If Pedro Pascal wins an Emmy for The Last of Us, how charming will his speech be? From its whopping 27 nominations, how many trophies can the final season of Succession collect at Hollywood's TV night of nights? What will Jennifer Coolidge say when she beats out three of her co-stars from The White Lotus season two for the Outstanding Supporting Actress in a Drama Series award? You'll now find out in January. Hollywood's big television celebration usually takes place in September, and has already announced its 2023 nominees. But, as expected since late July, this year's Emmys will delay anointing a new round of winners. Due the current film and TV industry strikes, with both writers and actors downing tools, the awards ceremony for the small screen-centric accolades has been postponed. The new date, as announced by the Academy of Television Arts & Sciences and FOX (which will air the event): Monday, January 15, 2024 in the US, which is Tuesday, January 16, 2024 Down Under. Accordingly, the entertainment industry's beginning-of-the-year awards rush will get even busier next year. When a new annual calendar ticks over, the Oscars, Golden Globes and more hand out their latest round of gleaming trophies, celebrating films and TV shows that've shone bright over the prior 12 months — and now the Emmys will join them. 2023's awards were due to take place on the night of Monday, September 18, 2023 in the US, which is Tuesday, September 19, 2023 in Australia and New Zealand. If the strikes are still ongoing on that date, however, actors and writers can't attend the ceremony — not the red carpet, nor the awards themselves — meaning that the bulk of the televised accolades wouldn't be able to be accepted by their recipients. Also, the shindig would look mighty empty. Cue the move to reschedule, holding off until the Alliance of Motion Picture and Television Producers comes to an agreement with SAG-AFTRA and the Writers Guild of America. The Television Academy and FOX clearly hope that a January delay will be long enough. When the ceremony is held, the Emmys will likely give HBO plenty of love. In this year's nominations, the US cable network scored a massive 74 nods for just three series: Succession, The Last of Us and The White Lotus. TV's best case of family feud earned recognition for almost every actor who appeared in its fourth and final season in leading, supporting and guest roles. In the Best Actor category alone, Brian Cox, Jeremy Strong and Kieran Culkin are going head to head. The most spectacular game-to-screen adaptation yet nabbed 24 nominations in total, while vacation chaos brought about 23 nominations. The other show that racked up a comparable tally? Apple TV+'s Ted Lasso with 21 nods. Similarly in the running: everything from Andor, Better Call Saul, House of the Dragon and Yellowjackets (all in the drama fields) to Abbott Elementary, Barry, The Bear, Only Murders in the Building and Wednesday (the comedy categories), plus the likes of Beef, Daisy Jones & the Six and Fleishman Is in Trouble (limited series) as well. Hollywood talents are fighting against diminishing residual payments for performers, and to establish firm rules about the future use of artificial intelligence in the industry, among other improvements to working conditions. When they took action in mid-July, SAG-AFTRA's members joined their counterparts in the Writers Guild of America, who've been striking since May. The current strikes are affecting film releases, too, with Australian crime-thriller Force of Nature: The Dry 2 already ditching its planned August date with cinemas given that star Eric Bana a member of the striking SAG-AFTRA. It's also been rumoured that big blockbusters such as Dune: Part Two, Aquaman and The Lost Kingdom and The Colour Purple might also delay their releases, including until 2024; however, none have officially shifted their dates as yet. The 75th Emmy Awards will take place on Tuesday, January 16, 2024, Australian time. Check out the list of 2023 nominations, and head to the Emmys' website for further details.
Traditionally, Albury hasn't made many a traveller's bucket list. Drivers tend to whizz past on their way to quainter spots, like the gold rush town of Beechworth or the alpine village of Bright. But, over the past couple of years, this 45,000-person city on the northern banks of the Murray River has transformed itself into a destination. There's a blockbuster-capacity gallery, a sculpture trail, a designer hotel, and a slew of new restaurants, bars and cafes. In between art-ing and eating, you'll find mountain biking and paddling adventures a-plenty. So, next time you're racing along the Hume, stop over for a night — or three. Albury lies 462 kilometres southwest of Sydney and 326 kilometres northwest of Melbourne. Let's get into all things Albury. STAY Stretch your legs after the easy drive and check in to one of Albury's best modern stays. With its oversized industrial light fittings, Scandi-inspired high stools, vintage-style bicycles and open plan, the Atura Hotel's foyer feels more like an inner-city warehouse than a hotel lobby you'd stumble across in Albury. And this is just what Atura, a brand belonging to the AHL Group (which also owns QT, Rydges and Art Series) is going for — more art and better design in regional places. The reception 'pod' flows into the bar, where guests crowd around a retro-inspired pool table. The bar morphs into the Roadhouse Grill, dishing up popcorn prawns, braised lamb shanks and local Gundowring ice cream sundaes by night, and buffet breakfasts from 6.30am. Through the glass back wall, black and white NEMO face chairs look over an arc-shaped pool. Keep an eye out for inflatable pink flamingos around the place and Friesian cattle, who drop by occasionally. [caption id="attachment_563142" align="alignnone" width="1279"] Supplied by Atura[/caption] For excellent views of Albury's motley skyline, ask for an east-facing room on the seventh floor. That said, each of the 140 rooms is decorated with the fun yet sophisticated aesthetic informing the entrance. You'll be napping in a king-sized bed, swinging a cat around in loads of space, cleaning up with Malin + Goetz toiletries in a mural-covered ensuite, sipping free coffee from your own machine and tapping into free wifi. To save some dosh, jump on one of Atura's packages, which top up your stay with gallery tickets, cocktails, movies and more. EAT AND DRINK Make your first stop the River Deck Cafe, open daily for breakfast and lunch, and Thursday to Saturday for dinner. You'll find it right on the Murray, among the leafy plane trees of idyllic Noreuil Park. For years, there was only a kiosk here, but in May 2015, Alex Smit, who's been proprietor since 2011, transformed it into a 120-seater restaurant, bringing in Mauritian-born Ludo Baulacky as head chef. Goat's cheese is turned into dollops of pannacotta, carefully arranged among pickled mushroom, baby beetroot, stonefruit and dukkah. For a light lunch, it's a good match with the herby quinoa salad, which comes with candied walnuts, honey dressing, tomatoes and olives. Among the share plates, there's a Milawa cheese platter and a salmon brushcetta with smoked salmon, crème fraiche and caperberries. If you're looking for a hearty main, try the seared barramundi with cauliflower and dill puree, pickle, clams, soy bean and chicken jus. A map in the menu shows you what produce comes from where — one of the River Deck's local mainstays is Rad Growers, a small farm in Bungowannah, twenty kilometres west of Albury. On the main drag, Green Zebra has been making housemade Italian food for 15 years. You can design your own dish by choosing from the pasta, sauce and ingredients menus. Do not stop yourself from ordering the lemon tart for dessert. On Townsend Street is The Proprietor, a friendly, pendant-lit, checkered-floored cafe, serving Padre coffee from Brunswick, and an all-day menu driven by local suppliers. Go for grilled haloumi and dukkah eggs with hummus, salty lemon, watercress and sourdough, or the mushroom toastie, with cheese spread, haloumi, garlic and green sauce. Another of Albury's outstanding new additions is Boom Boom. Tucked away in AMP Lane, this wine bar and eatery feels like a transplant directly from Melbourne. Owner Matthew Carrington has made sure that every element is on point — from the beautifully-curated, globe-spanning wine list to the impeccably-balanced cocktails to the in-house charcuterie and laidback soundtrack. The star share plate arrives crowded with wagyu bresaola, finocchiona-wrapped caperberries, pancetta, pickled grapes and oyster mushrooms. Unwilling to share? Go for a 'Big Thing', like the ling en papiotte with chilli, lemon, coriander and kipfler medallions, or the scotch fillet with potato rosti and tomato bourbon relish. You can relax in the laneway at a table for two, perch at the bar or take over a communal bench. Another dinner option is the long-standing Border Wine Room. If wine bottles could speak, this place could tell a tale or two — the walls are dotted with empty Grange vessels. The a la carte menu changes monthly, while the six-course tasting menu is revamped fortnightly. Keep an eye out for special events — from French wine tastings to chocolate degustations. DO In late 2015, after a $10.5 million makeover, the Albury Regional Gallery reopened as MAMA (Murray Art Museum Albury), with a 14-metre-high curved wall and a visionary director named Jacqui Hemsley, who's passionate about getting people excited and engaged. To that end, MAMA is currently hosting its first blockbuster: Marilyn: Celebrating an American Icon, showing till May 8. Live circus is coming up on April 22 and 23, and, on May 21, the MAMA Art Foundation National Photography Prize, worth $50,000, will move in. The gallery also now has its own modern, casual eatery: Canvas. It's hidden away from the main street, overlooking a quiet, grassy square. Concertina windows allow natural light to stream into the high-ceilinged space, and the menu features luxurious twists on classics. Think coddled egg with truffled mushroom duxelle and brioche soldiers, and duck benedict with house-smoked duck ham, brioche, poached eggs, beurre noisette hollandaise and spinach. Canvas is open daily for brunch and lunch, and Wednesday-Saturday for dinner. Back alongside the Murray, you'll find the five-kilometreYindyamarra Sculpture Walk, stretching between Kremur Street and Wonga Wetlands. It's part of the Wagirra Trail, a work-in-progress that will ultimately consist of 70 kilometres of riverside shared paths. Every sculpture — from the giant-sized Maya Fish Trap by Uncle Tunny, Darren Wighton and Andom Rendell, to Reconciliation Shield by Tamara Murray — was created by local indigenous artists and is a response to the river. Whether you walk or cycle, take your mobile, to access augmented reality at each stop. Despite Albury's sizeable population, wild places are easy to access. To get on the river, hire a canoe from Murray River Canoe Hire, who'll drop you eight or 12 kilometres upstream for an easy one-two hour paddle back to town. Prepare to meet cheeky flocks of white cockatoos, cormorants and white ibises — 350 bird species live along the Murray, which, at 2,700 kilometres, is the third longest navigable river in the world, after the Amazon and the Nile. There's also some cracking mountain biking terrain. And, four years ago, elite biker Indi Boer, who's won 19 international and national titles, set up a coaching school named The Fastline Bikademy. If you're a beginner, sign up for a basic skills lesson and by the end of it, you'll be conquering scary dips and powering around corners. Experienced? She'll spend hours helping you to refine your skills, so you can take on tougher rides with more skill and strength. If you're looking for an excuse to head to Albury sooner rather than later, the annual Gold Cup is coming up on March 17 and 18. With more than 15,000 people expected to attend, it's the most popular country race in NSW — and an official public holiday for Albury residents. There'll be live music, craft beers and pop-up stalls peddling local produce. LET'S DO THIS; GIVE ME THE DETAILS By car: Albury is about six hours drive southwest of Sydney, and about three-and-a-half hours' drive northwest of Melbourne. By train: The XPT takes seven-and-a-half hours to reach Albury from Sydney, and three hours and twenty minutes from Melbourne. By plane: QANTAS, Virgin Australia and REX all fly the 80-minute route between Albury and Sydney. REX flies between Melbourne and Albury, taking about an hour. Jasmine Crittenden travelled as a guest of Destination NSW. Images: Peter Saw (unless otherwise specified).
Bared — creators of some of the comfiest footwear in the world — are popping up in Sydney for just one week. It's called the 'Tree Change' pop-up and they’re bringing some mighty fine company with them, in the form of Byron Bay Hanging Chairs and plant installation experts Loose Leaf. If you’ve ever been to Bared’s headquarters in Armadale, Melbourne, you’ll know what we’re on about. Founded by podiatrist Anna Baird, the company sells shoes that trick your feet into thinking they’re walking on clouds. The secret is a beautifully designed foot bed, plus a bunch of other smart features. Oh, and they look mighty fine, too. Bared will be taking over Megan Morton’s The Studio in Rosebery. Baird says, “Our Tree Change is about bringing a tangible Bared footwear experience to Sydney, offering a whole new city the opportunity to enter our world … We love being able to sell our shoes around Australia via our website, but there is nothing quite like being professionally fitted into the perfect shoe, and meticulous notes are kept on every customer, allowing for a truly personalised service every time you visit.” The pop-up will run between Thursday, November 26 and Wednesday, November 2. OPENING HOURS: Thursday, November 26 — 10am-8pm Friday, November 27 — 9am-8pm Saturday, November 28 to Wednesday, December 2 — 9am-5pm
Perhaps you enjoyed Netflix's Heartbreak High revival and can't wait for its second season. Maybe you're fond of Aunty Donna's Big Ol' House of Fun instead. Or, via Stan, Bump, Black Snow, True History of the Kelly Gang and Nitram might've sat among your homegrown highlights. When you're getting cosy on the couch streaming something filled with Australian faces, accents and places, these titles likely stood out, too, because they're a rarity. Aussie content comprises a tiny portion of digital platforms' catalogues, which has been the case since Netflix officially launched in Australia back in 2015; however, that's about to change thanks to Australia's new streaming content quotas. First, some background: for Aussie commercial free-to-air television and pay TV stations, programming is subject to quotas requiring a certain contingent of each channel's content to hail from Australia. Such rules haven't applied to streaming services so far, though, even as more and more have popped up Down Under. So, for years, there's been a hefty to push to change the situation, placing the likes of Netflix, Disney+ and more under similar content rules. A green paper on the topic was published in late 2020, and a heap of well-known Aussie talents helped raise attention to the cause back in 2021. Now, the Australian Federal Government has confirmed that streaming content quotas are coming as part of its just-announced National Cultural Policy. "It's been ten years since the last National Cultural Policy. During that time, online streaming platforms have taken off, but our Australian content obligations haven't. I know we can do better," said Minister for the Arts Tony Burke on social media. Accordingly, the new $286-million National Cultural Policy locks in streaming content obligations, which it deems pivotal given there is "an increasing consumer trend away from broadcast and subscription television services to online subscription content". "In 2020–21, for the first time, Australians were more likely to have watched an online subscription service than live or recorded free‑to‑air television," the policy continues — saying what plenty of us already know from our own viewing habits. As a result, the Federal Government has committed to introducing "requirements for Australian screen content on streaming platforms to ensure continued access to local stories and content", and will do so by July 1, 2024. Beforehand, Burke will consult further with the industry, which'll be the focus for the first half of 2023, before legislation implementing the Aussie content quota for streaming platforms is put in place. What the quota might look like in terms of hours of Australian shows and movies required, or percentages of streaming services' roster of content, hasn't yet been revealed. Still, the aim is clear: more Aussie series and films on all of those platforms constantly competing for your eyeballs, and in the near future. Past proposals, including the Make It Australian campaign with backing from Blaze's Simon Baker, Hungry Ghosts' Bryan Brown and Justine Clarke, and Ellie and Abbie (and Ellie's Dead Aunt)'s Marta Dusseldorp — and more — have lobbied for all streaming services operating in Australia that have at least 500,000 subscribers to spend 20 percent of their local revenue on new Aussie dramas, documentaries and content for children. Some streamers have put more cash into developing original local stories already, doing so voluntarily, but now they'll all be required to — and to boost an overall buffet of movies and TV shows that has noticeably lacked new Aussie content from the get-go in the process. Indeed, it took more than two years for Netflix to finally announce that it was making its first Australian series, Tidelands, after it launched on our shores. For more information about Australia's new National Cultural Policy, head to the Australian Government's website. Top image: Heartbreak High, Netflix.
Half a century ago, one of the greatest science-fiction films of all time made its cinematic debut. It might hail from a genre filled with plenty of excellent flicks — both then and now — but 2001: A Space Odyssey still remains one of sci-fi's best and most iconic efforts. And, one of the best and most iconic movies ever made, too. With Stanley Kubrick at the helm, adapting Arthur C. Clarke's short story The Sentinel with the author himself, it's easy to see why. Really, this isn't your usual jaunt into space. It was a mindblowing, groundbreaking feat at the time — and come May 24, Sydney audiences will get the chance to watch the film in all of its original glory. While 2001: A Space Odyssey has remained a favourite pick for retrospective screenings around the city for years, the latest release will feature an 'unrestored' 70mm print of the movie — that is, it'll look just like it did 50 years ago. The version about to do the rounds was created using a true photochemical film recreation from the original camera negative without any digital tricks, remastered effects or new edits. After premiering at this year's Cannes Film Festival, it'll screen at the Hayden Orpheum for a limited two-week run, so you'd best open the pod bay doors, HAL, and hurry along. Update Wednesday, July 18: Due to the popularity of the initial screenings of 2001: A Space Odyssey, the Hayden Orpheum has announced it will be showing the sci-fi classic in its original 70mm form again this July. The film will be screened just twice more on Saturday, July 28 and Sunday, July 29 at 3pm.
Canberra is set to glow again as Enlighten Festival returns in 2026, transforming the capital into a city-wide playground of art, ideas and after-dark discovery. Running for 11 days from Friday, February 27 to Monday, March 9, the festival invites locals and visitors alike to explore Canberra in ways you normally wouldn't. Now in its 16th year, Enlighten delivers a packed program of world premieres, Canberra-firsts and large-scale experiences that tell Australian stories through art, exhibitions and immersive installations. At the heart of the festival are the Illuminations, the only time of year Canberra's national institutions unite to showcase monumental, original artworks across their facades. In 2026, architectural projections will light up the Australian Parliament House, the National Library of Australia, the National Gallery of Australia, Questacon, the National Portrait Gallery, and the Museum of Australian Democracy at Old Parliament House. The lineup features works by celebrated artists Kaylene Whiskey, Yarrenyty Arltere Artists, Grace Kemarre Robinya, Sam Wallman, Philip Bunting, and Eleanor and Giovanni. After dark, Enlighten: The Night Shift unlocks Canberra's major institutions for unexpected late-night experiences. Think karaoke and live performances inside the Department of Memories at the Museum of Australian Democracy, free lantern-making at the National Archives, and degustation dining within the walls of Parliament House. The Festival Hub Artworks turn the National Triangle into an open-air gallery filled with immersive installations and roaming performances. World premieres, including Serendipity by Atelier Sisu and Glitch Monument by Collide Public Art, make their debut, alongside large-scale installations such as Whispers of Wonderment and Amorphia. Beyond the Triangle, Enlighten: BEYOND encourages audiences to venture further across the city, connecting Canberra's arts organisations, institutions, and local businesses through exhibitions, events, and pop-up experiences throughout the festival. One of the festival's standout moments is Symphony in the Park, a free, all-ages outdoor concert in Commonwealth Park. In 2026, Mark Seymour of Hunters & Collectors joins the Canberra Symphony Orchestra for world-premiere orchestral arrangements of classics, including Holy Grail and Throw Your Arms Around Me. Entry is free, but booking tickets is essential to secure your spot. The program is rounded out with events for those keen to dive deeper, from Luminous Ideas at Canberra Theatre Centre — featuring Jennifer Wong's FEAST — to the immersive digital exhibition Leonardo da Vinci – 500 Years of Genius. Whether you're visiting Canberra for the first time or rediscovering your own backyard, Enlighten Festival 2026 is an invitation to wander, connect and see the city in a whole new light. Plan your trip to Enlighten Festival 2026 and see the program here.
Have you been practising your wine twirl? Do you know your tannins from your terroir? No? Well, study up. You'll need to impress the crowd at the biggest wine experience of the Easter weekend: Loose Lips, which is taking place in The Wine Bar at The International on Saturday, April 19, from 2-6pm. Organised by Joel Amos, the man behind DRNKS and Huge Moves, in collaboration with The Wine Bar Group's Director of Food and Drink Alex Kirkwood and Head Sommelier Jacq Turner, Loose Lips is set to showcase 100+ wines from 30 producers with unlimited tastings and a pop-up bottleshop to take home the real deal. Those producers are a mix of international and Australian winemakers, including Brash Higgins, Ephemera Wines, Frankly, This Wine Was Made By Bob, Les Fruits, Meredith by Mem, Pool Wines, Pride of Lunatics, Strange Grapes, Wines of Lebanon, Worlds Apart, Yayoi and many more. It's more than a wine bar takeover. It's a cellar door-level lineup. It's not all sips. Guest chef Mitch Orr (Kiln, Navi) will be on-site to serve pizza slices and signature 'genre-defying' takes on Italian snacks (all perfectly paired, of course). The evening soundtrack will come from a range of DJs, with Ed Loveday and Veda downstairs, and DJ Levins and friends taking to the decks in the upstairs Panorama Bar for the free Loose Lips afterparty.
It's been over five years in the making, but Erskineville's Kurrajong Hotel finally reopened post-renovations in September of 2025. The sprawling corner pub was shuttered for an extensive facelift after coming into new ownership in 2019, only to never reopen and become repossessed in 2024. Now, it's back, and in top form, restored to true heritage glory and now complete with Kurrajong House — a boutique accommodation offering on the top floor. The 1930s pub has always been a "locals pub run by locals". That mission statement remains true for new venue head Johnny Mathias, alongside chef Francesco Catellana, Culinary Advisor George Calombaris and a bar team headed up by Brandon Marignano. Now comes a menu of elevated pub grub, beginning with snacks like cheese and garlic milk buns, lobster nuggets with charred orange and cajun, scallop ceviche with nam jim dressing, salmon roe and finger lime and puffed pork crackling with chipotle rouille and anchovies. Smaller start plates follow, with tuna tartare accompanied by grapefruit, green tomato, and shiso, alongside classics such as salt-and-pepper calamari with Sichuan pepper and lime aioli. Moving to mains, it becomes a focused affair. Steak lovers can tuck into 300g wagyu picanha or Angus striploin with house-made red wine, peppercorn or mushroom sauce. Otherwise, diners can indulge in the likes of house-made vodka rigatoni with anchovy crumb, grilled king prawns with yuzu, tarragon and black garlic labneh or a classic chicken schnitty with cabbage and pea salad (and chips, obviously). Weekly specials take things up a notch from typical pub fare, too. Monday is all about $25 fish and chips, Tuesday offers $35pp Brazilian bbq, Wednesday's are home to monthly rotating French dishes, Thursday is a lasagna day, Friday is curry night, and Saturday calls for all-you-can-eat oysters from 3.30–5pm. Oh, and desserts? Your choice is between basque cheesecake, pistachio rice pudding, or a sweet-and-salty dark chocolate mousse. On the bar side of things, there are five beer taps and house wines from Alpha Box & Dice. Cocktails get a mention too, with a short but sweet list of classics and two house special slushies: Just Peachy and Madame Yuzu. Images: Trent van der Jagt
Turning Valentine's Day into a month-long celebration of love, Loftus Lane Cafe is hosting a whimsical Heart High Tea. Featuring swoon-worthy sweet and savoury delights across daily afternoon feasts, these get-togethers are themed around ferris wheels and carousels, making it a vibrant way to spoil your partner or your besties. Running until February 28, each feast offers a warm-hearted assortment of mini sandwiches, scones with cream, macarons, berry tartlets, sliders and more. Plus, this bright and bubbly cafe and bar is adorned with many thoughtful touches, from fresh flowers and custom Valentine decor to elegant French tableware. Starting from $69 per person (minimum two people required), the Loftus Lane High Tea runs for 90 minutes and includes a non-alcoholic beverage package. However, you're invited to step up to the Signature Cocktail High Tea ($85pp), which adds a refreshing drink, or the Boozy High Tea ($129pp), where unlimited house wine, spirits, tap beer and non-alc beverages pour free.
Fancy a dip with a difference? Boutique hotel connoisseurs Mr & Mrs Smith have a bunch of seductive watery wonders. From awe-inspiring views and cater-to-every-whim butler service, these shimmering stretches will have you flapping your water wings in excitement (Speedos optional). Hotel Crillon le Brave, Provence Where: Rue Église, 84410, Crillon-le-Brave, Vaucluse, France What: Stone-built hilltop hideaway Perched high on a peachy-hued Provencal hilltop, Hotel Crillon le Brave is made up of seven houses clustered around a 16th-century church. After a quick bonjour to the hotel’s namesake — a mustachioed statue of the real Crillon le Brave — follow the discreet grey signs on pale stacked-stone exteriors to this hip hostellerie. A maze of footpaths leads down stone steps and over cobbled terraces to the separate maisons: charming sleeping quarters that look out over pale terracotta roof tiles, neatly coiffed vineyards and limestone-topped hills. The Cezanne-worthy panorama continues poolside; swimmers can catch glimpses between strokes as they work off a lion's share of croissants, pastries and crisp local rosé. Perivolas, Santorini Where: Oia Santorini, 847 02, Cyclades Islands, Greece What: Dream lava Plucked straight from the pages of a glossy spread, Perivolas is a supermodel in hotel form. Poised high on the hills of Santorini above the Aegean sea, this is the sort of hideaway that inspires spontaneous marriage proposals. A soundtrack of distant lapping waves fills whitewashed-walled rooms that peer out over the caldera (the proper name for the volcanic crater-cum-bay, if you please), while sunlounger-graced terraces provide the postcard-perfect spot to stare out into the brilliant blue. A resplendent infinity pool is the jewel atop Perivolas’ crown: seamlessly merging with the endless azure horizon and offering a spectacular setting to sup sundowners and watch the sun melt into the sea. Masseria Torre Maizza, Puglia Where : C.da Coccaro, 70015, Savelletri di Fasano Brindisi, Italy What: Spacious and gracious A 16th-century coastal estate set in olive groves with ocean views, Masseria Torre Maizza is sister to Masseria Torre Coccaro — good looks clearly run in the family. There’s no cause to fret about countryside isolation: days here are spent ambling between the spa, cookery school and golf course. Water babies should head straight for the outdoor pool, surrounded by vine-dressed columns, hammocks and more sunbeds than you can poke a crostino at. When a growling stomach interrupts, make for Ristorante delle Palme, where black-lacquered chairs and white-linen-topped tables spill onto the poolside terrace. Rayavadee, Krabi Where :214 Moo 2, Tambon Ao-Nang, Amphoe Maung, Thailand What: Sand-circle garden pavilions Flanked by dramatic limestone cliffs and glittering beaches, Rayavadee is accessible only by boat from Krabi. Picturesque pavilions are tucked between towering tropical palm trees; it's a look befitting a tribal jungle village with a penchant for Jacuzzis, spa treatments and homemade cookies. The sapphire-coloured waters of the sprawling lagoon-style infinity pool offer uninterrupted views of the Andaman Sea and respite for those weary from jungle treks. If you can be coaxed from your plumped sunbed, adventure-junkies can pursue rock-climbing, kayaking and scuba-diving; land-lubbers should seek out the spa for an hour (or more) of towel-cocooned pampering. Raas, Jodphur Where :Tunwar ji ka Jhalra, Makrana Mohalla, Gulab Sagar, Jodhpur, Rajasthan, India What: Achingly hip haveli Set in the shadow of the majestic Mehrangarh Fort, Raas is a modern-day Maharaja’s mansion. A cluster of four heritage rose-red sandstone buildings make up this refashioned family manor, decorated with sprawling terraced gardens, boutiques, spas and restaurants. Beyond the hotel walls, the city is a frenetic blend of colour and chaos. Inside, your only disruptions are birds trilling and water tinkling. An at-your-service butler-attended infinity pool brings a splash of Ibiza to the Indian desert; expect white-canopied sunloungers, chilled tunes and poolside yoga. Ace Hotel & Swim Club, Palm Springs Where :701 East Palm Canyon Drive, Palm Springs, California, United States What: Hipster’s canyon commune Seducing the young and young at heart, Ace Hotel & Swim Club marries sleek architecture and low-key luxury with a smattering of vintage design accents. Sun-seekers can brave the heat by renting a candy-coloured Vespa or booking a horseback riding lesson, leaving those attached to air-conditioned comfort to languidly laze in a hammock and work through the hotel bar’s cocktail menu. An eclectic soundtrack of indie rock, '70s and '80s hits, top-40 numbers and spinning DJs provide the poolside playlist. The King’s Highway restaurant (once a roadside Denny’s) dishes up classic American fare with splashes of the unexpected — try the harissa lamb and pan-seared tilapia. Eagles Nest, Bay of Islands Where: 60 Tapeka Road, Russell, New Zealand What: Modern, minimal, magical Prepare to be hypnotised at Eagles Nest, a hotel where pampering means private chefs, peaceful pools and a Porsche at your disposal. From its perch atop a private peninsula, this North Island retreat has sweeping views over the Bay of Islands and 75-acre grounds that are ripe for exploration. Villas are cool and contemporary, tucked away in the middle of lush native bush; all are self-contained with a gourmet kitchen and private deck. Each villa has its own heated infinity-edge lap pool (except the First Light, which has a Jacuzzi), fringed by sleek white day-beds and romantic lanterns for moodily lit evenings. Alila Villas Uluwatu, Bali Where: Jl. Belimbing Sari, Banjar Tambiyak, Desa Pecatu, Bali, Indonesia What: Minimalist eco-glam From the lobby at Alila Villas Uluwatu you’ll catch your first glimpse of the hotel’s 50m infinity pool and the Indian Ocean beyond, and we challenge any paddling professional not to be impressed. With each villa replete with its own pool and butler, it’s quite possible that you’ll be the only guests at the hotel’s main watering hole. With a cliff-edge perch and cantilevered cabana, a few languid strokes is enough to have you feeling like you’re floating above the world. When hands and feet become sufficiently wrinkled, retire to Spa Alila, a holistic heaven where local therapists use traditional Asian healing techniques and age-old beauty recipes. Shoreditch Rooms, London Where: 1 Ebor Street, Shoreditch, London, United Kingdom What: Cool crash-pad club Dust off your hipster specs and dig out your coolest ‘resting designer’ attire: it’s time to mention Shoreditch Rooms. An outpost of the media-savvy SoHo House members’ club, glamourpusses and hip creative types have long flocked to this converted warehouse to let off some steam. With breathtaking views across the city, the heated rooftop pool is where it’s at. The bar’s close by, as are gardens complete with open fires, double day-beds and a herb plot. Closer to earth, the ground-floor Cowshed spa has famous facials and massages tailored to your mood. Hotel Habita, Mexico City Where: 201 Avenida Presidente Masaryk, Colonia Polanco, Mexico City, Mexico What: Modern minimalist classic Bang in the middle of posh Polanco, Hotel Habita is a favourite with Mexico City’s fashion-forward and in-the-know elite. Follow in their well-heeled steps by ascending to the rooftop. A glistening pool is overlooked by the hotel’s mezzanine bar, flanked by curvy white loungers, dark wooden decking and complete with a wet bar. Upstairs, the full lounge boasts tables, chairs and a crackling fireplace for cosily cool evenings; films are projected on to the walls of nearby buildings on clear nights. If you prefer dinner a deux to designer-clad crowds, the lobby restaurant offers Mexican bistro cuisine and huge windows prime for people-watching. Feeling hot under the collar? Cool off by taking a dip at other Mr & Mrs Smith pool hotels or browse more hotel collections .
Drew Pettifer casts his friends in photographed re-enactments of scenes from amateur pornography in the countryside where he grew up in this series called Hold onto your friends. The Castle Project is Helena Leslie's delicately drawn and dreamily distorted representation of her experience of anticipating and experiencing and reconsidering a travel plan to Leslie Castle, and an unpacking of the identity of this building throughout its history. Paul Williams' Confetti Solution sees the paintings he's deemed unsuccessful cut into shapes and either scattered across the floor or suspended in swinging open containers as though ready to be distributed. What these three shows have in common is a reclamation of place and an assertion of identity through artistic technique. Leslie's drawings of her ancestral castle as a childhood dream - a site for a potential fairy-tale and a literally bogged-down and for the most part deserted contemporary reality - is a working through of ideas about heritage and history, their tininess implying both critical distance and the idea of the 'faraway' both conceptually and in terms of place. The sites in which Pettifer has pictured his friends are closer to home but equally as transformed. By the interpolation of scenes and figures, settings he identifies as "formerly oppressive" become scenes of queer sexual desire. As to Williams' confetti, they're landscapes that became paintings that became failures - the nature of his practice determining when he makes that call - that he cuts up and displays to make a landscape of a very different sort. Image: Untitled, Drew Pettifer, 2011
When you need an actual escape, not one that just sounds good on paper, travelling far beyond city limits sometimes feels like the only way forward. But the good news is that you won't have to spend hours on the road with the Aruna Estate ready and waiting for your arrival. Just a 90-minute drive from Sydney, this luxury farm stay offers 70 secluded acres of bliss-filled serenity, tucked into the rolling hills of the Southern Highlands. Bringing together architectural design, sustainability and easygoing sophistication, owners Antony and Chris Spanbrook imagined Aruna Estate as a place to reconnect with nature without sacrificing comfort. What's more, they envisaged a stay where slowing down felt genuinely restorative. That means by the time you're back behind the desk, you won't feel more exhausted than when you first hit the road. "The name Aruna carries a layered cultural meaning," says Antony. "In Thai, 'Arun' signifies dawn or daybreak, and in Japanese, 'Aruna' translates to 'moon love'. For Chris and I, the name reflects the beauty we see here from dawn through to night. It captures the sense of stillness, connection and quiet magic that this landscape offers." Yet there's no singular way to experience Aruna Estate, with the accommodation available suited to a range of stays, from romantic weekends to group celebrations. You'll have to painstakingly choose between four modern villas, complete with cosy fireplaces and outdoor fire pits, or a pair of custom-designed off-grid cabins made for peaceful bush immersion — think private decks with fire-powered bathtubs. Meanwhile, The Residence is a boutique guest lodge, featuring en suite rooms and a communal lounge. But it's the on-site experiences that ultimately set Aruna Estate apart. During your stay, you're invited to indulge in yoga or meditation sessions on a purpose-built deck surrounded by bushland. There are also in-villa wellness treatments, a tennis court and an infinity-style pool overlooking the valley. Further afield, abundant walking and cycling trails wind through the property and into the surrounding forest. While there's plenty around the estate to keep you occupied, this part of the Southern Highlands is flush with acclaimed wineries, cellar doors and gourmet producers. With this in mind, you can ease through the days in quiet isolation, then explore the region's celebrated food and wine scene once you've worked up enough energy. Grounded in nature yet defined by quiet luxury, Aruna Estate is an escape worth seeking out. Aruna Estate is now open at 200 Kareela Road, Penrose. Head to the website for more information. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox.
Sydney's newest public park is open on the CBD's north-western foreshore, and it's launching with a huge Welcome Celebration — with a giant picnic, fireworks, a free foreshore party, the works. Barangaroo Reserve consists of six hectares of waterfront parkland with views of the western harbour. With a design by American landscape architect Peter Walker (who previously designed the 9/11 memorial in Manhattan) and an outspoken ambassador in former Prime Minister Paul Keating, the park project took two-and-a-half years to complete at a cost of around $250 million. The opening of the park marks the first time in more than a century that this section of the harbour has been accessible to the public. It's also step one in the ambitious $6 billion Barangaroo project, which has the been the subject of controversy for some time now, mostly surrounding James Packer's plans for a $2 billion hotel, casino and apartment complex. Beyond that, the precinct is expected to welcome 80 retailers, including 50 bars and restaurants. In the meantime, the Barangaroo Delivery Authority will celebrate the opening of the park with a 12-week program of free live entertainment, beginning with a giant picnic and welcome party on Sunday September 6 that will shine a light on the Indigenous history of the area and its traditional custodians the Gadigal people. Depending on what time you’re likely to be up and at ‘em on a Sunday, there’s the Welcome Walk first up. Assemble at 10am in Hickson Road Reserve for a free, history-laden tour of the area. There'll be a ceremonial cauldron lighting at 11.15am in Nawi Cove, a tribute to the importance of fire (or guwiiyang) to the Gadigal people of the area, then a Welcome to Country ceremony near Marrinawi Cove at 12.30pm with traditional song and dance. If you're wanting to take full advantage of the waterfront site as it will inevitably be used from now on, bring your blankets and tubs of hummus for the Giant Picnic (yes, it’s a proper noun) where there'll be nosh from Aria Catering and Bourke Street Bakery, pop-up bars by Young Henrys, Lowe Wines and Batlow Cider, hip hop workshops, weaving classes, onstage talks and more. There'll a dusk ceremony in tribute to the women of the Sydney basin lands, including Barangaroo, of course. Then there’ll be a flurry of fireworks off the foreshore from 6pm, directed by Fortunato Foti (the brains behind Sydney's NYE fireworks since 1997). But after so many millions spent, Barangaroo needs a solid party to truly launch the space. The Welcome Party is an all-ages, free shindig happening in the Cutaway — Barangaroo's new cultural/exhibition space— from 6.30-8.30pm, with Thelma Plum, DJ Richard Weiss, NAISDA Dance Group and Oka. It’s a free event, but you have to pre-register here. While you're there, check out contemporary artist Brook Andrew's large-scale sculptural installation Stone – The Weight of History, The Mark of Time. Images: Hamilton Lund & Kata Bayer By Tom Clift and Shannon Connellan.
Introducing Umami House; a brand-new burger venue centred around the fifth taste, umami. Located at The Spot on the site of owner Amit Tewari's previous viral restaurant, Soul Burger, this is the latest from the seasoned burger aficionado. A staple in Japanese and Southeast Asian cuisines, umami remains under-appreciated when it comes to burgers. "Sydney's burger scene is thriving, but I really wanted to offer something unique that people haven't experienced before," says Tewari. "Umami stood out as the missing flavour." Umami translates to 'delicious savoury taste' in Japanese and is naturally found in many popular foods, like tomatoes, truffles, mushrooms and aged cheese. At Umami House, this means a unique twist on the traditional burger – each handmade daily, and carefully infused with shiitake and Umami House's special seasoning. "We worked with beef and mushroom experts to create something that's rich in flavour but which doesn't leave you feeling too heavy afterwards," says Tewari. "By infusing shiitake, the burgers remain moist and decadent with each bite. The shiitake locks in the juiciness that's often lost when meat is cooked on its own, while the house-made umami seasoning works to enhance the crisp, caramelised crust, creating an amazing mouth feel." You'll find the handmade beef patty in four of the six options on the Umami House menu: the Umami Classic, Truffle Shuffle, Smashed Cheese and the Umami Bacon. Joining them are two vegetarian options, of which the Shroomami is a standout – made with mushroom stuffed with oozing muenster and aged cheddar. Meanwhile, the Plant-mami is a plant-based version of the Umami Classic. Round out your feast with parmesan and truffle fries, and cold beer on tap – all served up fast and at affordable prices. That way, you'll be 100% ready to settle in for a flick at The Ritz, which is just up the road. Umami House is at 49 Perouse Rd, Randwick, and opens from 11:30am-9:30pm Sunday to Thursday, and 11:30am-10pm on Fridays and Saturdays. Check out the website for more information.
Rome wasn't built in a day, and neither was Bondi Pavilion. In fact, it has taken a two-year restoration for the beachside venue to reclaim its status as the star of Sydney's most-iconic seaside suburb. Now, the building once known as The Castle has not simply been restored to its past glory, but made even better. With the restored institution now featuring an art gallery, pottery studio and theatre, there's a lot to discover in the latest version of Bondi Pavilion. It took many minds (and hands) to realise this eclectic vision: from creatives to curators. In celebration of the arrival, we chatted to some of the people responsible to find out how it all came together. [caption id="attachment_889099" align="alignnone" width="1920"] Wolfgang Ripberger, Architects Portrait series by Martin Mischkulnig[/caption] THE CREATIVE Wolfgang Ripberger has worked on some incredible projects during his career — the Reserve Bank of Australia's Martin Place headquarters, the historic Scots Church and Taronga Zoo's Savannah & Congo Project among them. And, together with Tonkin Zulaikha Greer (TZG), the company where he is a director of projects, he approached Waverley Council re taking on the project at hand — the conservation and restoration of Bondi Pav — and was successful. Acting as project lead, the German-born architect set out with a focus on function as well as form, aiming to honour the building's history. "Working with heritage buildings offers you an opportunity to find inspiration for their redevelopment within the existing fabric," says Ripberger. It was a journey that saw him uncover some interesting insights during the rebuild. "One of the surprises we came across was the original paintwork," he said. "We knew of one — a mural in the theatre that was slightly exposed. However, we came across two new artworks that existed underneath by removing layers during the restoration. The external façade revealed remnants of the original entrance sign, while the Turkish Baths sign and original tiles were also uncovered." These discoveries all reinforced Ripberger's drive to undertake the restoration project in a way that balanced tradition with the need to update a complex that will soon celebrate its centenary anniversary. It is an intention he is hopeful to have executed. "Heritage landmarks are celebrated the most when they're well used and loved by everyone," he says. "So, we had to find a way to protect and carefully restore the building but also allow a few changes to address the new needs of the 21st century." "A few of the ways we accomplished this was by bringing fresh life to the courtyards, by adding new colonnades which were both functional and beautiful," he continues. "We wanted to create a visual connection between the Pavilion and the sea, so that people using it could seek protection from the big southerly winds while still feeling close to the ocean. We also upgraded the atrium — the new central area in the double storey space of the Pavilion that is the interconnection point of all the pathways. It was designed to connect the sky and the sun and offer natural ventilation — I like to call it the lungs of the building." TZG also put a focus on sustainability, with Ripberger incorporating a number of eco additions into the renovation. "From a sustainability point of view, the best thing you can do is keep as much as possible of an existing building, and we managed to retain about 80% of the original structure," he says. The project reduced landfill by recycling 90% of demolished materials, implemented solar panels through the courtyard to take advantage of the sun and focused on long-lasting materials designed to survive the harsh environment. "For example," says Ripberger, "we used copper for the downpipes to minimise rust and corrosion so we don't have to redo them in 10 years time." The finished project is an achievement that Ripberger is rightly proud of: "Peeling back the Pavilion's layers helped me understand what it was made for almost 100 years ago, and gave me a chance to see what worked and what didn't so I could infuse it with new life and restore it properly to be enjoyed for the next 100 years." THE CURATORS Set against the backdrop of one of the most photographed destinations in the world, Bondi Pavilion certainly has its work cut out for it luring visitors away from the vistas of the beach outside. But it has risen to the challenge, with multiple impressive exhibition spaces. "Bondi boasts an incredible group of local artists, an iconic brand and an unbelievably rich local history," share curators Elizabeth Reidy and Todd Fuller together. And for these two curators, the Art Gallery is where all of these elements meet. It is an exciting exhibition space showcasing top-tier contemporary and local artists. "Exhibitions in this space are usually six weeks in duration and enhanced by a range of public programs including talks and workshops," the pair share, and they promise a number of exciting exhibits are on the sun-drenched horizon. What's on currently? The Air Is Electric, a showcase of David McDiarmid's photographic work from his highly transformative 1977 trip to the United States, presented in partnership with the Australian Queer Archives and Sydney WorldPride. McDiarmid is widely recognised as a leading LGBTQIA+ artist and advocate, whose work raised awareness about the experiences of homosexual men with HIV/AIDS in the 1980s and 90s. "These photos capture an America at the height of the gay rights movement," Elizabeth and Todd share together. "In these photographs, we see McDiarmid travelling to San Francisco, Los Angeles and New York in an inspiring and energising trip. The impact of this trip on his practice and politics would be profound." The exhibition to follow is Rainbow, Mermaid, Fireworks. An explosion of colour by collaborators Emily Crockford and Rosie Deacon, the project will transform the gallery into a mermaid's garden to deliver a contemporary take on Bondi's historic Mermaid sculptures of the 1960s. "If you are lucky, you might even meet a real mermaid or two in this exhibition," hint Elizabeth and Todd. And, while the temperature outside may be dropping mid-year, Elizabeth and Todd reveal that the gallery will continue to offer reasons to visit during the winter months and beyond. "July is also a big time for the Bondi Pavilion Gallery," they say. "It will host the Waverley Art Prize which awards a contemporary artist $15,000." The event will see the Pav become the epicentre of Bondi Festival — with performances, tours and activations filling the building — while also cementing the gallery's status as a year-round destination for lovers of all things art. [caption id="attachment_890240" align="alignnone" width="1905"] Katherine Griffiths[/caption] THE CLAY MAKERS The Pav may not appear an obvious choice to practise your pottery making, but that's exactly what's on offer at the renovated complex's clay studio. And while the chance to get creative behind the (sculptor's) wheel may surprise many, it's a little-known fact that the Bondi Pavilion has actually been home to a pottery studio for over 40 years. The original incarnation began in 1976, when a kiln was first bought to fire tiles to make a mosaic floor for the Pavilion foyer. Today, over four decades later, the studio remains a hub of creativity for all ages and abilities. "The clay studio is not an addition but has actually been part of the Pavilion community for many years," share Leanne Berelowitz and Agatha Pupaher, the pair that run the Pav's clay studio (co-directing, managing the studio and teaching). "In the past, it was open to the public for classes. We've had many adults who remember doing school holiday workshops here now bringing their children along to our programs." Today, against an updated backdrop of beautiful arched windows featuring an ever-changing exhibition that showcases student works as well as pieces for sale, the studio continues to offer a range of classes. These include foundation pottery lessons in wheel throwing and hand building, and technique and decoration masterclasses by local artists. More offerings are also in the works, including open studio hours, special senior groups, classes for people with disabilities, exhibitions, writing and clay workshops, collaborations with festivals and more. It is a personal passion for all things pottery that drives both women. "I started taking pottery classes while working as an ICU nurse in my twenties," says Berelowitz. "I loved the tactile therapeutic aspects of working with clay and connecting to my creativity. So, I went to art school at age 30 to study a Bachelor of Fine Arts and gradually transitioned to ceramics full time." "My obsession with clay began about 19 years ago when I first joined a community class with my then-10-year-old daughter," admits Agatha. "When I retired from my career as a psychologist 10 years ago, I also began sharing my passion for clay by teaching kids and adults at my inner west studio Sydney Clay Studio," she adds. However, it is a combined commitment by the duo to share the joy of creativity, community and clay with others that perfectly places them to lead the new-look Bondi Pavilion Clay Studio. "I met Leanne here at Bondi Pavilion six years ago where we discovered our mutual passion for teaching pottery and the beautiful Bondi community," says Agatha. "And here we are! Excited to be a part of Bondi Pavilion's new vibrant space where there's something for everybody." Undersea inspiration is a common theme at the studio. Sunbathers, waves, rock pools, shells and sea creatures, as well as functional pieces like bowls, cups and vases in all shades of the ocean are common final creations. "But people can come to us with almost any idea and we'll help them make it a reality," the pair note. And while the works are important, the memories are even more paramount. Both Agatha and Leanne fondly recall Roz, a long-term participant of their seniors class who passed away a few years ago in her mid-90s and who would often say, 'Sometimes a piece comes out well, and that's wonderful. But if it doesn't that's okay, because I've had such a good time.' "Together, our focus is on teaching good foundation skills and technique in a relaxed and inclusive environment so your creativity can flourish," they finish. "We are excited to build new experiences with anyone interested in working in clay." Ready to check out the Bondi Pavilion for yourself? To discover more of what it has to offer, head to the website. Top image: Katherine Griffiths
The finishing touches are currently being put on a colourful new hotel with multiple dining options just metres from Sydney's Oxford Street. ADGE Hotel + Residencies is the ambitious new transformation of the Riley Street building formerly known as Cambridge Hotel. The new hotel will open in August with 93 guest rooms before expanding to 242 in early 2023 — all of which will be bursting with creativity and colour thanks to SJB. The Sydney-based practice has been in charge of the interiors as part of the $65-million transformation and has reinvented the space from a straight-and-narrow accommodation provider to a space filled with bold flourishes and personality. On entry to the lobby, you'll notice bright carpets, eye-catching furniture and a huge mural from Australian artist Adrian Hing. These standout features foreshadow what you'll find upstairs in your room, with each suite equipped with more retro-influenced carpets and plenty of colourful, one-of-a-kind light fixtures and eccentric pod-style bathrooms. Down in the lobby, you'll also find one of Surry Hills' best cafes, Soul Deli. The Korean favourite recently relocated from down the road, with owners Daero Lee and Illa Kim transforming its original 185 Campbell Street into a new wine and Korean tapas bar. Soul Deli brings Korean staples to the classic Australian cafe menu. Hotel guests and Sydneysiders alike can stop into the new lobby location for sticky fried chicken, house kimchi toasties, specialty coffee and Korean fried doughnuts. Joining this inventive breakfast and lunch spot within ADGE is longstanding eight-seat omakase restaurant Raida Noda's Chef Kitchen and a soon-to-open Italian restaurant with a high-profile chef set to be in charge. Bookings are now open for the hotel with rooms starting from $199 a night. ADGE Hotel + Residencies is opening in August at 222 Riley Street, Surry Hills.
It's the scheme that's designed to get New South Wales residents out of the house — to eat, and to enjoy the state's entertainment venues — but while Sydney is in lockdown for two weeks, that's not so easy to do. So, the NSW Government has announced that it is extending its Dine & Discover program. It's also expanding the program to cover takeaway for a short period, too. If the first part sounds familiar, that's because this is the second time that the scheme's cutoff date has been shifted. When it was rolled out the statewide from mid-March, Dine & Discover given a June 30 finish date, giving folks more than three months to use their vouchers. Then, at the beginning of this month, the State Government announced that it was extending the program for until the end of July to give NSW residents even more time. Now, thanks to lockdown, it's tacking yet another month onto the end as well. Haven't used any of your vouchers yet? Still have a couple left to redeem? Haven't registered? Either way, you now have until Tuesday, August 31. That's one big change — and, thanks to another notable tweak to the scheme, you can also now redeem them for takeaway and delivery meals while lockdown is in effect. The NSW Government recommends getting your food delivered direct to your house by whichever restaurant or cafe you're ordering from, but you can also go and pick up your meal if you'd prefer. Crucially, though, the vouchers can only be redeemed if you're dealing with the eatery directly — so they can't be used on orders via third-party delivery platforms. [caption id="attachment_745527" align="aligncenter" width="1920"] Parker Blain[/caption] By now, every NSW resident should know how the scheme works, but here's the basic details if you need a refresher. For the past few months, the State Government has been handing out food and entertainment vouchers to NSW residents, in an effort to boost patronage at hospitality businesses and cultural institutions that've suffered during the pandemic. Four vouchers are available to everyone in NSW over the age of 18 — two $25 vouchers to use at restaurants, cafes, clubs and other food venues, and another two $25 vouchers specifically for performing arts, cinemas, amusement parks and the like. The vouchers can be used at a hefty number of participating COVID-safe registered businesses, with the full list available on the Service NSW website. You can't use them on tobacco, alcohol or gambling, and you can only use each voucher once, including if your transaction totals less than $25. Also, you'll need to use all of your vouchers separately. To access the vouchers, you'll need a MyServiceNSW account — and the corresponding Service NSW app, so you can use the vouchers digitally. The NSW Government's Dine & Discover scheme will now run until Tuesday, August 31 — and Sydneysiders will be able to redeem their vouchers for takeaway orders during the city's lockdown. For more information, visit the government's website. Top image: Kitti Gould
New Zealand entrepreneur Hamish Dobbie is in the final rounds of a Kickstarter campaign to fund Yolkr, a rather nifty egg yolk separator. 'Finally', I hear you say, a simple and incredibly good looking kitchen tool for separating those whites from the yolk, without scattering shells throughout your 'egg'cellent kitchen creation. Having been tested by his 90 year old Grandfather, who has one eye, wears glasses and shakes somewhat, along with numerous others, the Yolkr project reached its Kickstarter goal within 5 days, and there are still 54 days remaining. Move over Number 8 wire, a new and revolutionary Kiwi invention has arrived. And it will change the way you make your omelette forever.
The year 2023 was a big one for Gelato Messina. The beloved dessert chain opened its huge Marrickville HQ and then three of the brand's head chefs added even more to their plates, teaming up and turning their attention to baked goods. Shadow Baking is the project of Messina chefs Tom Mitchell, Florian Fritsch and Remi Talbot. The trio linked up in 2022 to start working on flakey, buttery snacks to serve at The Cannery's monthly markets in their off-time from the Messina kitchen. Things went so well that they set up a standalone bakery in Darlinghurst. Open three days a week, the bakery is located next to the Victoria Road Messina outpost. From 8am Friday–Sunday, you can head in for the day's baked goods and sandwiches, available until they inevitably sell out. We're talking superb macadamia and mandarin croissants, custard tart danishes, and reuben croissant sandwiches. There's filter coffee for anyone looking for a caffeine fix to accompany their next-level baked snack of choice. Our pick is an unexpected highlight: the vegemite scroll, topped with creamy guacamole, fermented chilli and pecorino. It's an unusual combo but it's somehow an absolute match made in heaven. Tiny Shadow Bakery is yet another case of the Messina team's midas touch in action. They really can't miss.
Please note: This article contains descriptions of sexual misconduct. A shocking ABC investigation, published on September 4, revealed a culture of sexual exploitation, misogyny and failures of management at venues operated by hospitality heavyweight Merivale. Now, The Sydney Morning Herald, The Age and Good Food have uncovered yet more troubling revelations about the hospo giant. A bombshell exposé, published on October 29, alleges that staff working at Merivale's exclusive members-only club, Level 6, located at the business' sprawling Ivy precinct in the CBD, were expected to "accommodate [the] advances" of wealthy patrons. In return, staff — who were often aged between 18 and 21 — could expect gifts of luxury goods such as designer handbags and hundreds of dollars in tips. "It was like a strip club with no one taking off their clothes," one former Level 6 staff member told The SMH, with another describing the venue as "One step away from being a brothel". [caption id="attachment_704747" align="alignnone" width="1920"] Level 6[/caption] Former staff alleged that this sexual quid pro quo intensified in 2013 when a pole-dancing pole was installed at Level 6. Around the same time, according to The SMH report, drug use by patrons became increasingly normalised and tolerated. Journalists Eryk Bagshaw and Bianca Hrovat claim they spoke to dozens of former Merivale employees during their investigation, but the vast majority of them only agreed to do so anonymously as they feared repercussions from the hugely influential hospitality employer. "They hire people very, very young. There are thousands of 18- to 21-year-old girls out there who are young, naive and sucked in by Merivale," one former manager told The SMH. "[They are] ushered into the cult and then … bad things start happening, and they feel like they can't say anything." The report alleges that on occasions when police attended Ivy, a "blue lights" warning would be shared to a staff WhatsApp group or via internal radio comms. A Merivale statement asserted that alerting staff to the presence of police was "standard industry practice", adding: "Every team member and especially our managers have duties under the law to assist police. They cannot do so if they are unaware of their presence on site." [caption id="attachment_814113" align="alignnone" width="1920"] Ivy[/caption] One former host from Level 6 anonymously shared their experience of sexual assault in the workplace, saying a male patron "would grab you and throw you on the couch and put his hand up your skirt… He went underneath my clothes and grabbed my underwear." The same host said of her experiences working for Merivale, "I was disgusted. I couldn't believe it. This is my place of work and this is happening. You certainly didn't feel like you could do anything about it." The extensive reporting also detailed unsafe and abusive activities — including sexual misconduct and drug use — at several other Merivale venues, including cocktail bar Hemmesphere, Level 5 (the event space directly beneath Level 6 at Ivy), Felix and the Bondi outpost of Totti's. However, the report conceded that some former Merivale employees and guests who were interviewed for the article believed their access to drugs, exclusive venues and wealthy patrons were unofficial perks. [caption id="attachment_702661" align="alignnone" width="1920"] Totti's Bondi[/caption] While Merivale denies the allegations in the report, the company has engaged leading human rights and discrimination lawyer Kate Eastman, SC, to lead an investigation. A statement from Merivale added that if any of the allegations are found to be true, the company "regrets any distress caused." This latest reporting on Merivale echoes the seismic allegations The Sydney Morning Herald and Good Food published about Swillhouse Group, published on August 21. Anton Forte, the founder of Swillhouse Group, stepped down as the company's CEO on Friday, October 25, following months of attempted rehab, including hiring Justine Baker, a hospitality veteran and former CEO of Solotel, as well as two independent consultants, to oversee cultural reforms across the company. If you need to speak to someone about an experience you have had or are seeking information, please contact 1800Respect on 1800 737 732 or visit 1800respect.org.au.
Fun is in no short supply at Goros, Surry Hills' kitsch Japanese dive bar replete with yakitori, sake and vintage vinyl. Arcade games, DJs and three free (!!) karaoke rooms are just the tip of the iceberg, with a stacked lineup of entertainment on offer each week, including drag queen-hosted karaoke comps, themed parties and more. The staff will helpfully guide you through the sake menu, which is helpfully categorised by how much experience you have with the Japanese rice wine. You can opt for 90ml or 200ml pours or, for some, a full bottle. There's also a weighty Japanese whisky menu if that's more your speed, plus, alcoholic bubble teas, inventive cocktails and Goros' famous sake banger bombs. What about happy hour, we hear you ask? Every Wednesday through Friday from 5–7pm, Goros does $7 house spirits, beer and wine. Food-wise, expect a slew of fun Japanese favourites, designed to share. We're talking chicken karaage with yuzu mayo, okonomiyaki and gyoza (which, by the way, are only $1 each on Fridays). Yakitori and robatayaki options include teriyaki chicken, miso-marinated barramundi, glazed beef and pineapple and miso maple mushroom. The kitchen is open till late on Fridays and Saturdays — good news if you've worked up an appetite belting out your favourite tunes in the karaoke room (or on the d-floor).
If you're one of the scores of Aussie teens who devoured smash-hit flick 10 Things I Hate About You when it first came out — and then about a million times on VHS since — prepare to feel positively elderly. The 1999 movie is about to celebrate its 20th anniversary. Yep, the modern day retelling of Shakespeare's The Taming of the Shrew that had us all swooning over Heath Ledger is a whole two decades old. And what better way to mark that occasion, than a special outdoor screening of the timeless high school tale? Moonlight Cinema has added a special throwback showing of 10 Things I Hate About You to its schedule, set to grace the Centennial Park screen this Friday, March 15. Prepare to revisit all those late 90s feels, as you catch those classic movie moments, from the cheer-worthy smashing of Joey Donner's car to that pre-formal pregnancy suit. You can pack your own picnic and booze for this BYO session — Ms Perky would definitely recommend bratwurst — or make the most of Moonlight Cinema's food truck and pop-up bar.
A post-apocalyptic, three-part journey inspired by The Simpsons. A provocative Indigenous rom-com. A ham funeral. Autumn wields quite a hefty stash of theatre for Sydneysiders, so we've picked the shows you should focus your attention on. Some are made to make you chortle, others are downright disturbing, and they're the best on stage this month.
There's always something happening in New South Wales, no matter what time of the year. So whether you're a local looking for extravagant summertime surf carnivals on the coast or an interstater on the hunt for cosy winter festivities, there's something for everyone. So why not get a weekend getaway on the books? We've scoured the calendar for festivities taking place across the state, and here's our round-up of the outdoor events. Depending on where you go, you'll need some sunscreen, a good jumper or a couple of napkins. Adventure awaits.
For plenty of Australians, a piece of toast isn't complete unless it's slathered with Vegemite. For others, musk sticks are a go-to sweet treat and always have been. Of course, what one person eats for breakfast or dessert, another considers gross, with both Aussie favourites earning a place in Sweden's new Disgusting Food Museum. Now open in Malmö, the museum does indeed feature Vegemite and musk sticks, as well as a third Australian item: witchetty grubs. Beyond much-loved but highly polarising Australian spreads and sweets, everything within the site's walls is considered food somewhere. Think Sweden's own surstömming, aka fermented herring; cuy, the Peruvian roasted guinea pigs; casu marzu, a maggot-infested cheese from Sardinia; hákarl, the Icelandic dish comprised of well-aged shark; and Thailand's notoriously pungent durian. In total, 80 foods from around the world are on display until January 27, with liquorice, jell-o salad, fruit bat and bull's penis among the other exhibits. For an entry fee of 185 Swedish krona (approximately AU$29), visitors can also smell and taste selected items. Plus, the museum holds 'taste one for the team' sessions for groups of six or more, where you can challenge your friends to the kinds of tastings that you don't get every day. If you're currently asking yourself the obvious question — not 'what's wrong with Vegemite?', but rather 'what would inspire someone to open this kind of place?' — the Disgusting Food Museum is all about challenging accepted ideas of what's edible and tasty. It recognises that what one person finds delicious, another might find revolting and vice-versa. Speaking to Vox, curator and 'chief disgustologist' Samuel West specifically uses Vegemite as an example, explaining that it initially tastes awful, but you can learn to like it. Find the Disgusting Food Museum in Malmö, Sweden from October 29. For more information or to buy tickets, visit the museum's website or Facebook page. Via ABC.
First, Lune perfected croissants, so much so that the Australian bakery chain is renowned for its flaky pastries all round the world. Then came giving cruffins, aka croissant-muffin hybrids, a spin. For Easter, the obvious next step followed: hot cross cruffins, for when you want a hot cross bun, but you're also hankering for a croissant and a muffin — and you don't want to have to choose. Lune's hot cross cruffins have been popping up annually for years, but 2025's batch is different. This time, they're made using the acclaimed bakery's signature croissant dough. You can also pick between two varieties this year, too: the OG and chocolate. Can't decide which one, after being unable to select between hot cross buns, croissants and muffins to start with? You can get mixed packs featuring both. The hot cross cruffins hit Lune's shelves at all stores on Monday, April 7 — so at Armadale, Fitzroy and the CBD in Melbourne; South Brisbane and Burnett Lane in Brisbane; and Rosebery and Martin Place in Sydney. You've only got until Easter Monday to enjoy them, however. Lune is open every day across the Easter long weekend from 8am, and will either close at each store's regular time or earlier if everything is sold out prior. Single hot cross cruffins cost $10.50 each — or, you can also order pre-order those aforementioned six packs for $63, but you can only do so until Friday, April 18, and only for collection at Fitzroy, Armadale, South Brisbane and Rosebery. If you're a fruit hot cross bun fan all the way, Lune's hot cross cruffins feature dried fruit, candied peel, mixed spice and brown butter mousseline. For chocolate lovers, you're getting hot cross cruffins made with cocoa choc-chip croissant pastry and chocolate mousseline. Each features a cross on top, of course, but only the chocolate version boasts a cocoa cross. Also worth noting: that Lune has just launched an ongoing loyalty program for pastry fiends. Lune's Easter specials are available until Monday, April 21. Head to the brand's website — or to its stores at Armadale, Fitzroy and the CBD in Melbourne; South Brisbane and Burnett Lane in Brisbane; and Rosebery and Martin Place in Sydney — for more details. Images: Peter Dillon.
On November 24-25, the Sydney Opera House forecourt will transform into an outdoor stage for Dance Rites 2018. Now in its fourth year, this epic event is a First Nations dance competition starring more than 300 performers from all over the country. And it's free. Dance Rites was once part of the Opera House's Homeground Festival, but is now a stand-alone event. In addition to watching the heats from 3pm each day, and the finals on Sunday evening, catch an array of established dancers in action. Just some of the acts on the program include 2017 Dance Rites champs Kulgoodah Dancers, 2017 Wildcard Winners ALLKUMO Malpa Paman Dancers, professional troupe Muggera Dancers and, all the way from New Zealand, collective Te Rua Mauri. Check out, too, musical performances from electro poppers Electric Fieldson Saturday night and Canadian singer-songwriter Leonard Sumner on Sunday. The Dance Rites 2018 winner, which is judged on three dances and decided upon by an expert panel of Juanita Duncan, Libby Collins, Matthew Doyle and Waangenga Blanco — will score a whopping $20,000, too. Images: Daniel Boud and Jacqui Cornforth.
The perfect blend of eastern suburbs bougieness meets inner city living, Paddington has long been a destination for art, culture and fine dining. Visitors and locals alike are sure to enjoy a day of ambling along Sydney's iconic Oxford Street exploring the bars, shops, cafes, galleries and cinemas that call the leafy suburb home. On the hunt for something specific? To make things a little easier for you, we've teamed up with American Express to put together a shortlist of places both new and old that should be your first port of call, no matter the occasion.
Under the theme of Only One Earth, the 2022 edition of World Environment Day lands on Sunday, June 5. An annual occurrence since its inception in 1973, the United Nations Environment Programme initiative calls on people from all walks of life to consider the impact they have on the planet, and works to raise awareness, inspire change and celebrate action. One such action is the NSW Government's Return and Earn scheme, which provides an action-based solution for anyone to responsibly dispose of the bottles, cans and cartons we all generate as our thirst is quenched during day-to-day escapades. And it couldn't be more simple, either. First step: collect your recyclables (after making sure they're accepted). Next: find a return spot near you (there are over 600 throughout NSW), transport yourself there and get returning. Choose between a refund or charitable donation and that's it — you're taking steps towards making the planet better for all. At the time of writing, 7,504,250,101 drink containers have been returned via the program — and over $30 million has been received by charities and community groups. These whopping numbers are illustrative of the powerful impact of small actions. And if you wanted some slightly more personal stats, check out the handy impact calculator, which allows you to see the direct impact your returning has on water, energy and landfill. What better time to start doing good with your recyclables than World Environment Day? Head to the website to find out more.
Vegan and deli may not be two words you put together, but perhaps you haven't been to Shift. Meet Shift Eatery, Sydney's first vegan deli. Opened on Commonwealth Street in September 2017, Shift is a sleek cafe and shop specialising in hearty, healthy food, sans animal products. The idea for the store was spawned by owner James Danaskos's own turn to veganism a few years back and his desire to create more places for people looking to eat less or no meat. The cafe has everything you would expect from a concept cafe in the age of Instagram: lattes of every hue (pink pitaya unicorn, blue pea, green matcha and golden turmeric), smoothie bowls and picture-perfect vegan sweets courtesy of Treat Dreams and Nutie. But outside of the colourful treats, the main food menu is a goldmine of casual, vegan fare. The sandwich and toastie menu features vegan twists on traditional sambos — ham and cheese, tuna and mayo and Steve, the Reuben's vegan brother stuffed with corned 'beef', pickles, kraut, cheese and russian dressing — with a few pun-filled monikers thrown in for good measure, like the No Whey Jose made up of Cuban 'ham', pulled jackfruit, vegan cheese and housemade sauce. Like any true deli, Shift is also stocked with ingredients to takeaway including kimchi, granola and vegan ice cream pints.
It's absolutely no secret we're obsessed with food. But while we're often chasing down some of the finest dining experiences to share with you, we're still suckers for a big plate of old-fashioned wings washed down with cold beer. There's something about a plate of juicy wings covered with buffalo sauce that makes the ultimate comfort food — or just the perfect snack alongside a few well-earned bevs at the end of the week. As you can probably tell, the research for this one was tough, but we've managed to compile a list of the top five places to eat buffalo wings in Sydney.
Built in 1793 for wool farmer John Macarthur and his wife, Elizabeth, this retreat is one of the oldest houses in Australia. It has since been transformed into a hands-on museum where you can access all areas, touch the furnishings and generally make yourself at home. There's an old-school tea room that serves up sandwiches, Devonshire tea and baked treats, but you're also welcome to bring a picnic, borrow a picnic blanket and relax in the garden, among lilies, roses, eucalypts and veggies. After your bite to eat, you can explore nearby cottages Experiment Farm Cottage and Hambledon Cottage, which are part of the same precinct — just be sure to check opening hours and tour information before you go. Image: City of Parramatta
The Coke Sign has long been emblematic of Sydney's nightlife, and, as of this week, it will sit right on top of another Holey Moley mini golf bar. Go figure. After moving into the space that once was the Newtown Social Club last year, the Holey Moley crew has taken up residence in the building right underneath the Kings Cross Coca-Cola sign. Here, two neighbouring spaces have been joined to create Holey Moley's biggest venue yet, featuring a huge 27 holes, across three separate mini golf courses. And while this one boasts the same DNA as its siblings, it's also got enough new gimmicks to keep even Holey Moley pros on their toes. The space itself pays homage to the area, and the mini golf offering's been ramped up to include a range of different experiences you won't find anywhere else across the group's stable. As you can expect, it has view across the city. Been to Newtown a few times? Holey Moley Darlinghurst also heralds the arrival of some new additions to the menu. Now you can tame your post-putting hunger with the likes of burgers and hot dogs. Behind the bar, new liquid hits include the Cherry Ripe for the Picking, made on cherry liqueur, coconut rum and whipped cream, and a grapefruit, Aperol and vodka concoction cheekily dubbed the Austin Sours. Since opening in Newtown in July last year, Holey Moley has gone on to open outposts in Castle Hill, Newcastle and Wollongong. So while it might not be welcome news to everyone that the bar has opened in what was once, pre-lockout laws, Sydney's nightlife district, it's hardly surprising. Holey Moley Darlinghurst opens at 82–94 Darlinghurst Road, Potts Point tomorrow, Thursday, May 10. For more info, visit holeymoley.com.au. Images: Mitch Lowe.
There's only one thing better than a long, lazy brunch with free-flowing cocktails. And that's a brunch with free-flowing cocktails, plus spectacular Sydney Harbour views. The Shangri-La Hotel, Sydney's Altitude Restaurant now doing weekend brunch, with an extended, three-hour session on Sundays, so you can take your brunch game to the next level — literally. Located on the hotel's 36th floor, Altitude's brunch takes place every Saturday and Sunday. Book yourself a table and settle in for hours of endless food and drink. On Saturdays, you can opt for a two-hour sitting, from either 11am–1pm or 1.30–30pm. On Sundays, the brunch will run from 11.30am–2.30pm. Priced at $95 per person, the brunch includes food and as many bellinis and mimosas as you like. Or, if you'd prefer Veuve Clicquot, you can upgrade. In between sips, head to the buffet for mountains of fresh seafood, including Sydney Rock oysters and poached prawns, plus meats like mortadella, Berkshire ham and prosciutto. There's also a generous selection of breads, pastries, handcrafted local cheeses and honeycomb. On top of all that, you get an a la carte dish, too. Choose from smoked salmon with orange, chat potatoes and labneh or pancake soufflés with banana, cocoa, almond and ice cream. Come dessert time, you'll be heading back to the buffet for Anna's Sweet Garden, named after the hotel's executive pastry chef (and former guest judge on Masterchef Australia) Anna Polyviou. Here, you'll find a sugary heaven of lollipops, macarons, chocolates, banana bread, caramel slice and seasonal fruits. Altitude's brunch happens twice on Saturdays, from 11am–1pm and 1.30–3.30pm. On Sundays, you can indulge for three glorious hours, from 11.30am–2.30pm. To see the full menu and make a booking, head this way.
The Newtown General Store packs plenty into its single shopfront on the northern stretch of King Street. Shelves are lined with a curated edit of pantry staples, ceramics and low-intervention wines, while the counter turns out hefty, flavour-packed sandwiches that draw a steady local crowd. It's a decidedly casual and quality-driven operation, with Estrella Damm on tap, an all-Aussie wine list — with most available by the glass — and a $3 oyster happy hour from 4–6pm Tuesday through Saturday, and all day Sunday (until sold out). There's also a selection of stacked deli sandwiches on offer — including rotating specials by guest chefs from other Inner West venues — as well as tapas-style small plates and a selection of cheese and charcuterie. But that's only half the story. Slip past those shelves and you'll discover Huelo, a speakeasy‑style cocktail bar hidden upstairs (and, when the weather permits, in the courtyard out back). This intimate but lively watering hole takes its name from the Tongan word for 'sun rays', which is reflected in the warm and welcoming atmosphere of the space. The venue serves punchy, fruit-forward cocktails alongside a tight menu of Mediterranean-inspired bar snacks — and a late-night sandwich service running until 1am on Fridays and Saturdays, making it a top-tier spot to refuel after a gig, shift or spontaneous night out. Open late and walk-in only, this neighbourhood double-act is built for spontaneity — the kind of place you swing by for a snack and end up staying at well past sunset.
Summer in Sydney is always an amazing time for live music given the ridiculous number of bands that come out for Sydney Festival, Big Day Out, Laneway and more, as well as all those bands that are just here independent of a festival. We're totally spoiled for choice. And being able to see so many of the world's biggest bands in the same city at more or less the same time is a real treat. But there are so many great bands that aren't headlining anything, or whose tour announcements you simply haven't heard about thanks to Christmas madness and end-of-year planning. But lucky for you, we've been keeping our ear to the ground and have a put together a list of ten gigs that you should seriously consider selling a body part to get along to. If I could give one piece of advice to all of you about summer shows, it's this: get to the gig early and see the support band; they could be awful and you might wish you had your time back, but every now and again you will find yourself in a room with only a dozen people watching a scintillating set from a band that are clearly going places, and it's one of the most exciting feelings in the world. https://youtube.com/watch?v=1U3q9zgYaUA TALIB KWELI & DEAD PREZ Celebrate the new year in style with two absolute legends of hip hop. You might know Talib Kweli from the amazing album he made with Mos Def in the late '90s — Mos Def & Talib Kweli are Black Star — but he has been making intelligent, insightful and lyrically rich music for almost two decades. Joining him on this massive double bill is Dead Prez, one of the most respected outfits in the history of the genre, who follow in the footsteps of Public Enemy, KRS-One and 2pac by using brilliant, banging tunes to address the impact of unthinking consumerism, rampant sexism and homophobia in hop hop. Their signature tune 'Hip Hop' is an incredible example of their fiercely intelligent art. Saturday, January 4; Metro Theatre; Tickets $49 https://youtube.com/watch?v=U6-3j4_bfIo ELODIE SABLIER If you have ever been walking around the Queen Victoria Building and heard a gentle cascade of piano music falling from the upper levels, you've already heard Sablier play. Born in France, she studied at world-famous conservatoires in Lyon and Paris before moving to Australia a few years ago, and her own compositions sit somewhere between old-world French Romanticism and a decidedly modern Australian attitude. If you find yourself burnt out by summer's heat, or perhaps just overstimulated from all the parties and sugar, this show will be an absolute oasis of calm and beauty. Wednesday, January 15; The Basement; Tickets $24.10-100.80 JAGWAR MA Following the release of their debut album Howlin' earlier in 2013, Jagwar Ma have been on some kind of rampage of touring across Europe, playing all the biggest festivals and establishing themselves as a live act that you simply have to see. Their last Australian shows were at Splendour in the Grass in July, but reports out of the northern hemisphere suggest that this band has gone to a whole other level in just a few short months. And summer in Sydney is the perfect setting for their highly danceable tunes, full of great grooves and an irresistible energy. Friday, January 17; Metro Theatre; Tickets $33.70 BIG STAR'S THIRD Third has become one of the most important and influential records in history, described by Peter Buck from REM as "a Rosetta Stone for a whole generation" — which becomes clear when you look at the amazing lineup of guest musicians that have signed on to perform this tribute as part of Sydney Festival. The 'house band' is pretty amazing, including Big Star's original drummer Jody Stephens, Mike Mills from REM and Ken Stringfellow from The Posies. Joining these motley all-stars will be vocalists such as Sydney Festival headliners Cat Power, Kurt Vile and Edwyn Collins, as well as local legends Tim Rogers from You Am I, Kim Salmon and Dave Faulkner from Hoodoo Gurus. Thursday, January 23; Enmore Theatre; Tikets $71-89 https://youtube.com/watch?v=fSVwJyxeVYI TORO Y MOI & PORTUGAL. THE MAN A killer double-bill of artists on the Big Day Out lineup which will be a fascinating, energetic mishmash of styles. Toro Y Moi is one of the leaders of the whole 'chillwave' thing, his live shows nothing but joyous, summery good times. But whatever you do, don't miss Portugal. The Man. Portugal are like the best covers band in the world; it sounds like music you've always loved but with a new kinda kick to it. They are gradually picking up a following in Australia after touring here a few times in the last couple of years, and you'd be crazy not to get down early to catch them. Wednesday, January 29; The HiFi; Tickets $55 EARL SWEATSHIRT & DANNY BROWN & RUN THE JEWELS An absolute monster of a lineup and a special treat for anyone who missed out on Laneway tickets, with three of 2013's hottest hip hop acts set to tear the roof off the Enmore. Earl Sweatshirt came into the spotlight as part of the Odd Future crew but missed much of the group's huge first year of tours and releases, and no one knew quite why — was he in prison? At boarding school in Samoa? At a military academy? Whatever it was, Earl has been making up for lost time with his debut album, Doris, both a critical and commercial smash hit, and featuring on countless end-of-year lists. Danny Brown also had a big year with the release of his third album, Old, a throwback album that wears its love for old-school hip hop proudly on its sleeve, while Run the Jewels is a new name, but the two names behind it are anything but: El-P and Killer Mike. Tuesday, February 4; Enmore Theatre; Tickets $69.95 OLIVER TANK Sydney boy Oliver Tank has been absolutely killing it in the past couple of years since winning FBi Radio's Northern Lights competition in 2011, which saw him fly to Iceland to perform his first overseas show. Comparisons to Bon Iver and James Blake were perhaps inevitable, and to a certain extent Tank exists in that same broad 'electronica with emotions' sub-genre that those two artists dabble in. But Tank's electronica goes far deeper than a passing association to create intricate, densely layered music that has more in common with Boards of Canada or Jon Hopkins. Saturday, February 15; Metro Theatre; Tickets $17 https://youtube.com/watch?v=n7UeGBULQ7Y OKKERVIL RIVER Is there a better songwriter in the world than Okkervil River's Will Sheff? There might be a few his equal, but surely no one surpasses his wit, his emotion and his way with words — it's not unfair to suggest that Sheff is almost more a prose writer whose work is then set to music, rather than a musician writing lyrics specifically for a song. (Lines like "When I've been fixed I am convinced that I will not get so broke up again", from 'Unless Its Kicks', just amaze me every time I hear them.) They really are a wonderful band, and I can't wait to see them in a room as small as Oxford Art Factory. Friday, February 21; Oxford Art Factory; Tickets $52 JURASSIC 5 I've been dreaming of this moment for years, but I don't know that I ever truly believed it would happen. But one of the most-beloved hip hop ensembles of all time are reuniting to return to Australia six years after their breakup. With four MCs and two DJs (including the wonderful, world-famous Cut Chemist) the ensemble is incredibly versatile, and their chemistry and the speed of their overlapping wordplay gives the impression of one single, unified organism rather than a series of individuals. Combining incredible lyricism with huge party tunes (like 'What's Golden', 'Quality Control' and 'Concrete Schoolyard'), there ain't no party like a J5 party. Wednesday, March 19; Enmore Theatre; Tickets $89.90 https://youtube.com/watch?v=unNa-9qGkfI NEKO CASE So I know that March isn't technically summer, but you're mad if you think I'm leaving the incredible Neko Case off this list. If you have never heard her before, you are missing out on one of the great singer-songwriters of our time. With a voice as clear as a bell and a knack for writing gorgeous, emotionally rich songs, Case has released one amazing album after another. Her latest, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You, could well be her best. Monday, March 3; Sydney Opera House; Tikets $50-70
Getting your collective sweat on in a Pilates, yoga, or reformer class is one of the best ways to feel good—but turning up the heat and making it a hot one? Now, that's the 2025 energy we need. Luckily for us, beloved Pilates and yoga studio CorePlus has finally opened its first Sydney outpost in Darlinghurst. To celebrate, they're gifting you your first class for free. With over 30 studios across Victoria, Queensland, and South Australia, CorePlus prides itself on offering a diverse range of classes led by dedicated instructors. The studio is all about inclusivity, community, mindfulness, and movement. You can choose from three heated mat Pilates classes (Hot Mat, Hot Strength, and Hot Strength Cardio), three yoga variations (Hot Yoga Flow, Warm Slow Flow, and Warm Yin Yoga), and four reformer class styles (Athletic, Strength, Cardio, and Pre and Postnatal). To redeem your free first class, download the CorePlus app for free and use code CONCRETEPLAYGROUND on your booking before Thursday, July 31. By Elise Cullen
Almost two months has passed since Tiger King: Murder, Mayhem and Madness first hit Netflix, sparking a worldwide obsession with Joe Exotic, Carole Baskin and the duo's strange intertwined story. Over that time, Tiger King-related news has just kept coming, including details about competing dramatised series — one with Kate McKinnon as Baskin, another with Nicolas Cage as Exotic. And now, in a hardly surprising development, another season of the Tiger King docuseries is also reportedly on the way. As revealed by The Hollywood Reporter, Netflix is reteaming with the filmmakers behind the popular documentary. This time, though, they're turning their attention to a different big cat-related tale. Audiences are already going to be hearing about Joe Exotic and his blonde mullet in various guises for years and years to come, so the next Tiger King series will focus elsewhere: on the 2003 mauling attack at a Siegfried and Roy show. The incident happened in Las Vegas on Roy Horn's birthday, when a seven-year-old white tiger named Montecore attacked Roy during a performance. It left the magician and entertainer with permanent injuries, with the tiger biting his neck and dragging him off stage. The news comes just days after Horn passed away on May 8 at the age of 75. [caption id="attachment_770551" align="aligncenter" width="1920"] Carol M Highsmith via Wikimedia Commons[/caption] No firm details have been announced by Netflix as yet, so when more Tiger King might hit your streaming queue isn't yet known. And yes, it's likely that wild documentaries about tigers, as well as other big cats and exotic animals, will become the next big viewing trend. Via The Hollywood Reporter. Top image: Netflix.
UK garage superstar Sammy Virji is turning things up in Australia, following the announcement of his largest-ever tour on our shores with the reveal of a landmark performance at the Sydney Opera House. Taking over the revered stage on Monday, March 9, it marks the premiere of his debut live show, pairing an electrifying experience with an iconic venue. Tailor-made for the SOH, this milestone sees Virji step beyond the DJ booth into a one-of-a-kind live environment for the first time. [caption id="attachment_999595" align="alignnone" width="1920"] Underworld at Sydney Opera House.[/caption] Bringing infectious energy with his boundary-pushing selections, Virji has been on quite a roll in recent times with the release of his second album, Same Day Cleaning. Crowning his monumental rise to the top of the UKG scene, Virji has also collabed with the likes of Chris Lake, Skepta, Flowdan and Giggs as his global profile continues to soar. With virtually no stage in Australia more significant than the Sydney Opera House, be among the first to experience Sammy Virji's live show, where high-energy, club-first tunes make history for one night only. Tickets are on sale from 12pm on Friday, January 30 — presale registration is now open. [caption id="attachment_871453" align="alignnone" width="1920"] The Flaming Lips at Sydney Opera House.[/caption]
Early in The Super Mario Bros Movie, pop culture's go-to red-capped plumber (Chris Pratt, Thor: Love and Thunder) sits down to dinner with his brother Luigi (Charlie Day, It's Always Sunny in Philadelphia) and the rest of their family. Pasta is on offer for the Italian American brood, but it comes with something that the Nintendo favourite and gaming mainstay since 1981's first-ever Donkey Kong title quickly advises that he hates: mushrooms. Fans know that more fungi are in his future. In this animated take on the beloved character, his sibling, and their pals and adversaries, a trip to the Mushroom Kingdom is inevitable. And, while there, Mario will meet Toad — a pint-sized humanoid with a toadstool for a head, who is part of a whole race of such folks also called Toads. From the titular brothers through to Princess Peach (Anya Taylor-Joy, The Menu), the fire-breathing Bowser (Jack Black, Apollo 10 1/2: A Space Age Childhood) and even big gorilla Donkey Kong (Seth Rogen, The Fabelmans), The Super Mario Bros Movie stacks together the bulk of the gaming franchise's best-known figures — and Toad is one of them. It also assembles an impressive voice cast to help bring its players to life, including Keegan-Michael Key as its main mushroom man. Here, the actor and sketch-comedy great's tones prove as elastic as his face and limbs long have, especially in iconic skit series Key & Peele. How do you voice a diminutive critter who is as perky as he is tiny? Someone who Key likens to a golden retriever? With ample energy, as The Super Mario Bros Movie's viewers hear. While fellow Key & Peele namesake Jordan Peele followed up that five-season 2012–15 show with a jump behind the lens, helming Get Out, Us and Nope — and earning an Oscar for Best Original Screenplay for the former — Key has remained a constant on-screen. The pair also share Fargo, Keanu, Toy Story 4 and Wendell & Wild on their resumes, teaming up in front of the lens or through voice work on all four; however, Key's list of credits spans everything from Parks and Recreation and Schmigadoon! to The Predator and Dolemite Is My Name. He's broken out his vocal talents in Archer and Bob's Burgers, too, and in the photorealistic version of The Lion King as well. But signing on for The Super Mario Bros Movie couldn't have been an easier choice for the OG Donkey Kong aficionado. That instant enthusiasm comes through in a perky, peppy performance — a voice that's squeakier than viewers are used to from Key, but slides easily into a career that keeps bounding in every on-screen direction possible. During his Key & Peele days, he brought audiences President Obama's anger translator Luther, substitute teacher Mr Garvey and his creative pronunciations, a "Liam Neesons"-loving valet, one of the brilliant 'Aerobics Meltdown' sketch's fierce lycra-clad competitors and more. Of course he's been bouncing here, there and everywhere since. With The Super Mario Bros Movie now in cinemas, Concrete Playground chatted with Key about jumping at the part, finding his Toad voice, preparing for the part, drawing upon his improv background and what he looks for in a role. ON TURNING DONKEY KONG FANDOM INTO A SUPER MARIO BROS ROLE Do you need to be a Super Mario Bros fan to press start on being in one of the game's leaps to the screen? Bob Hoskins, who played the titular character in 1993's live-action movie, famously wasn't. But Key was — and instantly said yes to being involved in the second film bringing Mario and the game's characters to cinemas. "I was a fan of Super Mario, or Mario Bros in the beginning, from Donkey Kong. I was a big Donkey Kong fan way back in the day," Key advises. "So when they approached me and asked me to do Toad, I was like 'I'd be more than happy. I don't even need to see the script! I'm happy. I'm in. I'm your guy. Whatever you want, whatever you need, I'm your guy'." ON FINDING THE RIGHT VOICE FOR TOAD While Key sits among The Super Mario Bros Movie's well-known names, his vocal work stands out from Pratt, Day, Taylor-Joy, Black, Rogan and company. Listen to Mario, Luigi, Peach, Bowser and DK, viewers immediately recognise the actor behind them. That isn't the case with Toad and Key. "What I did is, I was impersonating a friend of mine and trying to get his vocal patterns and vocal rhythms. And I brought that to the table, and then the directors [Aaron Horvath and Michael Jelenic] and I both worked on the pitch, and trying to find where the right pitch would be — and if I could get the voice higher and higher, then higher and higher," Key notes. "And I finally got him some place up here [Key's voice gets higher], until we then got him even higher than that [Key's voice returns to its usual pitch]. Then, mostly the biggest trick was trying to figure out how to maintain that voice while I was in the booth — because sometimes you'd be in the booth for three-to-six hours, and you're trying to figure out how do you maintain that." "So I would just pretend I was — you know, I'm like: 'what would it be like if I was sucking on a helium balloon? How do I make my voice sound like that?'. And then I'm like: 'what else can I do? I don't know — wear tight pants? I'll wear tight pants!'. Anything to keep that voice at that high register." ON PREPARING FOR PLAYING A HUMANOID WITH A MUSHROOM FOR A HEAD The Super Mario Bros Movie starts in reality — animated reality, but in Brooklyn. Here, there aren't mushrooms as far as the eye can see, or coin blocks, or rainbow roads to race on Mario Kart-style. And there definitely aren't mushroom men like Toad. All it takes is a warp pipe to transport Mario and Luigi into the realm seen in Nintendo games for four decades now. That's where Toad comes in. Asked how you prepare for such a part — playing a toadstool-topped humanoid, specifically — Key is all about creativity and being upbeat (and one of humanity's favourite pets). "I think it's just making sure that you're sparking your imagination on any given day. Because what I did — I knew what Toad looked like, but I would just sometimes look at pictures of him and just go 'what am I getting from this picture? What am I getting about how I can portray this?'," he says. "There's something about him that's snappy and positive. He's also like a mushroom-man version of a golden retriever. I wanted him to have that kind of sensibility when I portrayed him." ON DRAWING UPON HIS SKETCH-COMEDY BACKGROUND In the sketch-comedy game, Key is a legend. Before Key & Peele, he spent six seasons on Mad TV, too, also often opposite Peele. And, prior to that, he's among the long list of comedy names to have come through improv troupe The Second City — as Peele also did, and Bill Murray, Mike Myers, Catherine O'Hara, Stephen Colbert, Steve Carell, Tina Fey and Amy Poehler as well. That background came in handy with The Super Mario Bros Movie, including getting into character. "I did get to improvise. I got to improvise quite a bit. A lot of it ended up on the cutting-room floor, but I like to use the improvisation to get into the spirit of it more than anything else," Key explains. "Sometimes I would just improvise right before the line and then jump into the line, and that would give the line the feeling I wanted it to have, the sense and the spirit that I wanted it to have." "Sometimes, you can just use improvisation in that way and it still helps." [caption id="attachment_896345" align="alignnone" width="1920"] Gage Skidmore via Wikimedia Commons[/caption] ON WHAT HE LOOKS FOR IN A PART Key's time on-screen dates back a couple of decades, including a one-episode stint in ER in 2001, plus 00s roles in Role Models and Due Date. What appeals to him now, after Pitch Perfect 2, Tomorrowland, Win It All and The Disaster Artist as well, and also Friends From College, Veep, No Activity and Reboot? Movies and TV shows that stand out. "I look for something in the project that's a little different. Something that catches my eye is always going to be something that I've never seen before. So, if you take a project like Schmigadoon!, I go 'oh god, I've never seen anything like that — if they're interested in me doing that, I want to do that'," Key says. "And the same thing with Super Mario Bros. I figured it would make a lot of sense — I understand what the movie looked like in 1993, when they made the live-action one, but I'm like 'what would it look like if it were this animated movie with the technology that we have today to make animation?'. I thought 'this thing's going to look amazing'." "So I try to jump onboard things that have a little twist to them — some kind of fun, clever twist that makes them different than whatever your run-of-the-mill project might be." The Super Mario Bros Movie released in cinemas Down Under on Wednesday, April 5. Read our full review.
For every Australian that was a toddler from the 90s onwards, and their counterparts worldwide as well, heroes wear blue, yellow, red and purple skivvies. Since the early 90s, The Wiggles have been one of the biggest Aussie names in children's entertainment, and one of the country's most-successful global hits. Alongside Bananas in Pyjamas and Bluey, they're part of a trio of homegrown icons in pop culture's early-childhood space, all thanks to the decision by Anthony Field, Jeff Fatt, Greg Page and Murray Cook to turn their university studies in the area, plus their experience in music — Field and Fatt were part of The Cockroaches, while Page was in Dead Giveaway and Cook in Bang Shang a Lang — into an album for kids. The rest is history, which The Wiggles just keep making. In Triple J's Hottest 100 of 2021, three decades after the group's self-titled debut album, they topped the poll with a cover of Tame Impala's 'Elephant'. Also among the troupe's recent achievements and highlights: appearing at the Mardi Gras parade, playing Falls Festival, earning some love from Lil Nas X and bringing the OGs back together for adults-only shows. Premiering at the first-ever SXSW Sydney, documentary Hot Potato: The Story of The Wiggles — which is now streaming via Prime Video — has joined their resume as well. Onstage for today's toddlers — plus every batch of preschoolers since 'Get Ready to Wiggle' and 'Dorothy the Dinosaur' first started echoing — The Wiggles serve up business as usual. Whether playing at home or around the world, the Aussie entertainers put on a child-pleasing live show. Other than Field, the folks donning the skivvies have changed, with the troupe becoming bigger, more culturally diverse and championing gender balance. At gigs specifically focused at 90s and 00s kids who are now well past The Wiggles' prime demographic, Field, Fatt, Page and Cook have reformed for reunion tours. As seen in Hot Potato: The Story of The Wiggles, both types of concerts draw huge crowds. For Field, Fatt, Page and Cook, life has been shaped by wearing bright colours, singing to fans young and older alike, and getting 'Hot Potato' and 'Fruit Salad' lodged in everyone's brains — and lives have been moulded by their efforts in turn. Early-childhood teaching philosophies have always sat at the forefront of The Wiggles, which the OG four attribute to their success. Young devotees who dance along to their tunes then become adults who still think fondly about their first-ever favourite group. Hot Potato: The Story of the Wiggles clearly has much to cover, then, all within a 104-minute doco that does much more than trade in nostalgia: as directed by Valerie Taylor: Playing with Sharks and David Stratton: A Cinematic Life filmmaker Sally Aitken, it chronicles how four friends started a phenomenon that's taken them everywhere from small Aussie shows to Madison Square Garden, and sparked a beloved group that shows no signs of stopping. With the movie now delighting audiences, Field, Fatt, Page and Cook spoke to Concrete Playground about all things Wiggles, including reflecting upon their careers via the doco, the whirlwind last few years for the OGs and why they're so beloved. And if you're wondering if Fatt, Page and Cook wear skivvies or their famous colours now, Page bought yellow sneakers just for the film's premiere "to have something yellow in my wardrobe", Fatt says he "definitely avoids the purple" and Cook does "have some skivvies though, but they're black". ON THEIR RESPONSE TO A DOCUMENTARY BEING MADE ABOUT THE WIGGLES Anthony: "This New Zealand company approached us about doing it. So they were filming us for the last couple of years and being with us, and then got all this archival footage, and got fans to send in a whole lot of stuff — and just got all these incredible photos right through our career. We were all a step away from the actual creatives of it, and the storytelling. It was pretty well Sally [Aitken] and Fraser [associate director Fraser Grut] with the guys in New Zealand who put it together. But I was a bit scared to see it. I found it very emotional and beautiful — and sad and happy, all that stuff. A lot of great memories." Murray: "When someone's going to make a documentary about you, you're not involved in the decision-making. There's a bit of trust involved and you just hope that they do the right thing. But once we met the filmmakers, Fraser and Sally, we got to know them a bit, and I felt very trusting that they'd tell the story honestly. You don't want to whitewash — you just want the the truth to be told, I think." Jeff: "And Fraser grew up with The Wiggles. So, he held us in very high esteem." Greg: "I think, too, that because he did, because he was a fan as a child, he got the essence of what the documentary is, and that is showing that connection between us and the children, and that connection that continues on today with the new Wiggles. I think that really sums it up beautifully. And I think the overall tone of the picture is one — can you believe I said picture, like moving picture? — the tone of the documentary is one of joy and happiness. Really, that's what it's about. And I think he's done a great job, and so has Sally." ON REFLECTING ON THEIR CAREERS VIA THE FILM Greg: "It must have been such a challenge to try and cram 30 years into probably 100 minutes or so. But they've done a really good job at capturing those high points and the low points along the way — the milestone moments of The Wiggles. To sit there and watch it back for us, I know personally it was really interesting because living it from the inside, you see it very differently to how other people have seen it. But then to step outside of that now and watch it in a different perspective, it's really quite fascinating." Anthony: "You see little bits on YouTube of things we did 15 years ago, but this was like a line of just what happened. And just at the end of it, I was overwhelmed by it all." Murray: "I thought it was quite moving at at times. There was a lot of joy there, but there were a few tears. It does give you an opportunity to reflect on what it was that we achieved and what we created. I think it's really great for the world to see the people behind The Wiggles — that it's not just four goofballs, although we are that — but that there's theory and philosophy behind it. But also just seeing the journey that we went on together, it was really lovely to be able to see that." Greg: "It's interesting because when people ask us questions like they did in the documentary, they're asking questions that we probably never asked each other. And a lot of things we kind of took for granted that we're on the same page about, or we just felt that we would all feel the same way about, but I think there were some differences — not major differences at all. It's kind of funny, like we never sat around and shared a lot about our own feelings about things. A lot of the time, we were talking about the show, the production that we were going to do, there was a lot of that stuff. So I think for me it was really a chance to hear the other guys' perspective on what The Wiggles was to them." ON REALISING THAT THE WIGGLES WERE BECOMING A PHENOMENON Anthony: "In Australia, we went from birthday parties to playing fundraisers for the Nursing Mothers Association, which was really good. They'd sell the tickets and get a percentage of the tickets, they were fundraisers for them and it was great because, basically, it just was word of mouth. The Wiggles in those days, we weren't on television and we weren't on the radio. But the big step up in America, when I knew that things had changed, was when we went over and the people in customs recognised us — not in a bad way. That's when I went 'things have changed here'. It was because Disney took our TV series and put it on four times a day on their channel. And we became massive in America and Canada, and it was amazing." Murray: "I don't think we thought it would go around the world until we actually spent a bit of time in America. For us in the 2000s, from about 2002 on, America was a fairly big focus because it was very successful there. Once we started doing things like playing Madison Square Garden and doing the Macy's Thanksgiving Day parade, it became a little bit surreal, for me anyway. We'd be sitting on buses going to these cities in America that in a lot of cases we've heard of but never been to, and it was a great adventure but it was also a little bit hard to get your head around." Jeff: "From the early days, for example, when we put out the first video and it really made a connection with our audience — and just little steps like that. We'd quite often play for the Nursing Mothers Association in little halls, and that started getting traction. So the audience was continually building in those regional areas and in the city. So there were these little steps along the way, so it wasn't like a huge leap — it was a very gradual thing for us." Greg: "I think, too, it's interesting that people use words like 'global phenomenon' or 'global empire'. For us, it was never about that. It was just about being able to do something that we loved and do it well. And for that reason, every time we had a little bit of success, it felt like we had achieved so much more than what we ever set out to do. And every step along the way, it just kept building and building. So on reflection, I think that was probably the biggest thing about the doco — to sit back and watch those milestone moments be played back. It's like 'well, god, I can't believe we did that because we never set out to do it' — it was just all these happy bonuses that came along. We've had a a blessed time and I think, I hope, that people take away from the doco the fact that when you do something in life that you really enjoy, if it brings joy to other people and that joy is something that's shared both ways, and if everybody's life can be filled with joy, then it's a really great thing." ON THE WIGGLES' ONGOING SUCCESS Murray: "I think that what made The Wiggles successful in the first place is a few things. One of them is that we had this philosophy that was being child-centred, which is a philosophy from early-childhood education where you put the child first and you think about where they're at in terms of their development. We tried to use that in The Wiggles, I think quite successfully. Also just things like we're pretty genuine about it. We're very genuine about what we're doing and what we're trying to achieve. And the songs are good, I think, and really connect with the audience. What's happened after we moved on is that mostly Anthony's seen to it that those things are intact, that the philosophy's still there, that the way of speaking to the audience is still there, the songs are there. So I think that has carried on through the decades and kept The Wiggles in the forefront." Anthony: "I think the bottom line for us is that we have to entertain, and keep children interested and educate them if we can. We're more about pro-social skills, and I think that we've kept the early-childhood philosophies at the forefront, and we haven't gotten too carried away with too many bells and whistles. When we play a live show, we can go off the script at any time, as opposed to a lot of children's shows that are taped. We can, if a child calls out something, we can go with it. That keeps it interesting for us as well. I think that for all those reasons we still love it. I love it still." ON THE WIGGLES' TARGET DEMOGRAPHIC GROWING UP, BUT REMAINING WIGGLES FANS Greg: "I think for those fans, it's the connection to their childhood, when they were young — hopefully carefree and innocent. It's a time of your life where, if you can connect to that inner child when you're in your 20s or 30s, it's something to celebrate. And if The Wiggles are that connection for people, it's a great channel to be able to play music for them and come to our shows, and it's great for us too, actually." Murray: "Oh it's fantastic." Greg: "Because it connects us to that time of our lives as well, when we were doing something that we absolutely loved doing and very privileged to be a part of so many people's lives in a way where they did embrace us and they still do." Jeff: "And for Australian fans, us topping the Triple J, Hot 100, that certainly boosted things with our older audience now." Anthony: "We get told that it was a positive part of their childhood. And when those shows, when we do those adult shows, we don't change our show at all. I mean, pretty well, we're just the same — in the documentary, Paul Paddick, who plays Captain Feathersword, thought it was going to be a chance to swear on stage. And we said 'no, it's got to be exactly how it was or we're going to ruin what these people think about us'." ON THE HOTTEST 100, LIL NAS X AND THE HIGHLIGHTS OF THE LAST FEW YEARS Anthony: "It's been awesome. I'm still going with The Wiggles, so the eight Wiggles, and I'm loving that we've had Jeff come on stage, Murray come on stage, Greg come on stage with us — and it just proves that we're all part of the Wiggles family. Lil Nas was amazing. He made a couple of fun tweets that he'd like to do a collaboration — I really did think it was tongue in cheek — but we did get to meet him at Falls. Falls Festival was just the best, and hanging out with Australian bands that are in their 20s that grew up with the Wiggles, it's just been great. The Hottest 100 was surreal. And musically, it was great because I got to experience Tame Impala, who I knew nothing about — so it was educational for me." We're ready to wiggle with you! 💛💜💙❤️ — The Wiggles (@TheWiggles) April 27, 2022 Murray: "It's funny that so much of what we've done over the years, like going to America, quite a lot of the things we've done have been uncharted. And we've always had this sense of doing things for the adventure of it — and I think this is again something that we never expected. We never expected the initial success that we had, and we never expected that 30 years later we would be playing for those kids who grew up — and no one ever thought that we'd be on Triple J at all, let alone topping the Hottest 100. So it's just wonderful. It's like some sort of icing on the cake, I guess, that we can still get together and have fun with our audience, but also to spend time with each other, and really go back and do this thing that we loved and this amazing thing we created together. Jeff: "At the time we didn't even know who he [Lil Nas X] was. I was totally out of touch with all. But looking at it now, it's crazy." Hot Potato: The Story of The Wiggles streams via Prime Video. Read our review.
More than just a movie about robots battling monsters, Pacific Rim is one of the past decade's big-budget gems. It's a creature feature that isn't afraid to feel, or to match its big action scenes with big ideas and a big heart. Considering that the film was directed by Guillermo del Toro, that's hardly a surprise. As The Shape of Water demonstrated, the Oscar-winning filmmaker excels at telling rich, intricate tales that contemplate fantastic beasts and the relatable reactions they inspire. Viewers were treated to the same thing in Cronos, Hellboy and Pan's Labyrinth as well. With del Toro opting to produce rather than direct Pacific Rim Uprising, however, it's hardly surprising that the sequel doesn't reach the same winning heights. Where the first film turned its Transformers-meets-Godzilla concept into a blend of earnest emotion and smart spectacle, the follow-up is content to adhere to mindless blockbuster formula. If the initial flick built a textured and thoughtful world, this one just rampages through it. Sadly, it does so with the same force as its jaegers, the human-powered giant robots at the movie's centre — and the same bluster as its kaiju, the alien creatures that emerge from the earth's core. Set ten years after the events of its predecessor, Pacific Rim Uprising shifts its focus to Jake Pentecost (John Boyega), son of Idris Elba's "cancelling the apocalypse" hero from the last movie. Jake is happy partying in the ruins of Los Angeles and scavenging old jaeger parts to sell on the black market, but when one scrounging mission attracts the attention of the authorities, he's forced to re-enlist as a jaeger pilot. He has company thanks to orphaned teenager Amara Namani (Cailee Spaeny), whose pint-sized homemade machine got them into trouble in the first place. With no kaiju to fight, their service under the stern Nate Lambert (Scott Eastwood) should be routine. Then, just as corporate head Liwen Shao (Jing Tian) is pushing for jaeger drones, a rogue robot pops up in Sydney and starts wreaking havoc. Don't worry, kaiju play their part — but people-piloted jaegers pummelling remote-controlled jaegers comprise a large portion of Pacific Rim Uprising. First-time feature director Steven S. DeKnight ramps up the action scenes, sticking with what he does best given his background on TV's Spartacus: Blood and Sand and Daredevil. And, to his credit, he does it well. Unlike Michael Bay's aforementioned fighting-robot franchise, the film's set pieces impress. They're smoothly choreographed rather than distracting and chaotic, even if Brisbane (where the movie was largely shot) can't convincingly sub in for Tokyo. Still, what Pacific Rim Uprising lacks is anything more than a boilerplate story or run-of-the-mill characters. Just a couple of decades ago, flicks like this were commonplace — sequels that jettisoned most of their main cast and creatives, trotted out a flimsy approximation of their predecessors, and didn't take things too seriously. Pacific Rim Uprising might have a US$150 million budget, but it still feels like an '80s and '90s-era, direct-to-video sequel in the vein of Tremors 2 or From Dusk Till Dawn 2 — right down to the cartoonish performances from its handful of returning players (Rinko Kikuchi, Burn Gorman and Charlie Day). And like those films, it's not without its very modest pleasures. Boyega oozes the same charm that served him so well in Attack the Block, The Force Awakens and The Last Jedi, while one character's arc is so ridiculous that it can only be entertaining. If only we could say the same thing about the movie. https://www.youtube.com/watch?v=3rU5wYV6X8s
Without a shadow of a doubt, Surry Hills is one of the most varied suburbs in Sydney. You'll find a sneaker shop serving fried chicken and champagne alongside an underground saloon bar complete with taxidermy elk and endless whisky — it's creative, pushes the boundaries and is always two steps ahead — in glitter stilettos, no less. So, whittling down a long list of must-see spots to just ten essentials was never going to be an easy process. In fact, it felt a little like Sophie's Choice. But, with the help of City of Sydney, we got there. If you're ready to see the very best of Surry Hills, don your most fashion-forward threads, make sure you have an empty belly and get set to tick off some stellar spots. Plus, for a few more hot tips, check out our video above for owner of Yulli's Karl Cooney's favourite spots around the suburb.
Whatever chatter and controversy surrounds them — whoever hosts, whichever wild moves the Academy makes before the ceremony even arrives, and no matter how much it tries to reinvent the broadcast to appeal to more people — the Oscars are always about ace films and the people who craft them. A sizeable list of flicks vie for recognition, a smaller number win and a heap of talented folks earn their time in the spotlight. That's it, that's the heart and soul of these coveted accolades. Whether everything you wanted to win actually managed the feat or not, and despite one instance of the kind of behaviour that only belongs in films, the 94th Academy Awards still delivered upon its basic aim. It celebrated the hard work that goes into making movie magic, and the features and shorts that result. And across the night's speeches, exactly how much that means to some winners truly resonated. "There is indeed a place for us," West Side Story's Best Supporting Actress winner Ariana DeBose exclaimed. "You see a queer, openly queer woman of colour, an Afro Latina who found her strength in life through art. And that's what I believe we're here to celebrate," she continued. Winning Best Supporting Actor for CODA, Troy Kotsur's signed speech was equally as moving. When he paid tribute to the power of communication while becoming the first male actor who is deaf to win an Oscar — and in a movie about a family with three members who are deaf that won Best Picture as well — it was a potent and important moment. They're just some of the highlights of this year's Academy Awards — and the best way to champion DeBose and Kotsur's efforts, the films they won for, and all of the other flicks that also picked up gleaming trophies, is to see those very movies. That's the best way to celebrate Jane Campion making history as just the third female filmmaker to win Best Director as well, and Dune's swag of technical gongs. With that in mind, here are 11 newly minted Oscar-winners that you should watch right now. (And if you're after a full list of recipients, we've put that together, too.) CODA When CODA screened at the Sundance Film Festival back in January 2021, it made history. Film distributors always clamour to snap up the event's big hits, and this four-time award-winner — which received the fest's US Grand Jury Prize, US Dramatic Audience Award, a Special Jury Ensemble Cast Award and Best Director — was picked up by Apple TV+ for US$25 million. Even though the sophomore feature from writer/director Sian Heder (Tallulah) remakes 2014 French hit La Famille Bélier, that's still a significant amount of money; however, thanks to its warmth, engaging performances and a welcome lack of cheesiness, it's easy to see why the streaming platform opened its wallet. Fans of the earlier movie will recognise the storyline, which sees 17-year-old Ruby Rossi (Emilia Jones, Locke & Key) struggle to balance her family commitments with her dreams of attending music school. She's a talented singer, but she's only just discovered just how skilled she is because she's also the child of deaf adults (hence the film's title). At home, she also plays a key part in keeping the family's fishing business afloat, including by spending mornings before class out on the trawler wither her dad Frank (Troy Kotsur, No Ordinary Hero: The SuperDeafy Movie) and older brother Leo (Daniel Durant, Switched at Birth). Heder helms this still sweet and moving feature with a distinct lack of over-exaggeration, which plagued its predecessor. The fact that Kotsur, Durant and Marlee Matlin (Entangled), the latter as the Rossi matriarch, are all actors who are deaf playing characters who are deaf really couldn't be more important. Their portrayals are naturalistic and lived-in, as is much about this rousing but gentle crowd-pleaser — including tomboy Ruby's blossoming romance with fellow wannabe musician Miles (Ferdia Walsh-Peelo, Sing Street). OSCARS: Won: Best Picture, Best Supporting Actor (Troy Kotsur), Best Adapted Screenplay Where to watch: CODA is available to stream via Apple TV+. Read our full review. THE POWER OF THE DOG Don't call it a comeback: Jane Campion's films have been absent from cinemas for 12 years but, due to miniseries Top of the Lake, she hasn't been biding her time in that gap. And don't call it simply returning to familiar territory, even if the New Zealand director's new movie features an ivory-tinkling woman caught between cruel and sensitive men, as her Cannes Palme d'Or-winner The Piano did three decades ago. Campion isn't rallying after a dip, just as she isn't repeating herself. She's never helmed anything less than stellar, and she's immensely capable of unearthing rich new pastures in well-ploughed terrain. With The Power of the Dog, Campion is at the height of her skills trotting into her latest mesmerising musing on strength, desire and isolation — this time via a venomous western that's as perilously bewitching as its mountainous backdrop. That setting is Montana, circa 1925. Campion's homeland stands in for America nearly a century ago, making a magnificent sight — with cinematographer Ari Wegner (Zola, True History of the Kelly Gang) perceptively spying danger in its craggy peaks and dusty plains even before the film introduces Rose and Peter Gordon (On Becoming a God in Central Florida's Kirsten Dunst and 2067's Kodi Smit-McPhee). When the widowed innkeeper and her teenage son serve rancher brothers Phil and George Burbank (Spider-Man: No Way Home's Benedict Cumberbatch a career-best, awards-worthy, downright phenomenal turn, plus Antlers' Jesse Plemons) during a cattle-run stop, the encounter seesaws from callousness to kindness, a dynamic that continues after Rose marries George and decamps to the Burbank mansion against that stunning backdrop. Brutal to the lanky, lisping Peter from the outset, Phil responds to the nuptials with malice. He isn't fond of change, and won't accommodate anything that fails his bristling definition of masculinity and power, either. OSCARS: Won: Best Director (Jane Campion) Nominations: Best Picture, Best Actor (Benedict Cumberbatch), Best Supporting Actor (Jesse Plemons, Kodi Smit-McPhee), Best Supporting Actress (Kirsten Dunst), Best Adapted Screenplay, Best Cinematography, Best Original Score, Best Production Design, Best Film Editing, Best Sound Where to watch: The Power of the Dog is available to stream via Netflix. Read our full review. DUNE A spice-war space opera about feuding houses on far-flung planets, Dune has long been a pop-culture building block. Before Frank Herbert's 1965 novel was adapted into a wrongly reviled David Lynch-directed film — a gloriously 80s epic led by Kyle MacLachlan and laced with surreal touches — it unmistakably inspired Star Wars, and also cast a shadow over Hayao Miyazaki's Nausicaä of the Valley of the Wind. Game of Thrones has since taken cues from it. The Riddick franchise owes it a debt, too. The list goes on and, thanks to the new version bringing its sandy deserts to cinemas, will only keep growing. As he did with Blade Runner 2049, writer/director Denis Villeneuve has once again grasped something already enormously influential, peered at it with astute eyes and built it anew — and created an instant sci-fi classic. This time, Villeneuve isn't asking viewers to ponder whether androids dream of electric sheep, but if humanity can ever overcome one of our worst urges and all that it brings. With an exceptional cast that spans Timothée Chalamet (The French Dispatch), Oscar Isaac (The Card Counter), Rebecca Ferguson (Reminiscence), Jason Momoa (Aquaman), Josh Brolin (Avengers: Endgame), Javier Bardem (Everybody Knows), Zendaya (Spider-Man: No Way Home) and more, Dune tells of birthrights, prophesied messiahs, secret sisterhood sects that underpin the galaxy and phallic-looking giant sandworms, and of the primal lust for power that's as old as time — and, in Herbert's story, echoes well into the future's future. Its unpacking of dominance and command piles on colonial oppression, authoritarianism, greed, ecological calamity and religious fervour, like it is building a sandcastle out of power's nastiest ramifications. And, amid that weightiness — plus those spectacularly shot visuals and Hans Zimmer's throbbing score — it's also a tale of a moody teen with mind-control abilities struggling with what's expected versus what's right. OSCARS: Won: Best Cinematography, Best Original Score, Best Production Design, Best Film Editing, Best Sound, Best Visual Effects, Nominations: Best Picture, Best Adapted Screenplay, Best Costume Design Where to watch: Dune is currently screening in Australian cinemas, and is also available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. WEST SIDE STORY Tonight, tonight, there's only Steven Spielberg's lavish and dynamic version of West Side Story tonight — not to detract from or forget the 1961 movie of the same name. Six decades ago, an all-singing, all-dancing, New York City-set, gang war-focused spin on Romeo and Juliet leapt from stage to screen, becoming one of cinema's all-time classic musicals; however, remaking that hit is a task that Spielberg dazzlingly proves up to. It's his first sashay into the genre, despite making his initial amateur feature just three years after the original West Side Story debuted. It's also his first film since 2018's obnoxiously awful Ready Player One, which doubled as a how-to guide to crafting one of the worst, flimsiest and most bloated pieces of soulless pop-culture worship possible. But with this swooning, socially aware story of star-crossed lovers, Spielberg pirouettes back from his atrocious last flick by embracing something he clearly adores, and being unafraid to give it rhythmic swirls and thematic twirls. Shakespeare's own tale of tempestuous romance still looms large over West Side Story, as it always has — in fair NYC and its rubble-strewn titular neighbourhood where it lays its 1950s-era scene. The Jets and the Sharks aren't quite two households both alike in dignity, though. Led by the swaggering and dogged Riff (Mike Faist, a Tony-nominee for the Broadway production of Dear Evan Hansen), the Jets are young, scrappy, angry and full of resentment for anyone they fear is encroaching on their terrain. Meanwhile, with boxer Bernardo (David Alvarez, a Tony-winner for Billy Elliot) at the helm, the Sharks have tried to establish new lives outside of their native Puerto Rico through study, jobs and their own businesses. Both gangs refuse to coexist peacefully in the only part of New York where either feels at home — but it's a night at a dance, and the love-at-first-sight connection that blooms between Riff's best friend Tony (Ansel Elgort, The Goldfinch) and Bernardo's younger sister María (feature debutant Rachel Zegler), that sparks a showdown. OSCARS: Won: Best Supporting Actress (Ariana DeBose) Nominations: Best Picture, Best Director (Steven Spielberg), Best Cinematography, Best Production Design, Best Costume Design, Best Sound Where to watch: West Side Story is currently screening in Australian cinemas, and is also available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DRIVE MY CAR Inspired by Haruki Murakami's short story of the same name, Drive My Car's setup couldn't be simpler. Still recovering from a personal tragedy, actor and director Yusuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to helm a stage version of Chekhov's Uncle Vanya in Hiroshima — but the company behind it insists on giving him a chauffeur for the duration of his stay. He declines, yet they contend it is mandatory for insurance and liability reasons, so Misaki (Toko Miura, Spaghetti Code Love) becomes a regular part of his working stint in the city. Friendship springs, slowly and gradually, but Murakami's name is one of the first signs that this won't follow a standard road. The other: Japanese filmmaker Ryûsuke Hamaguchi, who makes layered, thoughtful and probing reflections upon connection, as seen in his previous efforts Happy Hour and Asako I & II. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours, but it's a patient, engrossing and rewarding trip. It's a gorgeously shot and affectingly performed one, too, whether taking to the road, spending time with its central pair, or chronicling Yusuke's involving auditions and rehearsals. Another thing that Hamaguchi does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yusuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. OSCARS: Won: Best International Feature Nominations: Best Picture, Best Director (Ryusuke Hamaguchi), Best Adapted Screenplay Where to watch: Drive My Car is currently screening in Australian cinemas. Read our full review. THE EYES OF TAMMY FAYE Not for the first time, the eyes have it, but then they always have with Tammy Faye Bakker. Not one but two films called The Eyes of Tammy Faye have told the 70s and 80s televangelist's tale — first a 2000 documentary and now this new Jessica Chastain-starring dramatisation — and both take their monikers from one of the real-life American figure's best-known attributes. In the opening to the latest movie, the spidery eyelashes that adorn Tammy Faye's peepers are dubbed her trademark by the woman herself. They're given ample focus in this biopic, as OTT and instantly eye-grabbing as they they are, but their prominence isn't just about aesthetics and recognition. This version of The Eyes of Tammy Faye hones in on perspective, resolutely sticking to its namesake's, even when it'd be a better film if it pondered what she truly saw, or didn't. In the path leading to her celebrity heyday and the time she was a TV mainstay, Tammy Faye's life saw plenty. It began with an unhappy childhood stained by her stern mother Rachel's (Cherry Jones, Succession) refusal to be linked to her at church, lest it remind their god-fearing Minnesotan townsfolk about the latter's sinful divorce. But young Tammy Faye (Chandler Head, The Right Stuff) still finds solace in religion, the attention that speaking in tongues mid-service brings and also the puppets she starts using as a girl. Come 1960, at bible college, her fervour and quirkiness attract fellow student Jim Bakker (Andrew Garfield, Tick, Tick… Boom!), with the pair soon married even though it gets them kicked out of school. Unperturbed, she keeps seeing their calling to the lord as their way forward, first with a travelling ministry — puppets included — and then with television shows and their own Praise the Lord network. OSCARS: Won: Best Actress (Jessica Chastain), Best Makeup and Hairstyling Where to watch: The Eyes of Tammy Faye is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ENCANTO Five years after Lin-Manuel Miranda and Disney first teamed up on an animated musical with the catchiest of tunes, aka Moana, they're back at it again with Encanto. To viewers eager for another colourful, thoughtful and engaging film — and another that embraces a particular culture with the heartiest of hugs, and is all the better for it — what can the past decade's most influential composer and biggest entertainment behemoth say except you're welcome? Both the Hamilton mastermind and the Mouse House do what they do best here. The songs are infectious, as well as diverse in style; the storyline follows a spirited heroine challenging the status quo; and the imagery sparkles. Miranda and Disney are both in comfortable territory, in fact — formulaic, sometimes — but Encanto never feels like they're monotonously beating the same old drum. Instruments are struck, shaken and otherwise played in the film's soundtrack, of course, which resounds with energetic earworms; the salsa beats of 'We Don't Talk About Bruno' are especially irresistible, and the Miranda-penned hip hop wordplay that peppers the movie's tunes is impossible to mentally let go. Spanning pop, ballads and more, all those songs help tell the tale of the Madrigals, a close-knit Colombian family who've turned generational trauma into magic. This is still an all-ages-friendly Disney flick, so there are limits to how dark it's willing to get; however, that Encanto fills its frames with a joyous celebration of Latin America and simultaneously recognises its setting's history of conflict is hugely significant. It also marks Walt Disney Animation Studios' 60th feature — dating back to 1937's Snow White and the Seven Dwarfs — but its cultural specificity (depictions of Indigenous, Afro Latino and Colombian characters of other ethnicities included) is its bigger achievement. OSCARS: Won: Best Animated Feature Nominations: Best Original Score, Best Song Where to watch: Encanto is currently screening in Australian cinemas, and is also available to stream via Disney+,Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SUMMER OF SOUL (...OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) Much of Summer of Soul (...Or, When the Revolution Could Not Be Televised) involves stunning archival footage, as recorded more than five decades ago, capturing live performances by an astonishing lineup of musicians. At the 1969 Harlem Cultural Festival, a free series of gigs that rolled out across six weekend and saw around 300,000 people head along, Nina Simone, Stevie Wonder, BB King, Sly and the Family Stone, the Staples Singers, Mahalia Jackson and Gladys Knight & the Pips all took to the stage — and the newly unearthed reels that immortalised their efforts are the stuff that music documentary dreams are made of. For his filmmaking debut, Ahmir 'Questlove' Thompson could've simply stitched together different songs from various sets across the festival, and let those music superstars lead the show. He could've taken the immersive, observational approach and jettisoned context, too. But The Roots frontman and drummer doesn't make that choice, and he ensures that two words echo strongly throughout the film as a result: "Black Woodstock". Also in New York — upstate in the town of Bethel, 100 miles north of Harlem — Woodstock itself took place in the summer of 1969 as well. The Harlem Cultural Festival kicked off before and kept playing after its better-known counterpart ended, but comparing the two events makes quite the statement. Why has one endured in public consciousness and proven pervasive in popular culture, but not the other? Why did footage of one quickly get turned into a film, with the Woodstock documentary first reaching cinemas in 1970, but recordings of the other largely sat in a basement for half a century? Why did television veteran Hal Tulchin, who shot the entire Harlem Cultural Festival from start to finish on four cameras loaded up with two-inch videotape, get told that there was little interest in releasing much from a "Black Woodstock"? (One New York TV station aired two hour-long specials at the time, but that's all that eventuated until now.) These questions and the US' historical treatment of people in colour go hand in hand, and whenever the words "Black Woodstock" are uttered, that truth flutters through Summer of Soul. OSCARS: Won: Best Documentary Feature Where to watch: Summer of Soul (…Or, When the Revolution Could Not Be Televised) is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NO TIME TO DIE James Bond might famously prefer his martinis shaken, not stirred, but No Time to Die doesn't quite take that advice. While the enterprising spy hasn't changed his drink order, the latest film he's in — the 25th official feature in the franchise across six decades, and the fifth and last that'll star Daniel Craig — gives its regular ingredients both a mix and a jiggle. The action is dazzlingly choreographed, a menacing criminal has an evil scheme and the world is in peril, naturally. Still, there's more weight in Craig's performance, more emotion all round, and a greater willingness to contemplate the stakes and repercussions that come with Bond's globe-trotting, bed-hopping, villain-dispensing existence. There's also an eagerness to shake up parts of the character and Bond template that rarely get a nudge. Together, even following a 19-month pandemic delay, it all makes for a satisfying blockbuster cocktail. For Craig, the actor who first gave Bond a 21st-century flavour back in 2006's Casino Royale (something Pierce Brosnan couldn't manage in 2002's Die Another Day), No Time to Die also provides a fulfilling swansong. That wasn't assured; as much as he's made the tuxedo, gadgets and espionage intrigue his own, the Knives Out and Logan Lucky actor's tenure has charted a seesawing trajectory. His first stint in the role was stellar and franchise-redefining, but 2008's Quantum of Solace made it look like a one-off. Then Skyfall triumphed spectacularly in 2012, before Spectre proved all too standard in 2015. Ups and downs have long been part of this franchise, depending on who's in the suit, who's behind the lens, the era and how far the tone skews towards comedy — but at its best, Craig's run has felt like it's building new levels rather than traipsing through the same old framework. OSCARS: Won: Best Original Song Nominations: Best Visual Effects, Best Sound Where to watch: No Time to Die is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BELFAST Warm, cosy, rosy, charming, feel-good: typically when a film spins its story during The Troubles in Northern Ireland, none of these words apply. But with Belfast, Kenneth Branagh has made a movie set in its eponymous city when the Protestant-versus-Catholic violence was a constant sight, and also helmed a feature that's about a childhood spent with that conflict as a backdrop. It's an approach that only works because Branagh draws from his own experiences — the film isn't a play-by-play memoir, but it's also clearly personal. Here, it's 1969, when the actor-turned-filmmaker would've been nine years old. The movie's protagonist, Buddy (first-timer Jude Hill), is that exact age, in fact. And with the beginnings of a three-decade-long sectarian fracas bubbling and boiling around him, he navigates the usual age-appropriate antics, such as school, crushes, doting grandparents with ailing health and a potential big move. The Troubles are a constant sight in the largely monochrome-hued film, too, and the reason Buddy's that parents are contemplating relocating to England, something they wouldn't have dreamed of otherwise. Pa (Jamie Dornan, The Tourist) already spends most of his time working there as a joiner, leaving Ma (Caitríona Balfe, Outlander) at home with Buddy and his elder brother Will (Lewis McAskie, Here Before) — with assistance from the boys' Granny (Judi Dench, Six Minutes to Midnight) and Pop (Ciarán Hinds, The Man in the Hat) — and he's been offered a new job that comes with a house. The violence swirling through Belfast has already made it to the family's street, to their hounded Catholic neighbours and, when Pa refuses to join the fray, put them on their fellow Protestants' hit list. Shifting to London (or perhaps further, to Sydney or Vancouver) would provide a new start and a safer future, but leaving all they've ever known isn't a simple decision. OSCARS: Won: Best Original Screenplay Nominations: Best Picture, Best Director (Kenneth Branagh), Best Supporting Actor (Ciarán Hinds), Best Supporting Actress (Judi Dench), Best Sound Where to watch: Belfast is currently screening in Australian cinemas. Read our full review. CRUELLA A killer dress, a statement jacket, a devastating head-to-toe ensemble: if they truly match their descriptions, they stand the test of time. Set in 70s London as punk takes over the aesthetic, live-action 101 Dalmatians prequel Cruella is full of such outfits — plus a white-and-black fur coat that's suspected of being made from slaughtered dogs. If the film itself was a fashion item, though, it'd be a knockoff. It'd be a piece that appears fabulous from afar, but can't hide its seams. That's hardly surprising given this origin tale stitches together pieces from The Devil Wears Prada, The Favourite, Superman, Star Wars and Dickens, and doesn't give two yaps if anyone notices. The Emmas — Stone, playing the dalmatian-hating future villain; Thompson, doing her best Miranda Priestly impression as a ruthless designer — have a ball. Oscar-winning costume designer Jenny Beavan is chief among the movie's MVPs. But for a film placed amid the punk-rock revolution, it's happy to merely look the part, not live and breathe it. And, in aiming to explain away its anti-heroine's wicked ways, it's really not sure what it wants to say about her. Before she becomes the puppy-skinning fashionista that remains among Glenn Close's best-known roles, and before she's both a wannabe designer and the revenge-seeking talk of the town played by Stone (Zombieland: Double Tap), Cruella is actually 12-year-old girl Estella (Tipper Seifert-Cleveland, Game of Thrones). She sports two-toned hair and a cruel that streak her mother (Emily Beecham, Little Joe) tries to tame with kindness — and she's also a target for bullies, but has the gumption to handle them. Then tragedy strikes, an orphan is born, loss haunts her every move and, after falling in with a couple of likeable London thieves, those black-and-white locks get a scarlet dye job. By the time that Estella is in her twenties, she's well-versed in pulling quick heists but loves sewing the costumes required more than anything else. And, thanks to the Baroness (Thompson, Last Christmas), she eventually gets her chance — for fashion domination, as well as vengeance. OSCARS: Won: Best Costume Design Nominations: Best Makeup and Hairstyling Where to watch: Cruella is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more Oscar-nominees to watch? You can also check out our full rundown of where almost all of this year's contenders are screening or streaming in Australia.
Let's, for a moment, step around the "is file sharing piracy?" debate. The internet is awash with free, legal movie options — if you know where to look. We've curated a quandry-free ethical zone of movies that will be up online for the next few months at least. For other online cinematic freebies, the SBS and ABC sites are worth checking regularly; feature films, not just television programs, are uploaded for a couple of weeks at a time. Recent gems have included the classic Errol Morris doco The Thin Blue Line and French romantic comedy Hunting and Gathering with Audrey Tautou (let’s face it, French rom coms are just classier than Hollywood ones). 1. The Tunnel (2011) A super low budget, mockumentary-style Australian horror movie set in an abandoned web of tunnels beneath Sydney’s railway system. It's steers away from the slasher genre, towards that of a psychological thriller with a slow-building and genuinely eerie climax. 2. Shopgirl (2005) "Shopgirl" is what happens when Hollywood tries to do a smart, offbeat rom com. It’s a Steve Martin vanity trip - he wrote it, produced it and stars as a slightly creepy, rich, older guy who courts the lovely but quietly unhappy Claire Danes, who is torn between him and a cooler but less dependable Jason Schwartzman. Why would Claire Danes interested in Steve Martin? It’s a bit weird and unclear. But if you want something a bit silly and a bit entertaining to tune out to for a couple of hours, this is the one for you. The trick is not to think too much. 3. Night of the Living Dead (1968) This old school zombie classic by George Romero is available online thanks to it’s recent inclusion in the US Library of Congress’ National Film Registry. It spawned five Living Dead sequels and two remakes. An essential one for horror maniacs. 4. Ozamu Tezukis’ Metropolis (1949) You probably know Ozamu Tezukis not by his name, but as “the guy who made Astro Boy”. This is his 1940s take on a dystopian, robotic future. It’s a quiet classic, as impressive as any olden day Disney cartoon, and a must for anyone who’s in love with out-of-this-world Japanese animation (think Spirited Away). 5. Enduring Love (2004) A psychological thriller and twisted love story starring Daniel Craig, Rhys Ifans (in unhinged stalker mode) and Samantha Morton and directed by Roger Michell, the guy who made Notting Hill (who really is not as bad as he sounds). It doesn’t reach the mad heights of Ian McEwan’s original novel, but the performances and the opening sequence of a tragic giant red balloon crash in the picturesque countryside are great. 6. The Wild One (1954) The 1biker drama that helped cement Marlon Brando’s icon status. It’s a golden era Hollywood flick big on tragedy and postwar aimlessness. 7. Midnight Express (1978) A “Serious Movie for Adults” with an Oscar-winning script by Oliver Stone. This one’s a heavyweight drama set in Turkey - it depicts the brutality of prison life for an American sentenced for drug-smuggling. 8. Gattaca (1997) New Zealand director Andrew Niccol’s slick film is equal parts sci-fi thriller, film noir and melodrama. It’s lovely to look at, if not a little predictable, and depicts a future where humans are genetically optimised against disease and ill-health. 9. El Mariachi (1992) This is a Spanish-language, Pulp Fiction-era, indie crime movie that’s heavy on the blood, leather and guns. It’s little wonder director Robert Rodgriguez ended up collaborating with Quentin Tarantino - they’re a cinematic match made in heaven/hell. 10. The Rage in Placid Lake (2003) Another quirky indie romance with an unlikely pairing (Rose Byrne and Ben Lee?!?! Really?) and boundless whimsy. Ok, it’s a bit twee, but perfect for anyone feeling a nostalgic for early 2000s Australiana. Follow it up with a Triple J Hottest 100 album for full effect. Leading image by NCM3.
Shopping for people you know intimately can be a challenge, so when you're required to buy a gift for someone outside of your inner circle it can be downright intimidating. But it doesn't have to be. Bookmark this page for future gift-giving inspiration, because, in partnership with American Express, we've gathered a selection of options that'll cover you for any personality type and scenario requiring a present. We'll even let you take the credit for having an excellent eye for products. Bonus: none of the following options are all that demanding on your wallet and they can be found online or inside the doors of independent shops worth seeking out in a neighbourhood near you.
Australia's most prestigious portrait award is just around the corner, and its finalists have been announced today. Every year crowds speculate who will be awarded the coveted prize and, more often than not, the Archibald winner causes much-heated debate. From last year's five-time Archibald finalist Yvette Coppersmith's first win — for her vibrant, almost Cézanne-inspired Self portrait, after George Lambert — to Craig Ruddy's 2004 win with his sketch of Indigenous actor David Gulpilil, it's hard win to pick. All that's really assured is that it'll be a portrait of person by an Australian. Held at the Art Gallery of NSW every year, the Archibald runs in conjunction with the Wynne and Sulman Prizes — recognising the best landscape painting of Australian scenery, or figure sculpture and the best subject painting, genre painting or mural project, respectively. This year, running from May to September, the Archibald is sure to attract a massive crowd, with some exceptional artworks to feast your eyes upon. Vietnamese-Australian artist, actor and writer Anh Do has made the cut, as have Melbourne-based stencil artist Kirpy with his portrait of Paralympic champion Dylan Alcott, Carla Fletcher's cosmic work of Del Kathryn Baron and a hyperreal self-portrait of a pregnant Katherine Edney. Tessa MacKay has also taken out the coveted 2019 Archibald Packing Room Prize, chosen by the packing room tea, for her hyperreal portrait of actor David Wenham, called Through the Looking Glass (above). As there are so many outstanding portraits this year (as there are every year), it's impossible to know which of the 51 is going to take home the $100,000 prize. Regardless, here are some of our favourites — and some we think may have a good chance of winning. [caption id="attachment_719640" align="alignnone" width="1920"] Luke Cornish, Cato, Callie and Comet. Photo: AGNSW, Felicity Jenkins.[/caption] LUKE CORNISH — CATO, CALLIE AND COMET Prolific Australian street artist Luke Cornish has subdued his edge a bit for his portrait of Sue Cato — a media commentator and businesswoman as well as a board member of Carriageworks and a member of Sydney Contemporary's advisory council. Cornish initially wanted to paint her two dogs, Callie and Comet, but as per the Archibald rule, Cato was included and is the subject of Cato, Callie and Comet. In 2012, Cornish was the first street artist to ever be an Archibald finalist and he's back again with this accurate, and slightly moody, depiction of a powerful woman in the intimacy of her own living room. [caption id="attachment_719642" align="alignnone" width="1920"] Laura Jones, Nakkiah in her dressing room. Photo: AGNSW, Mim Stirling.[/caption] LAURA JONES — NAKKIAH IN HER DRESSING ROOM Sydney-based artist Laura Jones has made quite the name for herself in recent years, having exhibited in some of Sydney's top contemporary galleries as well as a past finalist in the Portia Geach Memorial Award, the Brett Whiteley Travelling Art Scholarship and the Doug Moran National Portrait Prize. Now, she is a finalist in Australia's biggest art award for the first time. Nakkiah in her dressing room is an intimate work of Nakkiah Lui, an Australian actress of Gamillaroi/Torres Strait Island background. The portrait depicts Lui's wit, strength and warmth and is a highly expressive piece for an Archibald first-timer. [caption id="attachment_719644" align="alignnone" width="1920"] Blak Douglas, White shells, black heart. Photo: AGNSW, Felicity Jenkins.[/caption] BLAK DOUGLAS —WHITE SHELLS, BLACK HEART Blak Douglas is no stranger to the Archibald, having been a finalist in 2015 and 2018, and also a finalist in this year's Wynne Prize for a collaborative work. So, the man means business, even though his works may seem somewhat simple at first glance. His portrait is of Esme Timbery (or as he refers to her, Aunty Esme) — one of the longest-practising Aboriginal artists. The two worked together back in 2000 for Eorascapes — an exhibition in the Sydney Opera House foyer for the Olympics. The colourful multimedia work is both venerate and familial, a testament to Blak Douglas and his personal-yet-political artistic practice. [caption id="attachment_719646" align="alignnone" width="1920"] Anh Do, Art and war.[/caption] ANH DO — ART AND WAR You may know Do for any number of reasons. The actor, writer, comedian and artist is an Australian household name and is no Archibald newbie. Having won the 2017 People's Choice award for his portrait of actor Jack Charles and a finalist back in 2014 for a portrait of his father, Do has now painted a fellow artist — George Gittoes. Gittoes has witnessed adversities in Somalia, Rwanda, Bosnia, and Afghanistan and is known for his raw, brusque depictions of human suffering (with glimmers of hope and resilience). Emanating Gittoes' grit, Art and War is a close-up portrait looking straight down the barrel into the eyes of someone who's seen much of the world. [caption id="attachment_719647" align="alignnone" width="1920"] Shane Bowden, Self-portrait sitting in a red chair, Avalon. Photo: AGNSW, Mim Stirling.[/caption] SHANE BOWDEN — SELF-PORTRAIT SITTING IN A RED CHAIR Shane Bowden's work may not look the most technically impressive but he sure doesn't hold back. His self-portrait errs on the grotesque, with demented lines, a disproportionate use of scale and muddled colours — it has an overall first-day-of-kindergarten appeal. Upon first glance that is. Having undergone heart surgery last year, Bowden has channelled this personal catastrophe into Self-portrait sitting in a red chair, Avalon. The neo-expressionist work represents the artist as both child and adult, distilling "all the emotion and confusion of the last 40 years as I tried to find my true self," as put by Bowden himself in his official Archibald statement. A finalist in the 2010 Archibald Prize with a collaborative work as well as a finalist in the Doug Moran National Portrait Prize in 2010 and 2011, Shane Bowden is not one to overlook. All of the Archibald, Wynne and Sulman Prize finalists will be on display at the Art Gallery of NSW from May 11–September 8. The Archibald finalists well then head to various galleries across regional NSW and Victoria. Top image: Tessa Mackay, Through the looking glass. Photo: AGNSW, Mim Stirling.
The Efendy group transformed the former Tombik digs into Baharat — a triple-threat venue that is either cocktail bar, casual eatery and spice shop or all three. Taking its name from the Turkish word for 'spice', Baharat is headed up by renowned chef Somer Sivrioğlu, bar manager Emre Bilgin (ex-Geyik), and assistant bar manager Berk Abdullahoglu (ex-Kaia). The venue's layout, decor, music and rustic interior (refreshed by Jordan Design Studio), all pull inspiration directly from the spice shops and street bars in Taksim square. Upon entry, you'll spot jars of spices adorning the wall behind the bar, alongside bottles of house-made alcoholic liqueurs and syrups, and strings of deep red chillis. Paired with the psychedelic Turkish music from the 70s, the tone for your night is set, transplanting you to the bustling streets of Istanbul. When you visit, you'll want to try a little of everything, so start off with the snacks section of the menu. You can try the stone baked bread, which pairs well with the hummus, babaganoush, or the pastirma and condiments. Or opt for the ox tongue with kokorec spices and flatbread, or the Muvjer — the Turkish equivalent of a zucchini fritter — combined with feta, haloumi and dill. For mains, cast your eyes over the pide selection. Pick from crowd favourites like the lahamacun — flatbread topped with minced meat or vegetables, the zaatar, walnut and muhammara flatbread, the three Anatolian cheese pide or the pastirma and kashar cheese pide. Then there's the restaurant's signature dish: the lamb tandir is slowly roasted in a stone oven, and served with flatbread and pickles. When it comes to the drinks, pick from Baharat's specialty cocktails which put a Turkish spin on the classics with inspiration from the restaurant's own Spice Bazaar. Look out for the pickled shalgam Bloody Mary, the sumac and black salt margaritas and the barrel-spiced negroni. The house cocktails also include a range of spice-infused cocktails including the Belly Dancer — featuring mezcal, grapefruit, allspice dram and raki — and the Fisco Misco — featuring Pisco and maraschino with cumin, coriander and sumac. There are also Turkish beers and wines, plus non-alcoholic drinks on offer, including Efes' fruity non-alcoholic malts. Those who are curious, or who simply enjoy watching their food being made, can peer through the window into the kitchen and enjoy the view. And if you can't dine in, all menu items are available for takeaway.
Powerhouse Museum Ultimo is set to look a whole lot different thanks to a $500-million makeover — and the plan for the revamp has just been given the green light. The approval for the concept that won 2022's design competition is the latest step towards kicking off construction on the project. "Planning consent allows us to move into the next important phase of the project and to get on with the job of reinvigorating one of Australia's most revered museums, securing its future for many generations to come," Powerhouse Trust President Peter Collins AM KC said. "We will now continue to consult with the community and stakeholders as we refine the final design of the museum and ensure the community provides input into the renewal during the next phase of the planning process." If you'd like to have your say, you can participate in the consultation on the design by completing the online survey before Friday, March 10. Celebrating the current strengths of the building while providing it with a major transformation, the concept has been designed by Australian team Architectus, Durbach Block Jaggers Architects, Tyrrell Studio, Youssofzay + Hart, Akira Isogawa, Yerrabingin, Finding Infinity and Arup. This team's design was unanimously selected by the jury following a design competition. Included in the transformation are expanded exhibition spaces, a new urban space connected to the neighbouring Goods Line that will work as a public square, revitalised creative studios at the Harris Street end of the building and increased outdoor spaces throughout the museum. "The new building casts a reimagined lens on the heritage fabrics and cityscapes from multiple levels of this escarpment – from uses, circulation, terraces and gardens," said Design Director Camilla Block. "Respectful and immediate, the reimagined building lives alongside the Powerhouse core, a powerful embodiment of both geography and backdrop." Aesthetically, the renders reveal a new facade of concrete and red brick emerging from the heritage-listed elements of the museum. "Congratulations to the team for their deeply considered response to the Ultimo site, honouring the history and heritage of the Powerhouse museum whilst simultaneously reimagining how we can continue to engage our communities into the future," Powerhouse Chief Executive Lisa Havilah said. The revamped museum will also feature a new rooftop learning camp called Powerhouse Academy. This space will offer secondary and tertiary students from regional NSW and around the country the opportunity to come to Sydney and participate in immersive learning experiences. The project has undergone a rocky history to get to this point. Back in 2015, Powerhouse Museum Ultimo was earmarked for closure, as part of a move to shift the entire facility to Parramatta. Then, when that idea didn't prove popular, the New South Wales Government committed to revamping and revitalising the existing site, allocating $480–500 million to the makeover. The other Powerhouse Museum location will still be established in Parramatta and is under construction at the moment. Head to the Powerhouse Museum Ultimo's renewal homepage for all the information on the site's transformation. Images: Powerhouse Ultimo renewal concept design created by Architectus, Durbach Block Jaggers Architects, Tyrrell Studio, Youssofzay + Hart, Akira Isogawa, Yerrabingin, Finding Infinity and Arup.
