ever fallen into his remit in his best-known role, and is highly unlikely to in the fourth and final season that's set to arrive this September: obsessing over Thomas the Tank Engine. Henry might be as synonymous with Atlanta as Glover, complete with a 2018 Emmy nomination for his stellar performance, but his resume spans far further than the acclaimed series. In movies as varied as Widows, If Beale Street Could Talk, Spider-Man: Into the Spider-Verse, Joker, Godzilla vs Kong and Eternals — and shows such as Boardwalk Empire, The Knick and This Is Us as well — he's kept proving a compelling presence. There's no Thomas the Tank Engine fixation among them either, though. Instead, waxing lyrical about blue British locomotives is the domain of Henry's part in action-comedy Bullet Train. He plays blonde-tressed assassin Lemon, half of a chalk-and-cheese killer duo with Aaron Taylor-Johnson's (The King's Man) Tangerine. Dubbed "the twins" but clearly brothers in friendship rather than blood, they're just two of the movie's many killers, as led by Brad Pitt (The Lost City) — all of which, fittingly for Lemon, find themselves speeding across a neon-drenched vision of Japan via the titular shinkansen. In other films, it's easy to predict how Henry's part would go. But, working with John Wick and Atomic Blonde filmmaker David Leitch, Henry was determined that Lemon would transcend tropes — and be a hitman that viewers cared about, even as he's using Thomas the Tank Engine to decide whether people are trustworthy or not and, obviously, as he's hopping around the train killing people. Ahead of the movie's local release on August 4, we chatted to Henry about Bullet Train, childhood favourites, busting tropes, gravitating towards banter, and a shoot that felt like "a bloody summer camp". ON 'THOMAS THE TANK ENGINE' AND CHILDHOOD FAVOURITES "Is anyone really a fan of Thomas the Tank Engine? It has always been a part of our childhood, right? He's just always been there… I think what's really great is that with this movie, we get to really go into the characters' details, because Lemon truly studied and loves Thomas the Tank Engine. And he's right about it. Every time that he says that somebody is a Percy or an Edward or a Diesel, he's right. So there is a little truth to the characters of Thomas the Tank Engine, for you to tell if somebody is trustworthy or not. But, when I was a kid, it came on after the good stuff. Like Thomas the Tank Engine kind of wrapped your day, and you were like 'where are the explosions? I want to see more stuff with candy.' I didn't do an in-depth Thomas the Tank Engine study when I got this part, but I did play the theme song on set though to really piss everybody off. I was like 'come on guys, we need this levity, let's listen to Thomas the Tank Engine'. Care Bears was my thing. Fraggle Rock, anything Muppet-related, I was all about it. I was a huge Jim Henson head, I mean anything that had Jim Henson on it, I was there for it. And I'm not going to lie, I still do, I still care a lot about anything Jim Henson-related." ON GOING BEYOND THE COMEDIC BLACK GUY TROPE "I got a call from David Leitch who said that he was making this movie, and my jaw kind of fell on the floor because I know David Leitch's repertoire and I was really excited — and I was also very suspicious. I loved Deadpool 2. I know he produced all the John Wicks which I love as well. I remember loving Atomic Blonde and these universes he created, but I was very much like 'where am I going to fit in this?'. And then he told me that there was a character named Lemon that was one half of a duo called Lemon and Tangerine. I read the script, and I did love it, but there were some parts that I really wanted to delve a little deeper into — because the first draft kind of seemed like Lemon was there to just be there for laughs, and I didn't want him to just be the comic foil. I wanted him to be cared about. There's usually a trap that happens sometimes when you're Black and doing action movies or any kind of certain genre, that you're the funny person and usually the first person that dies — you know all these weird, terrible, microaggressive tropes that are put on Black people. I didn't want that for this movie, and I pled this to him. I was like, 'look, if you are putting me in this atmosphere, being on Japan on a bullet train, I want people to care that I'm there — it's not like I can hide anywhere, it's not like people won't notice when I'm there'. This is also during 2020 when shit was hard. It was really hard in America, it was really difficult. We didn't know what this virus was, there was social injustice going on outside of our door, we were dealing with an election that would change our fate, and I was angry — and I hate saying that I was an angry man, but I was. And I was also very fearful of what was going on, and I had to find some trust to take this movie, and David reassured me, he was like 'we really want your voice in this'." ON PLAYING A KILLER PEOPLE WOULD CARE ABOUT "When I was paired with Aaron Taylor-Johnson, I was like 'this can play a few ways', because it says we're twins and we're clearly not. A sense of brotherhood can be there and that can be authentic, and I let David know that. Aaron and I both wanted to find the heart of who both of these characters are. Whenever we see these movies, where the tropes are a black man and a white guy coming together, it's all different kind of hijinks — and look these tropes have a place, and I admire them and the actors who played them, they have their own place in history. But if we were going to add to that, we wanted it to come from a different place. With most of these duos, you see these men coming from two different sides of the world, or two different walks of life, they come together and they form a partnership. But with our duo, we literally grew up together. And part of me was like 'maybe we were passed around in the foster care system together, maybe we were used to having each other to protect each other, to care about each other, and that just went on until we grew up?'. So that brotherhood was what was really important, because we wanted the audience to really believe that there was a brotherhood between the two of us. David heard that, and really allowed us to play with that — because I wanted the audience to care, I really did. I know that we're sociopathic killers, and yes we're funny and we have this banter that goes back and forth, but I wanted you all to care if we got separated. I wanted you all to care if one made it and one didn't. I wanted the audience to really care about these brothers, because they're the only assassins on the train that are a duo, that's a partnership — and I wanted people to care because I needed to figure out how to care again. I needed to figure out what a brotherhood meant with someone who didn't look like me, someone who wasn't from where I was. I needed to really find a way to feel a connection with somebody, and Aaron just brought his heart and brought his soul to this thing‚ and we instantly hit it off. And we gave David Leitch no choice but to kind of like accept that. Most of the things that we were doing were improv. Most of the things that we said, that we volleyed off one another were just off the top of our heads, and David Leitch was like, 'yeah, let's keep going with that' because he saw how close we were. It restored a kind of faith in me again when playing this role because I cared about Lemon so much, and I wanted people who were watching Lemon so much… I owe a huge thanks to David Leitch for hearing me out, hearing me say that I wanted these things and I wanted to play with Lemon this way, because he let me." ON ALL OF THOSE STUNTS — AND A SHOOT THAT FELT LIKE "A BLOODY SUMMER CAMP" "I remember going to Dick's Sporting Goods, and I was like 'kneepads, gloves, shorts, everything, because I'm going to do it all'. I was so ready to get ready for this movie. I really wanted to do all these crazy stunts that I'd seen David Leitch choreograph throughout his career. I really wanted to do wire work. I wanted to find different ways to kill somebody with a tray table. I wanted to really get in there. We couldn't go to studios like you would if you were trying to learn fight choreography, so they had to improvise and made this makeshift fight playground, basically, on the rooftop of a parking deck on Sony's lot. And it was the coolest thing I've ever seen. So you've got padded floors, boxes are that are the walls of the train, tables, fold-up chairs — and with the help of Greg Rementer, who is the stunt coordinator for 87 North [David Leitch's production company], we had the time of our lives. The collaboration that David Leitch has in his work is really fun. Especially, I think about the fight between Brad and I that is taking place on a quiet car. My character tells him that he needs to keep his voice low because it's the quiet car, and all the while I'm going to do what I can to kill him on this quiet car. So doing the fight choreography, to map out how we're going to do that, was like taking me to like a bloody summer camp. You're signing up to just go bash each other's faces in, but how how many different ways can we do that on a quiet car? How many ways are Brad and I going to be in a headlock and punching each other in the nuts? How many ways are you going to avoid a snake that's now loose on this train? It was some of the most therapeutic scene work I've ever done in my life, and it was incredibly fun." Bullet Train screens in Australian and New Zealand cinemas from August 4. Read our full review.
The KPMG Sydney Sail Grand Prix is hurtling back to Sydney Harbour from Saturday, February 28 to Sunday, March 1, 2026, marking a record seventh visit of the globally-touring race series to the city. Once again, the world's fastest foiling catamarans and their national teams will take to the iconic harbour for a high-stakes, high-speed display of world-class sailing, but this year, with a twist: racing kicks off at 5.30pm, delivering the first-ever twilight session in the event's local history. On home waters, the BONDS Flying Roos will be out to reclaim their dominance. Having already secured three championship titles, the rebranded team enters 2026 with fresh momentum and new co-owners (including Hugh Jackman and Ryan Reynolds), and local fans no doubt keen to see them rule the race once more. You can catch the action from a range of spectator areas. There's the option to experience the ultimate view on Shark Island with all-inclusive food and beverages, live race commentary and boat transfers from Barangaroo. Otherwise, you can properly get in the splash zone on an open-top Official Spectator Boat, book a spot with a privately-owned vessel inside the public exclusion zone, or go full luxe with a chartered spectator superyacht. Sailing superfans can also kick off the weekend with a behind-the-scenes Tech Site experience on Friday, where you can get up close to the action before racing begins. Watch the high-performance F50 vessels being craned into Sydney Harbour, meet the athletes at Q&A experiences and soak up the festival atmosphere with live DJ sets, tech talks, food trucks and giveaways.
Write a list of all the gifts you need to buy and take it to this shop. Step inside this Paddington treasure trove of knick-knacks and odd items and you're guaranteed to find something irreverent, joyful or unusual for your loved ones. Novelty gifts? Tick. Bath and body set? Yep. Opus has it all. And when you don't know where to start, there's a handy online gift guide to sort your well-groomed dad and your tech-savvy mum. It's a primo place to go when you have absolutely no idea what to get — maybe it's a book on how to be a boss bitch, new candles for the friend with new digs, or drinking games for that Kris Kringle. Make it your first stop and give yourself a giggle at the humorous cards section. [caption id="attachment_798513" align="alignnone" width="1920"] Cassandra Hannagan[/caption] Images: Cassandra Hannagan
It isn't just traffic that will bring Brisbane's Story Bridge to a standstill in 2024. On one October Sunday, the famed river crossing will close to cars to become the site of a new nude photography work instead. Staging spectacular pieces filled with naked participants has long been Spencer Tunick's remit — and the New York-based artist has announced his next River City installation in advance of staging his first. On Saturday, November 18, 2023, Tunick is taking to numerous spots along the Brisbane River for a piece called TIDE, which forms part of this year's MELT Festival and was announced by Brisbane Powerhouse earlier in the year. Featuring around 150 people posing for the camera, that photography shoot is now considered a prequel for Sunday, October 27, 2024, when the Story Bridge will welcome thousands of folks sans clothes. [caption id="attachment_926438" align="alignnone" width="1920"] Cape Town, Spencer Tunick[/caption] "This challenging work on the Story Bridge marks the second in my two-part series in Brisbane scheduled one year apart, in 2023 then 2024. It is the first time I have ever worked on installations with the same institution for an extended two-year project. This will allow me to deeply explore the city, its light, environment and its people," said Tunick. "The series will hopefully speak to diverse groups of people, and everyone navigating their way through the difficult challenges of our current world. It is a privilege to be making art that centres around the LGBTQIA+ community with all its beauty and vibrance." [caption id="attachment_926440" align="alignnone" width="1920"] Lyon, Spencer Tunick[/caption] The Story Bridge piece will form part of Melt Open, an expansion of Brisbane Powerhouse's LGBTQIA+ arts and culture festival that'll debut next year. The broader fest is a fringe-style open-access event that, like MELT first, champions diversity. So has Tunick's work for decades, whether he's been in the Whitsundays with almost 100 Aussies in 2019 or briefly turning Bondi into a nude beach in 2022. Tunick initially turned his lens Australia's way in 2001 in Melbourne, when 4500 naked volunteers posed for a pic near Federation Square as part of the 2001 Fringe Festival. Since then, he's also photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras, then returned to Victoria in 2018 shoot over 800 Melburnians in the rooftop carpark of a Prahran Woolworths. Elsewhere, Tunick has photographed the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK. The list goes on, with more than 100 temporary installations on his resume since 1992. [caption id="attachment_926441" align="alignnone" width="1920"] Melbourne, Spencer Tunick[/caption] "This major Tunick installation featuring thousands of nude bodies on the landmark Story Bridge is a visual expression of the diversity and inclusion that Brisbane's new LGBTQIA+ festival, Melt Open, aims to deliver across the city," said Melt Open Executive Producer Pieta Farrell. Brisbanites, or anyone who's keen to disrobe on the Story Bridge for a new piece of art, can put their hand up to join in — with the call for volunteers open now. And Tunick does indeed mean anyone, because there's no limit to the number of people who can take part. If you're not usually located in Brissie and you'd like to get snapped, you will need to travel at your expense. Successful applicants will be informed via email a few weeks prior to the shoot. [caption id="attachment_926442" align="alignnone" width="1920"] Jay Cull[/caption] Spencer Tunick's 2024 Story Bridge installation will take place on Sunday, October 27, 2024 during Melt Open. Head to the Brisbane Powerhouse website to register to take part. TIDE will be shot on Saturday, November 18, 2023 along the Brisbane River as part of MELT Festival 2023, which runs until Sunday, November 26 at Brisbane Powerhouse. For more information or to buy tickets, head to the fest's website now. Top image: Gateshead, Newcastle, England by Spencer Tunick.
China Diner has been a longstanding eastern suburbs hotspot for locals to hit up for a luxurious spread of dumplings or after-work cocktails by the beach. The moody interiors are the perfect place to while away the hours, while working your way through the drinks menu and that day's exciting mix of modern Cantonese eats. The mixed steamed dumplings ($24) are an easy place to start and always a home run with the whole party. Similarly, the chicken and sesame spring rolls with blood plum ($17) and the prawn and black fungi wontons ($17) are certified crowd-pleasers. More sizeable options are available to share or to order for a solo feast. The stir-fried king prawns ($37) come marinated in XO sauce and accompanied by asparagus and baby corn, the steamed silken tofu ($17) is topped with black vinegar, chilli and sesame seed dressing, or you can go all-out and opt for the twice-cooked crispy half chicken ($36). If you're with a group and you're looking to splurge, turn your attention towards the banquets which are available for $49, $59 and $69 per person depending on how extravagant a meal you're planning. The $59 option comes with all of your favourites including barbecue pork buns, xiao long bao, twice-cooked crispy chicken and pork san choi bao. And, as of Sunday, May 8 2022, yum cha is back on the menu. Exclusive to the Bondi outpost, China Diner's yum cha has made a return from 11am until 3pm every Sunday. Carts are roaming with a range of dumplings and buns (the prawn tom yum is definitely the way to go) with other China Diner favourites like 'chiko spring rolls' and chilli caramel pork belly on hand to ensure you have a memorable finish to your weekend. Updated Thursday, May 11 2022.
If you're heading home via Wynyard Station this evening, you might notice something new. In fact, it's pretty hard to miss. Today, sculptor Chris Fox unveiled Interloop, a striking, 50-metre-long installation that's now hovering above Wynyard's escalators, between York Street and the main concourse. Directly referencing its surroundings, the sculpture is made up of 244 wooden treads and four combs, all of which were once part of Wynyard's original escalators, built in 1931. However, they've been rearranged to appear like massive spectacular-looking concertinas — or maybe staircases out of a Salvador Dali painting. "Connecting yesterday and tomorrow, Interloop interrogates the conceptual and material boundaries between art and architecture," said Fox. "It is a physical re-interpretation...that re-purposes the hardwood from the heritage treads of now-retired escalators, into a sculpture weighing over five tonnes." Fox spent six months designing and engineering the installation, then twelve weeks fabricating it. The process involved a kilometre's worth of welding, via which Fox attached the treads to high-strength, marine-grade aluminium, before suspending the whole behemoth from the station ceiling with steel beams. Interloop is now on display at Wynyard Station above the escalators between York Street and the main concourse. Images: Josh Raymond.
Life was already pretty dandy for the residents of Summer Hill. This leafy inner-west slice of paradise is well-known for its large family parks, tennis courts, trendy cafes and a local barber who stands out the front of his shop greeting everyone who walks by. Now, just to rub it in our faces, they have a really awesome small bar. Located on the main intersection, where Smith Street meets Lackey, The Temperance Society sprawls over two narrow levels, weaving in and out of rooms like a family home. Upstairs there's a brightly wallpapered library filled with Chesterfield lounges, leather-bound books and the smell of rich mahogany. It looks like they've taken inspiration from Ron Burgundy's apartment. Downstairs there's the bar, a fairy-lit courtyard and various intimate nooks on the way. The primary focus is the drinks list, which showcases quality bevvies from within a 7km radius. On tap there's Young Henrys cider; a fruity German-style Zonnebeke witbier by Marrickville's Batch Brewery; a malty, red rye ale by Chippendale's Ironbridge Brewery; and a clean and grassy Convict Lager by The Rocks Brewing Co. Drinks can be bought via the pot/pint/jug ($5/$10/$17.50) depending on the intensity of your night, and for most, it's just a short stumble home to bed anyway. Lucky bastards. Cocktails also play up the local theme. The Lackey Street Lush ($14) combines vodka and cloudy apple, every 20-year-old's favourite drink, or there's the Smith St Society Classic ($18), a thick and spicy tropical punch filled with hunks of fresh orange, dark rum, caramelised brown sugar and ginger beer. The crowd-pleaser is the Little Myrtle ($18), which is made with Botanica's lemon myrtle liqueur, elderflower syrup and a toothpick threaded with blueberries. It has the delicious lemon fizz of a melted Calippo. The star of the spirits list is the Sullivan's Cove ($68), a luxury small batch whisky recently named best Australian single malt at the World Whiskies Awards, although you'll need to have a few drinks first before you're convinced to hand over the cash. Bar snacks consist of quick and easy cold charcuterie platters. Choose from a rabbit, quail and pistachio terrine ($9), sourced from Marrickville's Black Forrest Smokehouse and served with pickled green tomatoes, or there's a cheese plate ($9) with Hunter Valley Cheese Co. cheddar, pickles, onion and relish. The dip platter ($5.50) includes two dips homemade by a local Lebanese resident and served with a mountain of sliced sourdough. For the ridiculously cheap prices, it's surprising to find the serving sizes extra generous. One plate between two will have you cancelling your dinner plans. The Temperance Society is a charming old-world bar serving quality local drinks at unbeatable prices. I hate you Summer Hill.
For most of us on the morning after a big night out, our time is generally spent lounging around complaining, taking painkillers, drinking sports drinks, filling the bottomless pit that is your stomach with truckloads of the greasiest foods you can find and generally just waiting out the torture of the self-inflicted pain you have forced upon yourself. While this may seem like the only option of how to handle your hangover at the time, there are actually a plethora of natural methods which will rid you of that dreaded ill feeling or at least make you feel slightly more bubbly. Rather than just avoiding hangovers altogether by stopping at the second drink — which let's face it isn't going to happen at those big celebrations — Good.is suggests a few fresh and healthy ways to cure the hangover and get you back on your feet and functioning like a normal human being again. Miso Soup and Eggs Despite what you may be thinking by looking at the picture, this funky combination of miso soups and eggs is actually a great Japanese-inspired hangover cure because of the nutrients that it replenishes you with, which you lost from the previous night of drinking. Stacked full of sodium, water and electrolytes as well as probiotics to subdue that queasy stomach, this trick will be sure to get you charging for the rest of the day. Omega-3 Omega-3 is a fantastic nutrient to take to alleviate hangovers as it helps clear the free radicals produced when alcohol is broken down. Omega-3 also helps fight the dry, blotchy skin on your face, which alcohol causes. Have a cuddle To dim your stress levels and get yourself feeling better just have a 20 second Oxytocin-releasing hug. Studies have shown that after a 20 second embrace with someone, oxytocin will be released, which helps relax and repair your body. Inconclusive evidence has also shown that having sex is a great hangover cure - probably largely due to the hormones released, but also cause it will simply take your mind off the pain. Get a Massage Massages are very helpful the morning after a night out, not only because of the release of happy hormones such as oxytocin but also because they have been proven to help your body produce more white blood cells and thus boost your immune system. So if you're looking for an excuse to treat yourself, simply have a few more shots. Take a Dip One of the most effective (and nice) ways to cure a hangover is to submerge yourself is some refreshingly cool water and have a swim around. Find yourself a body of water - preferably a beautiful white sandy beach with a radiant, shining sun - and have a dunk to wake yourself up, clear the head and rejuvenate yourself for the day ahead. Go Bananas Bananas are a great source of potassium and vitamin B, which help replenish your body's lost nutrients, and they also rehydrate your dehydrated body. And what better way to consume them than by making a delicious smoothie. Alternatively, a berry smoothie would also go down a treat because of the antioxidants within them. Mix it up with almond milk to make it twice as effective as the healthy fats, oils and vitamins in the almonds will help get you back on your feet. Drink Some Coconut Coconut water can be extracted from coconuts while they're still very green and not mature enough to produce milk. This wonder fluid has been used intravenously in medical emergencies for rehydration, so it's pretty safe to say it'll do wonders for your hangover. It also has no fat, is low in calories and is lower in sugar than most other juices — it's a win-win! Kombucha Tea Despite it's not-so-delicious looking floaties and somewhat sour apple cider vinegar flavour, Kombucha tea is a fermented miracle drink which is great for liver stimulation or detoxification, blood purification and even euphoria. So to replace your vacant look of pain and regret with a beaming smile, simply get yourself some Kombucha tea. Pickle Juice Although this last one is somewhat disputed, pickle juice is the cure of choice in Poland and has been shown to be highly effective in quelling the effects of the hangover. The sodium of the juice helps you bring your electrolyte levels back up in order to help you rehydrate. Honey is also a great addition not only to lessen some of the awful taste, but also because the glucose and fructose assists the rehydration process.
In the initial two episodes of Scenes From a Marriage, Mira (Jessica Chastain, IT: Chapter Two) and Jonathan (Oscar Isaac, Star Wars: Episode IX — The Rise of Skywalker) brush their teeth in front of their ensuite mirror. It's an everyday task in a familiar place, spanning something we all do in a space we all use, but this powerful five-part HBO miniseries turns these two scenes into a complex snapshot of its central couple. It takes not just skill but feeling and understanding to turn such a mundane activity into a must-see; however, that's this weighty show's remit. Scenes From a Marriage gets viewers engrossed in cleaning teeth because it's ordinary, and because everything within its frames fits the same description. Its central relationship careens from happy to heartbroken, comfortable to distraught, and assured to messy, but it also charts a path that countless others have before it. When they first pick up their toothbrushes, Mira and Jonathan attend to their dental hygiene side by side. They chat between foamy mouthfuls. They're relaxed. They've had an unusual day, after talking to a researcher about their nuptials and then hosting a tumultuous dinner with friends, but they're settled in their usual regime. Seconds afterwards, they'll discuss significant news, but they approach that, too, with a sense of unthinking security. But just one episode later, when they brush again, everything has changed. Mira returns from a work trip to share a bombshell revelation, Jonathan doesn't take it well, and he stands back and stares at they each clean. She can't meet his eyes. He won't look away. Their tension, pain and sorrow fills the entire room, as does their uncertainty — and it's a case of two moments, two people, two vastly different pictures of their relationship. Dedicating each episode to a significant day over the course of several years — hairstyles change, and the couple's daughter ages (primarily off-screen) — Scenes From a Marriage is filled with these routine moments. It's a show about patterns, cycles and echoes, how they ripple through relationships and, when broken or changed, how their absence is felt. Much of the series takes place in the same domestic space, too, as the pair rove around the house they've made their home. So, viewers see the duo walk through the same rooms, sit in the same chairs and recline in the same bed. They have variations of the same discussion over and over as well. Every romance is an ongoing conversation that loops, sprawls and repeats, but Scenes From a Marriage pushes this notion to the fore. Mira and Jonathan are always talking, in some way, even when they're not. Their dialogue continues whether it seems like it's just another evening in the bathroom, or it's a terse morning after everything has disintegrated — and as a whirlwind of love, sex, heartbreak and chaos whips through their relationship again and again. It shouldn't be easy, peering into a romance as its bliss fades, and stepping into its ongoing conversation. That idea isn't Scenes From a Marriage's alone, and it wasn't new in 1973, when iconic film director Ingmar Bergman ran with it in his Swedish TV miniseries of the same name. But as penned and helmed here by The Affair's Hagai Levi, HBO's take on the concept turns the familiar and complex into the raw and the riveting. It breaks a relationship down into pivotal moments to strip away the blissful front that couples build for themselves, and the image they project to the world, and it refuses to look away as things turn difficult. Sketching out anything this complicated via just a few scenes is a gimmick, obviously, as the series even nods to in opening scenes that follow Chastain and Isaac getting into character. Still, in the right hands, and with the right tale of a marriage's minutiae, it's also devastating and powerful. Scenes From a Marriage circa 2021 is shot and scored to ramp up that intensity, that simmering uncertainty, that seesawing between two extremes. Cinematographer Andrij Parekh, a veteran of Blue Valentine and its similarly haunting exploration of a romance in decline, prowls carefully and patiently around comfortable spaces adorned in neutral tones — places The White Lotus' characters might've gone home to post-Hawaii — but lets both light and darkness visually clash and compete for attention. Composers Evgueni Galperine and Sacha Galperine craft a score that also rides an emotional rollercoaster, setting the tone as precisely as they previously did with fellow HBO miniseries The Undoing. Each element of Scenes From a Marriage is fine-tuned to amplify the highs, the lows, and the constant to-and-fro between them. That said, this tale of an ambitious tech industry executive, her ex-Orthodox Jewish philosophy professor husband and their fraying nuptials was always going to live and thrive via its two lead performances. Chastain and Isaac, welcome additions to any on-screen project, have played a married couple before. In fact, 2014's A Most Violent Year also saw them navigate a stormy union — and it, like its main duo, was exceptional. The pair certainly know how to project intimacy on the red carpet, as they did at the Venice Film Festival premiere of Scenes From a Marriage. They don't falter in the series itself, even with a concept that could've played like an acting exercise. Again, the conceit is highlighted in those opening seconds of the duo as themselves; however, as Chastain and Isaac walk across the set that swiftly becomes their Mira and Jonathan's home — doing so with masks and distancing, because this was shot during the pandemic — they also help viewers step into their characters with them. When the camera is rolling rather than flashing, Chastain and Isaac are both experts at unpacking someone's entire emotional journey in just their gaze and stance. Accordingly, when the series flickers from the pair as actors to the duo as Mira and Jonathan, it feels seamless even though the artifice is being called out. They take the plunge, the audience does with them, and we all explore what's happened after Scenes From a Marriage's protagonists did just that. On-screen, opposites attracted, then this pair combined their lives and marched forward towards the future, and now everyone weathers the fallout. Chastain and Isaac are also masterful at responding to each other, and at letting those reactions tell as much of the story as the dialogue they're speaking. It's been done before, and will be again — officially and in everything else that's taken cues from the original Swedish series — but here and now, this series works as grippingly and movingly as it does because of its stars. No one can look away as they brush their teeth, share long looks and fling all manner of words at each other. They don't want to themselves, and neither do we. Check out the trailer below: The first two episodes of Scenes From a Marriage are available to stream via Binge, with new instalments dropping weekly. Images: Jojo Whilden/HBO.
Winter is well and truly upon us. Everywhere you look, Sydneysiders are decked in their downiest puffer jackets and thickest tracksuits. But don't let the oh-so-chilly air stop you, because the city is still in full swing. Winter is a season of warmth, driven by delicious roasts and hot drinks, and you don't need to rug up at home to enjoy that side of the season. Step into the warm sunlight and get ready to browse, because busy markets are popping up across Sydney to fill baskets and bags with all the fresh produce, tasty treats and homemade gifts you'd ever need. Start by pencilling in a visit to the Cronulla Winter Market. This 100-plus stall event is returning to its annual home of Don Lucas Reserve on Saturday, July 29 and Sunday, July 30, from 10am to 3pm. Here, you can get your hands on anything, from swimwear to ceramics. To keep your shopping energy up, fill your stomach with street food, baked goods, healthy choices and everything in between. If time gets the better of you, or if you're looking to get some serious shopping done, make plans for The Ultimate Winter Market EQ. This is being held on Sunday, August 6, from 10am to 3pm, under the Entertainment Quarter's Market Canopy. This is another 100-plus stall market, but it's in the heart of the bustling Entertainment Quarter, so expect live music and entertainment for all ages alongside the goods and food available. You're also within range of the local entertainment venues and can take advantage of two hours of free parking at the Entertainment Quarter. The Cronulla Winter Markets are running on Saturday, July 29 and Sunday, July 30, from 10am to 3pm at Don Lucas Reserve. The Ultimate Winter Market EQ runs on Sunday, August 6 from 10am to 3pm at the Entertainment Quarter. For more information on either, visit the Cambridge Markets website.
Today, Eric Bana is a world-renowned film and TV star with a resume that spans Australian and Hollywood fare. Black Hawk Down, Hulk, Troy, Munich, Star Trek, Hanna, Aaron Falk movies The Dry and Force of Nature: The Dry 2, US television shows Dirty John and Untamed: they're all on the Aussie actor's resume. At the beginning of 2000, however, he had a part in The Castle as his sole big-screen appearance, alongside his small-screen sketch comedy work in the likes Full Frontal, plus a few episodes of medical drama All Saints. Then came Chopper. Ever since Bana portrayed Mark 'Chopper' Read in the exceptional Andrew Dominik (Blonde)-directed flick, it's been one of the first roles that springs to mind whenever anyone thinks about the Australian talent. Well-deserved accolades came his way, including Best Actor at the Australian Film Institute Awards (which have since become the AACTAs). If you need a reminder of why his performance demanded such praise — and the film, too — catching a 25th-anniversary cinema screening of the iconic feature will do the job. To celebrate a quarter of a century since Chopper first hit Aussie picture palaces, the film is returning to local big screens for a limited season from Thursday, August 21, 2025. As well as the movie itself — one of the finest Australian entries in the true-crime genre, and a stunning feature debut from Dominik — audiences will also see 13 minutes of bonus behind-the-scenes footage, chats with Bana, Dominik and Read among them. How does Bana look back on the role that made him an international movie star, and tells one of the most-infamous crime tales in Aussie history? "Chopper was an incredibly unique and distinctive character. Getting the chance to play someone like him is rare. It's always a treat if a film holds up over time, and I'm proud of its space in the Australian film landscape," he advises. This isn't Chopper's first return to the big screen — it also enjoyed 20th-anniversary sessions, pops up on retrospective programs and received the Hear My Eyes treatment at MIFF 2022 — but it's always worth watching in cinemas. Marking the leap from making music videos to features, the movie also helped catapult Dominik's career, too, with The Assassination of Jesse James by the Coward Robert Ford, Killing Them Softly and Blonde all following, plus episodes of Mindhunter, and Nick Cave-focused documentaries One More Time with Feeling and This Much I Know to Be True. Check out the 25th-anniversary trailer for Chopper below: Chopper is returning to Australian cinemas from Thursday, August 21, 2025.
If crafting a successful sequel wasn't already a difficult assignment, doing so for a movie remembered for its quirkiness and surprise factor must border on the impossible. Still, when Kingsman: The Secret Service took in over $400 million worldwide, a follow-up was inevitable. And so two years later director Matthew Vaughn has returned to the world of suave secret agents with Kingsman: The Golden Circle. Let's be clear: this is a ridiculous movie in almost every respect, from the mad-cap story through to the action scenes, cameos and costuming. Everything in Kingsman: The Golden Circle is hyped-up, spun-around, slowed-down, blown-up or cut in half. Gravity is largely ignored, except when it's used as a weapon, and henchmen die with the same violent regularity as extras in Commando. There are robotic killer dogs, cannibalistic villains and Elton John ninja-kicking a bad guy in the face. As we said, it's ridiculous – but also surprisingly entertaining. Our villain this time round is none other than Academy Award winner Julianne Moore as Poppy, the world's leading and most ruthless drug tzar. Her Cambodian lair has been fashioned as an homage to 1950s Americana, complete with bowling alley, golden age cinema and a shake and burger diner in which she both conducts her business and minces her victims. She's an apron wearing Stepford Escobar who owns every second of screen time given to her. Tasked with stopping Poppy are the bespoke-suited Kingsmen in chav-turned-gent Eggsy (Taron Egerton) and his tech man Merlin (Mark Strong). Back too is Colin Firth's Galahad, suffering from a nasty bout of retrograde amnesia. They're also joined by their American counterparts The Statesmen, whose ranks include Halle Berry, Pedro Pascal, Jeff Bridges and a criminally-underused Channing Tatum. Silly and fun as it might be, there are some glaring problems with this film, most notably that it's unfathomably sexist. With the one exception of Julianne Moore's Poppy, every single woman in Kingsman: The Golden Circle exists only as a victim, a love interest or an assistant to her male counterparts. Given the movie was co-written by Jane Goldman, it's beyond comprehension why such rampant and unnecessary gender bias could exist in a movie where masculinity plays no meaningful purpose. Yes, it's about spies in sumptuous suits, but as one of the early scenes demonstrates, Eggsy's best friend and colleague Roxy looks as good if not better in the ole pin stripes and paisley, to say nothing of her abilities. Still, the film is entertaining in spite of its flaws and it thankfully retains enough shock factor to honour the original. The final scene also makes clear that the producers are prepping for part three. Love it or leave it, there's more Kingsman to come. https://www.youtube.com/watch?v=6Nxc-3WpMbg
If you've ever wandered into Heartbreaker at midnight, or were lucky enough to perch at The Everleigh or Bar Margaux, you've felt the Madrusan effect — fastidious drinks, generous service and a belief that the right cocktail can change the temperature of a night. Zara and Michael Madrusan's new book, The Madrusan Cocktail Companion, is that ethos on paper: a sprawling, meticulously organised reference designed to be used, dog-eared and returned to again and again. [caption id="attachment_854881" align="alignnone" width="1920"] The Madrusan's iconic rock 'n' roll dive bar in Melbourne's CBD.[/caption] Originally designed as an in-house guide for their own teams, the Companion has evolved into what Zara describes as "the definitive reference guide for classic cocktails, young and old" — the result of years of collecting, perfecting and categorising recipes from across the globe. The finished product is a bible that is equal parts accessible and technical (and looks pretty chic on the coffee table, too). We caught up with the Madrusans to talk about their cocktail philosophies, the summer drink everyone will be sipping, and why aperitivo culture will never go out of style. View this post on Instagram A post shared by Bartender's Choice Consultancy (@bartenderschoiceconsultancy) CP: Let's talk summer drinks — if you had to pick one cocktail as the drink of this Australian summer, what would it be and why? Zara: The Pepino: a Blanco tequila sour with cucumber. It's light, clean and fresh. Tequila is thriving and we're here for it. CP: What trends are you noticing right now in the way Australians are drinking — either in bars or at home? Zara: Agave spirits are more popular than ever with our guests, and for good reason. There are so many amazing products available to us now. With more emphasis on health and wellbeing, low sugar, savoury cocktails are also very popular with ingredients like ginger, chilli and tomato. The martini is still having a moment (which is also music to our ears). This ongoing trend is pushing the industry to experiment with the classic formula, as well as creative garnishing, and scale — we love a half-size Hoffman House directly from the freezer, lemon twist, personally. CP: Spritzes and lighter aperitivo-style drinks have been huge over the past few years. Do you think that momentum will continue, or is something else about to take its place? Zara: The thing about aperitivo drinks is that they were deeply embedded in [Italian] culture long before they were popularised in modern culture. To so many people around the globe, they're not just drinks — they're a moment in time. Aperitivo culture connects people. View this post on Instagram A post shared by Concrete Playground Melbourne (@concreteplaygroundmelbourne) CP: For readers who want to impress friends at home this summer, which recipe from the book would you recommend they start with? Zara: Five-star cocktails don't have to be big, fancy-looking drinks. Some of the best reactions we've received from guests have been when we've offered simple, creative tweaks to well-loved classics — like adding a few dashes of absinthe to the negroni to make a 'Quill' or 'Ritz Negroni'. A subtle change that transforms the flavour profile, giving a crisp, dry finish to the bittersweet classic. Start with a base that people already know and love. This is where The Madrusan Cocktail Companion works wonders — if you know they love Gimlets, head to the Gimlet branch and you'll find a whole chapter of variations to explore. CP: The book draws on cocktail history dating back to the 1800s. Do you see any "forgotten classics" making a comeback this season? Michael: There are so many forgotten classics that are worthy of a resurgence, and we really hope this book brings them out of the shadows. I'm a big fan of blending base spirits — gin and Cognac go well, especially in refreshing drinks like the "Stay Up Late" from 1951. Zara: There are age-old cocktail categories included in the book that we don't see enough of currently. Simple drinks like the Sherry Cobbler from the 1860s deserve a renaissance this summer. CP: Non-alcoholic and low-ABV options are now firmly part of the drinking culture. How did you approach including those in the book, and what's exciting in that space for summer? Zara: Non-alcoholic cocktails deserve to be interesting and complex. The rise in their popularity is no surprise and shows no sign of slowing. Similarly, low alcoholic cocktails are a no-brainer. People are drinking differently, and it's exciting. We pushed our peers around the globe particularly with this category and included two distinct chapters in the 'By Popular Request' section of the book — 'Aperitivo and Spritz', which contains various low-ABV options, and a separate 'Non Alcoholic' collection with drinks spanning all styles. Don't skip past 'La Piña' by Jessica Gonzalez of Nomad NYC for sober summertime sessions — a Piña Colada riff spiked with jalapeño and lengthened with soda. CP: The scale of this book is staggering — but how do you personally like to drink when you're off-duty at home? Zara: We like a simple frozen Martini. It's truly a poem in a drink. 'The Madrusan Cocktail Companion' is out now — available via Murdoch Books. Prefer to have your cocktails made for you? Check out Melbourne and Sydney's best bars. Images: Supplied
If you're a Rozelle local — or simply a burger enthusiast — it's likely that you already know about this joint dedicated to the dish. From the classic cheeseburger and B&E to the famed Oklahoma smashed fried onion burger, this Darling Street outpost has been slinging quality burgers since its grand opening in 2019. Eat at ROBs — Rozelle's original burgers — is all about crafting a culinary experience that's housed neatly between two toasted burger buns. Its menu takes cues from familiar American-style dining, but with a twist. Each patty is seasoned generously with an in-house spice blend and is paired with ROBs' sauce — a specialty burger sauce curated by the team. With a menu spanning seven burgers and a humble bacon and egg roll, the casual outpost has lived up to its promise to leave a lasting impression upon locals and new diners alike. The cheeseburger is kept simple, with smashed patties, cheese and onions on a soft potato roll from Martin's, and it boasts enough flavour for the burg to be served without sauce. As for the chicken cheeseburger, this fresh take centres around a chicken patty instead of the classic beef, which is paired with bacon, lettuce, provolone and guacamole. Finally, the dish that the joint has become renowned for is its Oklahoma smashed fried onion burger. Expect a crispy yet juicy patty, or two if you opt for the double, accompanied by the classic pairing of lettuce, pickles, fried onion, melted cheese and ROBs' sauce.
Decking out your house with budget-friendly homewares and furnishing your abode with meaningful items aren't mutually exclusive. A case in point: Kmart's First Nations program. The retailer highlights Indigenous talents by creating collections in collaboration with artists — and, crucially, making their work accessible en masse. The latest creative teaming up with the brand: Dharug and Darkinjung artist Kyralee Shields. As Wiradjuri artist Judith Young did in 2023, Shields has overseen her own range with the department store, which hits shelves — and online — on Thursday, April 4. Called Mudyin Ngurrawa, it takes its name from the Dharug term for "family on Country". As featured on bedding, candles, servingware, candles, wall art and more, the theme comes through in the designs, the use of colour and the tales told via her art. One pink-, green- and brown-heavy pattern spans bottlebrush and gum leaves, native flowers and yam daisies, and representations of the tides and mountains. Another splashes a pale pink hue around prominently, using circles, arcs, dots and drawings of message sticks to link to Shields' ancestors, her maternal grandmother in particular, her mother and her three children, and also represent the space between Shields and The Dreaming. Clearly, when Shields makes art, she's taking her cues from her Indigenous heritage while conveying her own identity, and also aiming to both express and inspire cultural pride. Her pieces tell a story, then, including about her family and her mother's experience as part of the Stolen Generations, with Shields working closely with Kmart's design team in Melbourne to ensure that it came through authentically and accurately in the Mudyin Ngurrawa collection. To witness the results, and fill your home with them, you can shop the range's 13 items, with prices starting at $5. For that amount, you can get a four-pack of napkins. From there, a two-pack of Mudyin Ngurrawa mugs costs $10, while $12 gets you a three-pack of tea towels, a plant pot or a serving board. A tablecloth costs $14 — as do two types of candle, a mountains and a wildflowers version, as sold separately. Or, opt for the enamel bowl for $18 or enamel tray for $25. The quilt set comes in two sizes, queen and king, for $20 and $24, respectively. And, a canvas to hang is priced at $29. "Collaborating with Kmart is a dream come true. It's allowed me to work with a brand I grew up with who provide quality, on-trend products that are accessible to a wide demographic. It has enabled me to share my art with a wider audience while working with a forward-thinking chain," said Shields about the range. "Having a brand like Kmart support First Nations artists provides broad exposure to our culture and heritage through art and storylines within the evolving contemporary style, which is important to me," she continued. "It's been so gratifying to work on this project with such a wonderful team of people. It's also been enlightening to see all the different aspects that took my original painting through to the completion of this incredible range that now line Kmart's shelves." Kmart and Kyralee Shields' Mudyin Ngurrawa collection is on sale online and in-store from Thursday, April 4, 2024.
Whenever Kmart drops a new homewares range — be it beachy and boho or colourful and cosy — it inspires a Pokémon-style response. If there's new linen, trinkets and furniture to buy, you've gotta deck out your house with them all. The Australian department store's latest must-buy pieces will spark the same reaction, too, all while heroing Wiradjuri artist Judith Young. She has teamed up with the retailer on the just-dropped Waluwin collection, the latest in the company's First Nations program. Waluwin is the Wiradjuri word for healing and good health, which Young is keen to highlight in the range of wooden bowls, serving platters, eucalyptus-scented candles, cotton quilt sets and more. Customers can also purchase other pieces of serving ware, tea towels, candles, decorative pots and a canvas art print. On sale since Monday, March 6 online and in-store, the collection keeps everything affordable — $10 gets you a reusable stainless steel tumbler, while queen bedding tops the price list at $65. Whatever you opt for, you'll see a leaf design that's "symbolic of the Waluwin way, and each leaf represents something different," Young explains. "Many Aboriginal people around this country will all have different varieties of plants and trees that they use to make them well, and that is part of the diverse story we have as Aboriginal people." We are all different, our artwork and stories are different, and each has deep significance, just as my markings have meaning to me and my family." For the Waluwin collection, Young drew upon her family's history, with her parents growing up along the Murrumbidgee River in Narrandera in New South Wales. Her mother Judith Williams (nee Johnson) was a watercolour artist, while her father Kevin Williams was a boomerang and artefact maker. Accordingly, watercolour painting and burning techniques both feature. So do lines representing tree carvings, dots that are all about mob coming together, circles that symbolise water holes, and plants such as wattle and tea tree. The collaboration with Kmart appealed to Young because "a lot of our mob positively connect and shop at Kmart around Australia," she notes. "So to have the opportunity to work with them on this collection will have an impact on family across Victoria, regional NSW, Sydney, Darwin and Adelaide. The deeper reason is that I felt that it was the right thing to do, from the first meeting the atmosphere in the head 0ffice with the design team set the flow for the entire collection." Together, Young and Kmart's design team worked through themes and topics within her artwork, including family traditions, and what various colours and markings mean. The aim: to ensure that each design has a story that connects to the land, and that exactly that came through in the finished products. "It was a new experience for me, working with a big company, and a challenge at first. The design team had respect not just for the image but the story and helped make it an easier process, as I did have some challenges with trust and getting out of my comfort zone — but to see how they were really careful when considering each marking, colour and every component was incredible. I felt respected and know that my story and that of my family has been honoured," Young continued. "From this collection, I want people to know my work is about health, healing, joy and peace, speaking to the importance of healthy minds, bodies and spirit. This comes from connecting with Country, eating well and listening to your surroundings. The collection is about covering yourself in a healthy way of living, from what you eat, drink, wear, and sleep under." Kmart and Judith Young's Waluwin collection is on sale online and in-store now.
When Australian men cross-dress, it's usually very camp or very bogan. When young English boys do so, it's civilised, or so it would seem from watching Sasha Regan's production of the Gilbert and Sullivan classic The Pirates of Penzance. Regan has mentioned in her program notes that she has tried to re-create the days of single-sex high school productions, which necessitate cross-dressing to cover all roles. She's certainly managed to give the production a high school revue air, whilst elevating it to a professional, technically sound show. This is not some edgy interrogation of gender but rather a well-executed piece of good clean fun. It's respectable for musicals to entertain for entertainment's sake, and it's even better if they're done with this level of flair and aplomb. Some of the best comedy arises out of subjects taking themselves far too seriously and these corseted men are deadly sincere. The hilarity of cross-dressing wears off quickly and the story takes precedence, even if W.S. Gilbert's plot is basic. Alan Richardson as Mabel is the main reason for this. His solo, 'Stay Fred’ric, stay' verges on moving. He uses a squawky falsetto judiciously for comic effect and impressively sings the rest in a genuine soprano range up to a high D flat. As castration has long since been outlawed in his native England, his range can only be attributed to some serious dedication. One of the standout performers is Lee Greenaway playing the incidental character of Connie, a bashful, bespectacled young maiden extremely keen to be married off to one of the dashing pirates. By evoking a sublime mixture of coyness and romantic mania, Greenaway all but steals the show. Although he is doubtless an accomplished singer, every time he opens his mouth as Connie a histrionic shriek emanates that would wake the dead. He is very funny, along with other comic gems such as Joseph Houston playing the dowdy but loyal Ruth. An all-male cast of sailors and maids sounds like Sydney's idea of paradise. It's not all camp spectacle — there are also some fine moments of plain good performance — but yes, let’s face it; there are many robust young men on stage at one time. As Cate Blanchett put it on opening night, “Welcome to Sydney, boys.” Photo by Lisa Tomasetti.
