From humble food truck beginnings, Melbourne Greek doughnut-slinger Lukumades opened its first bricks-and-mortar spot in West Melbourne in 2017. Now, it's brought its chewy on the inside, golden and crispy on the outside dessert to Sydney. The Lukumades Sydney outpost is located in DUO Central Park — the plant-covered skyscraper opposite the eyesore that is UTS Tower — and dishing up a modern spin on traditional Greek loukoumades. Cult favourites such as the Oreo Balls smothered in white chocolate and served with a scoop of cookies and cream gelato — and the White Nutella Balls topped with salted caramel sauce and crushed biscuits — will be on the menu, as well as more traditional doughnuts dusted with icing sugar or dipped in honey and cinnamon. To drink, Lukumades' specially roasted blend of coffee by Sydney-based William De Nass roasters is available, as well as milkshakes, traditional Greek soft drinks and tsikoudia — a Greek grape-based spirit. Lukumades is not just expanding to Sydney, either. As well as Perth and a second store in Melbourne, the brand has its sights set globally — thanks to its recent franchising — with stores in the United States and Cyprus anticipated to open by the end of the year.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=0T4GIqEYyNk&feature=youtu.be RAYA AND THE LAST DRAGON Featuring a vibrant animated spectacle that heroes vivid green and blue hues, a rousing central figure who is never a stock-standard Disney princess and lively voice work from an all-star cast, Raya and the Last Dragon boasts plenty of highlights. Directed by Don Hall (Big Hero 6) and Carlos López Estrada (Blindspotting), co-directed by Paul Briggs and John Ripa (both Disney art and animation department veterans), and penned by Qui Nguyen (Dispatches From Elsewhere) and Adele Lim (Crazy Rich Asians), the Mouse House's new all-ages-friendly release also embraces southeast Asian culture with the same warm hug that Moana gave Polynesia and Pixar's Coco sent Mexico's way — and it's always detailed, organic, inclusive and thoughtful, and never tokenistic. But perhaps its biggest strength, other than the pitch-perfect vocal stylings of Awkwafina as the playful, mystical half of the film's title, is its timing. Disney first announced the feature back in August 2019, so the company can't have known what the world would suffer through from early 2020 onwards, of course. But a hopeful movie about a planet ravaged by a destructive plague and blighted by tribalism — and a feature that champions the importance of banding together to make things right, too — really couldn't arrive at a more opportune moment. COVID-19 has no place in Raya and the Last Dragon; however, as the picture's introductory preamble explains, a virus-like wave of critters called the Druun has wreaked havoc. Five hundred years earlier, the world of Kumandra was filled with humans and dragons living together in harmony, until the sinister force hit. Now, only the realm's two-legged inhabitants remain — after their furry friends used their magic to create the dragon gem, which saved everyone except themselves. That's the only status quo that Raya (voiced by Star Wars' Kelly Marie Tran) has ever known. Her entire existence has also been lived out in a divided Kumandra, with different groups staking a claim to various areas. With her father Benja (Daniel Dae Kim, Always Be My Maybe), she hails from the most prosperous region, Heart, and the duo hold out hope that they can reunite the warring lands. Alas, when they bring together their fellow leaders for a peaceful summit, Raya's eagerness to trust Namaari (Gemma Chan, Captain Marvel), the daughter of a rival chief, ends with the Druun on the rampage once again. A movie about believing not just in yourself, but in others, Raya and the Last Dragon doesn't shy away from the reality that putting faith in anyone comes with the chance of peril and pain — especially in fraught times where the world has taken on an every-person-for-themselves mentality and folks are dying (or being turned to stone, which is the Druun's modus operandi). If the narrative hadn't been willing to make this plain again and again, including when it picks up six years later as Raya tries to reverse the devastation caused by Namaari's actions, Raya and the Last Dragon wouldn't feel as genuinely affecting. Raya and the Dragon is screening in Australian cinemas from Thursday, March 4, and will also be available to view via Disney+ with Premier Access (so you'll pay $34.99 extra for it, on top of your usual subscription fee) from Friday, March 5. It'll hit Disney+ without any extra fee on June 4. Read our full review. https://www.youtube.com/watch?v=DSFpK34lfv0 NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's true whether she's playing overt or understated characters, or balancing those two extremes. In Fargo, the first film that earned her an Oscar, McDormand is distinctive but grounded, spouting midwestern phrases like "you betcha" but inhabiting her part with texture and sincerity. In Three Billboards Outside Ebbing, Missouri, her next Academy Award-winning role, she's an impassioned mother crusading for justice and vengeance, and she ripples with deep-seated sorrow mixed with anger so fiery that it may as well be burning away her insides. Now, in Nomadland, McDormand feels stripped bare and still a commanding force to be reckoned with. She's tasked with a plucky but struggling part — defiant and determined, too; knocked around by life's ups and downs, noticeably; and, crucially, cognisant that valuing the small pleasures is the hardest but most rewarding feat. It'll earn her another Oscar nomination. It could see her nab a third shiny statuette just three years after her last. Along with the attention the movie received at the Golden Globes, both are highly deserved outcomes because hers is an exceptional performance, and this was easily 2020's best film. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot where she spent her married years turns into a ghost town when the local mine is shuttered due to the global financial crisis. A slab of on-screen text explains her predicament, with the film then jumping into the aftermath. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it truly sees everyone in its frames, be they fictional or real. Nomandland understands their plights, and ensures its audience understands them as well. It's exquisitely layered, because its protagonist, those around her and their lives earn the same term — and Zhao never forgets that, or lets her viewers either. Nomadland screened in Australian cinemas during a two-week preview season in 2020, starting Saturday, December 26. From Thursday, March 4, 2021, it's back on the big screen for its general release season. Read our full review. https://www.youtube.com/watch?v=5ICPoXlmTO0 CHAOS WALKING Adapted from the book series of the same name, Chaos Walking has weathered a difficult path to cinemas. The tedious and generic space western releases ten years after the rights to turn Patrick Ness' novels into films were first acquired, four years since the movie was originally shot and two years after major reshoots following unfavourable test screenings. It went through a plethora of rewrites, too, with I'm Thinking of Ending Things' Charlie Kaufman on scripting duties at one point, and Ness (A Monster Calls) and Spider-Man: Homecoming's Christopher Ford getting the final credit. Navigating such a mess rarely bodes well for a movie, so the fact that Chaos Walking proves dull and derivative shouldn't come as a surprise. Even with its cast filled with impressive talent, and with Edge of Tomorrow filmmaker Doug Liman begin the lens, it's hard to see how it might've fared better, with its premise an instant struggle. Set in 2257, the film follows colonists from earth on a planet called New World, who are plagued by a strange phenomenon. A multi-coloured haze hovers around men's heads — and only men — showing their every thought. The sensation has been dubbed 'the noise', and experiencing it while watching sure is rackety. Indeed, 'noise' is the absolute right word for the entire movie. In his pioneer village, teenager Todd (Tom Holland, The Devil All the Time) can rarely control his noise. While the Mayor (Mads Mikkelsen, Another Round) is able to filter the words and images that project from his mind — and also rock a furry red coat and wide-brimmed hat far better than anyone should — few others have the same ability. Seeing what everyone is thinking is a tricky way to live at the best of times, and it applies to the entire population, because women have been wiped out in a war attributed to the planet's original inhabitants. But Todd's troubles multiply when he discovers a spaceship, as well as Viola (Daisy Ridley, Star Wars: Episode IX — The Rise of Skywalker), its sole surviving occupant. The mayor and his followers don't take kindly to the first female in their midst for years; however, supported by his adoptive fathers Ben (Demian Bichir, The Midnight Sky) and Cillian (Sons of Anarchy creator Kurt Sutter), Todd isn't willing to surrender the only girl he's ever seen to an angry mob. Cue a tale of toxic masculinity that dates back to 2008, when first instalment The Knife of Never Letting Go hit bookshelves, and feels timely in the current social, political and cultural climate. That said, this isn't a complex, layered or thoughtful film. Instead, it's content to stress its themes in such a broad and easy manner that getting Holland to hold up a sign saying "the patriarchy is bad" would've been more subtle. Indeed, Chaos Walking really just uses these notions as a backdrop for a predictable and formulaic dystopian story, and as a handy reason to motivate its conflicts, in a movie that plays like a hodgepodge of far better sci-fi and western fare. Read our full review. https://www.youtube.com/watch?v=mCvQzzKdgV4 ABOUT ENDLESSNESS The latest feature from acclaimed and always distinctive Swedish auteur Roy Andersson (Songs From the Second Floor, You, the Living, A Pigeon Sat on a Branch Reflecting on Existence), About Endlessness plays like the filmmaker's response to an oft-used — and overused — piece of worldly wisdom. Relishing the little things has become a greeting card-level piece of advice that's trotted out far too frequently and easily, but this vignette-fuelled drama contentedly peers at and contemplates everyday occurrences, flitting from one snippet of story to another across its brief 78-minute duration. It sees the happy moments, and the bleak ones. It has time for inconsequential instances, for clear flights of fancy and for real-life events that changed the shape of history. It spies the magical, the mundane, the merciful and the menacing, gives them all their time in the spotlight, and weaves them into a moving catalogue of the human condition. And, although the writer/director remains in his comfort zone, he crafts this latest treatise on merely existing into a movie that cuts deeply and feels bold rather than familiar. With Andersson's renowned eye for the sublime and the absurd, the film sees the juxtaposition at the heart of living. It knows that, in some shape or form, life is bound to continue on forever. It's also aware that individual lives are inescapably finite. When pondering mortality, these two truths can be hard to reconcile, especially given that the minutiae that makes up each and every day lulls us into a false sense of feeling as if it'll never end — and About Endlessness embraces all of this thorniness and complexity in its own way. Via poetic parcels of narration that declare "I saw a man begging to be spared", "I saw a woman who had a problem with her shoes" and "I saw a man who wanted to save the honour of his family, then regretted it" — plus other such short descriptions — About Endlessness works through instance after instance of people searching for meaning, happiness, and a reason to see their existence as anything more than a parade of breaths and heartbeats. The voice offering such narration is female, proves choosy about which scenes she decides to comment on, but is clearly affected by everything that plays about before her all-seeing vision. When it comes to anything approaching an explanation, though, Andersson remains sparse and careful. And yet, this is a detailed film that overflows with intricacy, intimacy and emotion, and with glorious artistry in every single frame. Every shot looks both naturalistic and staged, as is the filmmaker's custom, which evokes the feeling that you're stealing glimpses of life that are equally rich and routine in tandem. Whether a dictator, a man of faith or someone crying on public transport takes temporary pride of place (or, in the latter's case, if a fellow passenger is asking why he can't just be sad at home like everyone else), these short moments have a cumulative effect that's striking and profoundly insightful. Take, for example, an oh-so-short clip of young women spontaneously dancing outside a cafe, which is delightful, instantly touching and speaks firmly to the fact that life is as consistent in its joys as it is in its woes. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26; and January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25. You can also read our full reviews of a heap of recent movies, such as The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters and The Little Things.
The Gold Coast, Australia's beach club capital. That isn't how anyone refers to the Glitter Strip to at the moment, but it might soon become a reality. The tourist spot is already home to a rooftop beach club in Surfers Paradise, and will welcome a pop-up beach club on the sand at Broadbeach this month, too. Plus, sometime early in 2022, it'll also boast La Luna, a new floating beach club at the Marina Mirage. The space is the brainchild of the Gennari Group, which is already behind the Gold Coast's Koi Broadbeach, Glass Dining & Lounge Bar, The Loose Moose, Maggie Choo and Roosevelt Lounge. This new venue will clearly stand out, though — setting up a beach club on pontoons will do that. La Luna will take inspiration from its European counterparts — and from Mykonos and Saint-Tropez in general — with a few cues gleaned from the setups in Tulum in Mexico as well. Think: daybeds, private cabanas and pools, obviously, as well as a bar, and dining both inside and by the water. Based on concept images, the look is light and airy, with splashes of pink and blue against white and cream-hued furniture — including ever-trusty beach umbrellas. Given the venue's moniker, circles, glowing orbs and lunar shapes aplenty pop up, too. And, as well as making you feel like you're on the other side of the world, La Luna is aiming to radiate big yacht life vibes. Basically, it'll be the beach club you hang out in when you want to pretend you're spending your daily lazing around on a boat's deck. Bring your adult siblings, start bickering and you'll feel like you're in Succession, perhaps? While specifics in terms of menu and entertainment haven't been revealed as yet, La Luna will serve up Mediterranean and Asian fusion bites made with local produce, have DJs set the mood and host parties under the stars. Cocktails will be big on the drinks list, naturally. La Luna's restaurant is currently slated to have a soft launch in January, ahead of the full venue opening sometime early in 2022 — so whether you'll be able to add floating pool club hangs (and living the yacht life without the yacht) to your summer plans hasn't yet been confirmed. La Luna Beach Club will open at Marina Mirage, 74 Seaworld Drive, Gold Coast sometime in early 2022 — we'll update you with further details when they're announced. Images: artists' impressions of La Luna Beach Club.
House-made almond milk infused with rose petals, chilled Milo with choc chips and jaffles dripping with cheese and sausage — Meraki takes all your childhood food dreams and turns them into adult realities. Barista Toufick Chami — whose CV includes Circa, The Cupping Room, Tap and Ona — opened the glass doors of this sunny, friendly corner cafe back in 2016. He combines his Lebanese background with modern Australian cafe fare, creating dishes that break the mould through simple but effective twists. The signature toastie, for example, called The Saltan's Jaffle, is made up of tasty cheese, sujuk (dry, spicy sausage), olives and house-made smoky capsicum relish, while the granola is served on watermelon-infused rose water reduction and a pear poached in Earl Grey tea. The compact menu changes frequently and, every morning, a batch of freshly baked goodies lands on the counter. Be there early to nab one. Chami sources coffee beans from Stitch, St Peters. But, for non-coffee drinkers, there are plenty of alternative adventures, such as the Red African hot chocolate, chilled vanilla rose Milo and the aforementioned house-made almond milk made with beetroot, rose petals and Himalayan sea salt.
The long-standing and much-loved Newtown branch of Berkelouw Books is set to close in the week commencing September 8. Despite being currently advertised as a "relocation" on the Berkelouw website, the branch is closing down permanently with no set relocation destination at this point in time. Berkelouw Newtown has been a familiar face on the inner-west literary block for many years and even though it survived the Great Gentrification of King Street and Surrounds in the late-noughties, the bookstore has failed to make the cut this financial year and will be shut by early September. As hard as this news is to swallow for bibliophiles everywhere, you will have a chance to pay your final respects at the 'relocation sale', beginning on Saturday, August 17, where you can find up to 50 percent off all new and secondhand books, stationery and gifts. As the store boasts a collection of over 50,000 used and rare books, the sale is a delicious invitation to broaden your belletristic horizons. While the vindictive among us may want to draw a correlation between this unfortunate termination and the sudden meiosis of frozen yoghurt franchises in Newtown recently, it may be comforting to take respite in the ongoing resilience of Gould's, Elizabeth's and Better Read Than Dead. Lest we forget.
Barrington Tops National Park has something for everyone, regardless of fitness level or inclination to spend long periods of time in the 'wilderness'. If you find yourself in this part of the world, and fancy yourself a bit more of an adventurer, tackle the Corker trail. The challenging walking track is recommended for experienced bushwalkers only, and it runs all the way from the Lagoon Pinch picnic area right across to Careys Peak on the Barrington Plateau. Be warned, it's not called the Corker for nothing, so expect a pretty tough slog through challenging terrain. It's well worth it at the end, though, as you'll be rewarded with a scenic lookout over the snow gums, swamps and wide open grass plains of the Barrington Plateau for a view that will leave you as breathless as the hike did, if not more. The hike will also take you by Wombat Creek campground, a perfect spot to set up camp and spend a night under the stars. Image: John Spencer
For those that need a glass of wine to feel confident enough to get creative and paint, especially in public, Cork and Canvas is waiting. Offering public painting sessions and private events, this paint 'n' sip studio does not offer your typical art class. Aspiring artists are invited to BYO drinks and nibbles to enjoy while they paint — fridges, plates, glassware and all painting supplies are provided. Each session takes on a different theme, with the Cork and Canvas team taking you step-by-step through creating a Picasso-esque portrait of your mate, a pop-art-style painting of your pet, or the next Banksy exhibition piece. Sessions will set you back between $50–80, and groups of four or more score a cheeky discount. If you're looking for somewhere to host your next work party, private sessions can be booked for up to 53 painters. Walk in with a little liquid inspiration and walk out with a new masterpiece. Image: Trent Van der jagt.
If you're in the quaint and historic aviation town of Tocumwal, and you prefer trains to planes, the Tocumwal Railway Heritage Museum presents fascinating photos and railway memorabilia dating back to 1908. Open by appointment only, the museum is within the railway station and presents original photos, a working model train and original furnishings. Image: John, Flickr
Seek, it's said, and you shall find. While the meaning of this phrase is scriptural in origin, it's accurate in the case of The Corner Shop. A new bricks-and-mortar site opened by the duo behind popular market stall and online retailer The Crown Street Project, you'll be handsomely rewarded for your efforts in getting there. The inviting, airy and newly refurbished space is housed on the ground level of a bright yellow late-1800s corner terrace, along the leafy residential stretch of Henderson Road in Alexandria. It's a location that might usually require a reason to head there, but you'll find plenty in this gallery-style space that showcases a thoughtful edit of vintage designer fashion alongside artist-made studio ceramics and sculptures, handmade jewellery by local designers, vintage homewares, pottery and gift items. Unlike many other vintage stores, the racks here are not cluttered — each has been curated to tell a story through colour and texture. Pieces also come with modern-day measurements where appropriate, ensuring you can find your correct size with ease. As well as issues around sizing that can give false hope to many a vintage shopper, gone too are notions around pre-loved items being less-than: pieces here, which are selected by founders Gavin Dee and Addison Marshall, are restored by hand and treated like you might expect a new item to be handled in a brand-name boutique. The spectacularly bearded gents, who both have fashion and design backgrounds, are also expert stylists and are happy to offer guidance where you might require it. As for what's on the custom-made fixtures, at any given time you can find high-end streetwear next to pre-loved high-fashion pieces from houses including Gucci, Comme des Garçons, Issey Miyake, Kenzo and more. The real gems though are pieces by obscure Australian designers from the 1970s and 80s, an era that delivered some truly iconic looks and about which Dee and Marshall are truly passionate (and knowledgeable to an encyclopaedic degree). The boys will also be collaborating with stylist Joanne Gambale, founder of Slogue, to run sustainable styling workshops — keep an eye out on Instagram to find out more about these.
As one half of creative duo Frank & Mimi, Emily Devers has spent years exploring the artistic nooks and crannies of Brisbane — and left her mark on several of them as well. The artist, who trained at QUT, has been making large-scale murals with signwriter Rick Hayward since 2011, and their works can now be seen splashed across the bridge of the Pillars Project gallery as well as Doomben Station, Newstead Brewing Co and the Golden Pig. In partnership with Pullman Hotels and Resorts, we're helping you explore more on your next holiday and make sure you get those experiences that the area's most switched-on residents wouldn't want their visitors to miss. In Brisbane, we've called in Emily, whose favourite spots range from a gallery that's helped uncover the the state's best street artists to the second-hand bookstore that's a joy to explore. A stay at Pullman's King George Square hotel in Brisbane — located in the centre of the city and just a stroll over the Victoria Bridge from South Bank — will not only put you in the thick of all this action, it will let you contemplate all you've seen in five-star luxury at the end of the day. Read on for Emily's top Brisbane art and design hot spots in her own words, and check out the rest of our Explore More content series to hone your itinerary for some of Australia's best holiday destinations. WANDERING COOKS What feels like a secret warehouse tucked away down Fish Lane, Wandering Cooks houses some of Brisbane's most exciting food ventures. They're a beaut community of like-minded entrepreneurs, celebrating locally sourced produce, local kitchen legends and an impressive low-intervention drinks menu. It's my pick for a low-key Friday night, followed by a wander to the river under the lights down Fish Lane. THE PILLARS PROJECT The Pillars Project is Brisbane's largest outdoor gallery, curated by Dan Brock. It's a great collection of large-scale artworks covering the pillars of Merivale Bridge in South Brisbane, showing visitors to Brisbane what our local artists are made of. It started in 2014 with nine artists painting under eight rail pillars, and the project has now grown to include a few more, including a Frank & Mimi piece. You can give it a wave coming along Montague Road! JUGGLERS ART SPACE A handful of prominent global street artists were born out of little ol' Brisbane, some of who (including Anthony Lister, Fintan Magee, Guido and Shida) spent their formative years exhibiting at Jugglers. We grew Frank & Mimi out of a small corner room in this iconic building. Brisbane's longest-running artist-run initiative (15 years now!), Jugglers addressed a serious shortage of exhibition, performance and studio spaces in Brisbane when it opened in 2002, and continues to provide an inclusive community space for cultural enquiry through art. QAGOMA The Queensland Art Gallery and Gallery of Modern Art (QAGOMA) is located across two adjacent buildings in Brisbane's South Bank. Celebrating the contemporary art of Australia, Asia and the Pacific, it is a must-see for anyone visiting Brisbane. Sydney-based architects Architectus are responsible for the incredible building design, a huge part of the reason why you should visit. If it's your first time, try and get to a GoMA Up Late evening, so you can view the art with a drink in your hand and some local music in your ears. Also be sure to check out the gallery stores — they feature a lot of Brisbane makers. ARTISAN Artisan is a gallery space and design store on Brunswick Street in Fortitude Valley. They support design creatives from emerging talent to established Australian legends, and they also run regular workshops in everything from spoon carving to textile design and life drawing. Drop by to see the latest exhibition, but make enough time to do a full lap around the store — it shows off our city's best designers and makers. THE BRISBANE FINDERS KEEPERS MARKETS Currently on twice a year, Finders Keepers is a design market featuring the work of independent makers and designers from across Australia. We love keeping up with who's making what by visiting the Brisbane chapter. Walking through the stunning Old Museum rooms overflowing with beautiful hand made things has always been a weekend treat, though the market it soon to move to a new, bigger location at the Brisbane Showgrounds, The Marquee. ANALOGUE GALLERY Analogue Gallery is a creative-led exhibition space in Fortitude Valley.Run by a powerhouse crew including Brisbane Curator Holly Riding, Grace Dewar of First Coat Festival and Matt Haynes of The Design Conference, this unassuming little space is tucked under dive bar Greaser in the heart of the Valley. It has a regular pop-up exhibition program and provides a professional platform for local, regional and interstate artists to show their work to a dedicated crowd — rent and commission free. This one's a really easy way to support Brisbane' creative community on the first Thursday of every month. BENT BOOKS Bent Books on Boundary Street in West End is probably the most adorable second-hand bookshop in Brisbane. They've been around for over 20 years and some of our favourite art and design books (including a rare, early edition sho' card painting book) have come from there. The staff are always friendly and will take down your name and notes if you're seeking something specific. BRISBANE POWERHOUSE The Brisbane Powerhouse is a contemporary, multi-arts centre reborn out of an old power station from the 1920s. It's a one-stop shop for high-quality theatre, performance, visual art and music, and you'll always be able to find something to suit your creative mood. I recommend starting with an afternoon picnic at New Farm Park, taking a walk along the river and entering the building from there — that way you can see our addition to the permanent art collection on the way in! PADDINGTON ANTIQUE CENTRE The Antique Centre in Paddington is perhaps the most overstimulating place you could visit in Brisbane. Housed inside the heritage-listed Plaza Theatre on the main strip of Paddington, it was originally open for business in 1930. Since then, it's collected a whole bunch of Brisbane-based antique and retro stores and sells everything from flamingo light fittings to top hats and ball gowns. I recommend coffee and breakfast at Naïm around the corner before a wander through on a lazy Sunday morning. Explore more with Pullman. Book your next hotel stay with Pullman and enjoy a great breakfast for just $1.
The CBD might be pretty quiet, but that doesn't mean you can't still sample its finest eateries (by having them delivered to your door). Anyone who's tried Korean friend chicken knows it's a cut above its American counterpart,— and besides, we're pretty sure the Colonel doesn't offer kimchi pancakes as a side. Gami was started by a group of uni friends in Melbourne almost 15 years ago, and it's turned a simple formula — namely fried chicken and beer — into a multi-million dollar franchise. Next time you're with the squad, order a feast and discover why it's managed to be such an enormous success. You'll find Gami Chicken & Beer in our list of the best fried chicken in Sydney. Check out the full list here. Appears in: The Best Fried Chicken in Sydney for 2023
Fulfill your daily meat, cheese and carb quota by swinging by Bar Luca and ordering one of their burger specials to go. We recommend taking your eating experience to the next level by adding burger 'hacks', which include everything from crunchy peanut butter to liquid cheese to a deep fried mozzarella patty. From Bar Luca it's a short, 10-minute stroll down the hill to Bennelong Lawn: the ideal place to spend the rest of the evening tucking into your glorious burgery creation and watching the sun go down over the harbour.
Life can feel like it's getting more and more hectic, especially after the past 15 months or so. But, thankfully, clever Australians keep coming up with new and creative ways to de-stress. You might've already hurled an axe at a target, for instance, or smashed plates, TVs, printers and computer monitors with a baseball bat. Now, Sydney's latest high-powered stress reliever has arrived, allowing you to get messy and wild with a supply of colourful paints and some white walls. Gladesville's new Smash Splash — an offshoot of the Melbourne venue of the same name — does include a classic smash room, where punters can unleash their destructive tendencies on unsuspecting glassware and breakables. But it also plays host to a 'splash room', inspired by an offering that's gone gang-busters across the USA. Here, you're invited to tap into your inner Jackson Pollock and get gloriously messy at your own private paint party. You can book the splash room for 30-minute sessions, with up to four people allowed in at once and your choice of tunes on the speakers — all for $50 per person. Don your protective gear, step inside and get as creative as you like, hurling cups of paint, smashing or batting paint-filled balloons or simply going to town with your hands or some paintbrushes. Best of all, there's not a scrap of cleaning up involved. In the future, Smash Splash will also feature a 'crash room', where you'll don sumo suits and play in a ball pit. Whether you choose to smash, splash or, soon, crash, the venue is all about helping its patrons alleviate stress in unique ways. And yes, it's available to book for parties, should your whole crew need a therapeutic way to work through their frustrations. Find Smash Splash at Unit 2, 37 College Street, Gladesville. It's open on Friday 6–8pm, Saturday 11am–6pm and Sunday 11am–6pm.
Beloved American burger chain Five Guys has launched its second Sydney CBD store, opening within the Martin Place Metro station on Monday, March 10. Patrons can continue to expect made-to-order everything, along with bacon-filled milkshakes, a customisable menu and ample seating to boot. Spanning 300-square-metres of the heritage-listed site, expect Five Guys' signature red and white fit-out. The venue is slinging its juicy, flavour-packed burgers across two station entrances and seats close to one-hundred customers all up. Unlike many fast-food operations, everything at Five Guys is made fresh daily, with no freezers or microwaves to speak of. The burger patties are hand-formed and free from preservatives, hormones and antibiotics. Plus, the bread is baked fresh and the potatoes are hand-cut daily – and double-fried for good measure. If the classic bacon cheeseburger, American-style hot dog and strawberry milkshake don't catch your eye, Five Guys also offers a whopping 250,000 burger and 100 milkshake flavour combinations. Try a double cheeseburger with pickles, grilled jalapeños and hot sauce, or a hot dog with relish, bacon and melted cheese. Bacon bits can be blended into any milkshake too, along with Biscoff and Snickers bars. Starting out as a family-run burger joint in 1986 Virginia, Five Guys now boasts global locations across not just North America and Australia, but also Europe, the Middle East and Asia. Five Guys Martin Place marks the brand's fifth Australian location, with the other outposts located in Penrith and Melbourne. Five Guys Martin Place opened on Monday, March 10 at Tenancy B1, 39 Martin Place, Sydney. For more information and opening hours, visit the website.
Ethically accredited since 2012, Manning Cartell's sophisticated clothing is made right here in Sydney (a very rare thing, even for local fashion designers). Sisters Cheryl, Vanessa and Gabrielle Cartell chose to use their family name to set up the fashion brand in 2005. It's since amassed a celebrity following, including famous fans Amal Clooney and Margot Robbie. The socially responsible clothing label is all about kitting you out for the night (or a very fancy daytime do). It has embellished dresses, chic black jumpsuits and structured shirt dresses that range from $400–1000. Even casual polo dresses are made to stand out from the crowd. [caption id="attachment_779788" align="alignnone" width="1920"] Cassandra Hannagan[/caption] It also makes and sells sustainable and environmentally friendly leather jackets, pants and skirts, plus a range of party-ready mules, metallic heels and shiny jewellery. You could easily drop $1000 in store, but you'd walk out with an entire evening outfit stored, which has value in itself. Images: Cassandra Hannagan
Inner west coffee haven Ashfield Apothecary is turning two and to celebrate, it's giving away free coffees all day on Saturday, November 13. The cafe has partnered with Single O who is also celebrating a birthday and will be serving up free cups of Single O's Freewheelin' 18th Birthday Blend. There will also be a sweet treat created by cake master and pop-up enthusiast Tokyo Lamington. The Strawberry Gum Espresso lamington is created with vanilla sponge, whipped espresso cream and strawberry gum before being coated in espresso white chocolate and toasted coconut. Head to Charlotte Street between 7am–3pm to score your free cup of joe, however if you want to make sure you get your hands one of the limited-edition lamingtons, get down early as they're in short supply. Ashfield Apothecary opened in November 2019 and has been a go-to spot for coffee lovers in the area ever since. The cafe prides itself on crafting its coffee with beans from a rotating roster of roasters, spotlighting different coffee-makers from near and afar including an international coffee supplier once every two months.
There's nothing in life more simultaneously stressful and exciting than a costume party. Don't worry though — Bexley's renowned Sydney Party Shop has you covered from vampire fangs to princess tiaras. When we say it's a one-stop shop for all your party needs, we mean it — you'll find all manner of costumes, balloon arches, tableware, piñatas and over fifty different types of confetti. You can also sort out catering here, too, with everything from snacks and salads to finger food, prepared meals and cakes on offer. The shop also hires out helium tanks if you want to be super extra for that birthday party — or, you know, just a rainy Saturday afternoon. You really have no excuses to not go all out and make your event the party of the year, but if you need some guidance, the in-house party consultants will sort you out. Images: Trent van der Jagt.
UPDATE: February 28, 2019 — On Tuesday, March 5 — also known to some as Shrove Tuesday — Darling Harbour's Harajuku Gyoza will bring back its super fluffy soufflé pancakes. The five-centimetres-high Japanese meringue pancakes — which originated at Cafe Gram in Tokyo — will come in stacks of two ($16) and will be served three ways: with matcha ice cream and azuki beans, cream cheese and brown sugar pearls, or with caramelised vanilla bean custard (inspired by crème brûlée). They'll be available from 5–9pm on the Tuesday and from 11am–3pm on Saturdays and Sundays thereafter. Since arriving in Potts Point in 2013, Harajuku Gyoza has always kept things simple: gyoza and beer. Now, the Japanese eatery has opened a new 'beer stadium' — that is, eatery and craft brewery — in Darling Harbour. As the name suggests, it's a behemoth. The harbourside spot features 'stadium'-style stepped seating as well as booths, a mezzanine level and outdoor spots. Expect a Harajuku aesthetic with lots of the brand's signature red. It'll be the second 'stadium' in Australia — one opened on the Gold Coast in mid-2017. Beer is the feature here. On walking in, you'll notice four massive beer tanks behind the bar. Each 1200-litre vessel holds one of six Japanese drops brewed on-site under the watchful eye of Yoyogi, a Japanese brewery that's been operating in Australia in 2015 and in Kyoto, Japan, for over a century. Joining them at the taps will be another six brews, bringing the total available at any one time to 12. Meanwhile, the menu will be the selfsame one that's been attracting ravenous hordes to Potts Point. Among the dishes are nine types of gyoza, fried chicken, chicken ramen and salmon sashimi poke. The venue's signature desserts feature, too, including its raindrop cake and salted caramel and Nutella gyoza. The Beer Stadium will join a raft of other small breweries nearby, including the neighbouring All Hands Brewing and James Squire brewhouse at the Overseas Passenger Terminal.
A barbershop with a hell of a lot of personality, Old Sport Barber opened in 2014 and hasn't looked back. Operating to serve the stylish Darlo crowd from its Victoria Street salon, Old Sport's stylists offer classic styles and fades, beard trims and art, plus steam facials with relaxing essential oils, all topped off with the world's friendliest service. And yes, in case you were wondering, the shop is named after The Great Gatsby. Image: Trent Van der jagt.
I'm told that 11.30am will be less busy at Papercup in Stanmore, but the tables are still full when we get there just after. It seems the locals have already discovered this one-year-old café, previously a storage facility for the bottle shop next door. Luckily there's space at the timber bar. And we quickly realise it's a pretty good spot to watch the action taking place behind the counter. As well as coffees (Coffee Alchemy beans, roasted in nearby Marrickville) the tiny galley service area puts out a focused breakfast menu, and sandwiches with Middle Eastern flavours providing a hit of spices and texture to the signature dishes. After drinks – soy hot chocolate ($3.50) and long black ($3) – we take food suggestions from owner-to-be, Eloise. Easy decision: Arabian-style bircher muesli with poached fruit, yoghurt, pistachios and honey ($10), and the Dr. Shakshuka eggs poached in cumin and chilli-infused tomato sauce with local ricotta and feta ($13). Both are excellent. The pear is perfectly poached, the nuts (hazelnuts, almonds, walnuts, pistachios) are a crunchy addition, and cinnamon is an entirely appropriate and unexpected surprise. Dr. Shakshuka can cure any ailment. Okay maybe that's an exaggeration, but it makes me pretty damn happy. The flavours are exotic and the spices balanced by a sprinkling of herbs and parmesan. It's beautifully presented on a tiny chopping board with bits of toast, topped with za'atar – tiny details that make this culinary experience stand out. And it's so reasonably priced, especially for this Eastern Suburbs local. There is a sweet local vibe. The staff chat to the customers, and one of the parents from the school across the road supplies the gluten free chocolate brownies; another the chai tea. Everything else (besides the bread) is prepared right in front of you, with the assistance of an induction cooktop and slow cooker. Although weekdays will be busier with tradesman, parents and young professionals en route to the train station down the street, today it feels relaxed despite being at capacity (maybe around 20 people). The light interior adds to the feeling of calm spaciousness. White walls are enhanced by coffee-inspired line graphics and an artwork by Hugh Ford, and the backdrop – glass-covered exposed original brickwork – adds visual texture while also respecting the heritage of the building.
Much that Jimmy Barnes has uttered, sang and screamed is immortalised in Australian history. His discography, both as the lead singer of Cold Chisel and as a solo artist — and via his many collaborations — has echoed across the nation and soundtracked this sunburnt country since 1973. "Oh, my soul" now ranks up there. Those were the three words that he exclaimed to Triple J announcers Zan Rowe and Lucy Smith when he heard live on air that 'Flame Trees' had come in at number seven in the first-ever Hottest 100 of Australian Songs — a chat that he was doing because 'Khe Sanh' had just placed eighth. Australia demonstrated their appreciation for Barnesy's contribution to local music with their votes, including for 'Working Class Man' at number 56, and he clearly, audibly, emotionally appreciated that love in turn. "We've had a lot of awards and all that sort of stuff, and big claims to fame over the years, and we've always been a bit 'nah, you can't say this is the best song ever', because everybody has their own taste," Barnes tells Concrete Playground. "But for me, the best thing about that top 100, the top 200 even, was the fact that a radio station — which Cold Chisel literally helped start, we were playing when they were Double J, Live at the Wireless, when it was a scrambling little station, we helped get them set up — but there's a station that's become our national carrier, that is the only really, truly national radio station for kids in this country. And there's times when I listen to it and I go 'I don't get it. I don't really get what you're playing here', but they're the only station that still plays a load of Australian music. And the fact that on that day they celebrated Australian music and played 100 Australian songs, which were a collection of songs that had moved and affected the punters in this country — just to be a part of that was a good thing for me, and to be a part of that group of songs." Barnes himself joined in with selecting his favourites, entering his picks in the poll. "There's a lot of great songs in this country. I voted for 'Eagle Rock' myself," he advises. He's passionate about shining the spotlight on Aussie tunes — "it's very cool. And the thought that they were celebrating Australian music was the best thing ever. That was the best part about it. I think they should do it more often," he offers — and also equally as enthusiastic about the fellow local acts that earned a place in the countdown. "You look at that that top five or whatever it was, whether it's INXS' 'Never Tear Us Apart' — I think that besides it being a great song and beautiful film clips and all that, we have that loss, that sad loss of Michael [Hutchence], who was such a dear soul and just a magnetic frontman. The band were just unique the way they played, and they couldn't play it like that without Michael. So there's a tragedy to it," Barnes continues. He collaborated with INXS on 1986 single 'Good Times', which featured on The Lost Boys soundtrack. "You have The Veronicas, who are these little intense pop girls who are just incredible," Barnes says. "They were all from different worlds. There was all sorts of stuff. There was Kylie. There was all sorts of stuff in the top 20, it was so eclectic and so mixed that I just thought 'I'm glad to be a part of that group of songs, doesn't matter where I am in the chart as long as we're in amongst it all, then it's a good thing'. There were acts with more songs than us, but it wasn't that sort of competition. It was just great. I'm listening to the top 100 and I hear Jet come on with 'Are You Gonna Be My Girl' and I go 'what a great song. Jesus, who wrote that? That's really cool'." [caption id="attachment_1018404" align="alignnone" width="1920"] Sam Tabone/Getty Images[/caption] Long before the country spent a day revelling in the best 100 Aussie tunes — and a week afterwards enjoying the next 100, too — Barnes was already in deeply reflective mode. Almost a decade ago, in 2016, he released his first memoir Working Class Boy, which saw the rocker lay bare his traumatic childhood. Focusing on his adult years, Working Class Man as a book hit shelves the following year. 2018 then brought Working Class Boy to cinemas as documentary, premiering at the Melbourne International Film Festival. Now, seven years later, Working Class Man is also a film and also debuting at MIFF. Between the page and the screen, Barnes has taken his excavation of his upbringing, life and career to the stage as well. Australians have been embracing Barnes on every step on this journey. In their printed guises, Working Class Boy and Working Class Man both became bestsellers, and each also won the Australian Book Industry Award for Biography of the Year. Crowds flocked to see Barnes talk about his experiences live. Viewers did the same with the first doco, which notched up a spectacular array of feats at the time. It played on the largest amount of screens, 220, for an Aussie doco; took over $500,000 in its opening weekend to top that period for a local documentary; and it scored the biggest opening for a doco in Australia since This Is It, 2009's Michael Jackson concert film. [caption id="attachment_1018405" align="alignnone" width="1920"] James Gourley/Getty Images for TV WEEK Logie Awards[/caption] As a movie, then, Jimmy Barnes: Working Class Man is a highly anticipated sequel. With Andrew Farrell (How Australia Got Its Mojo) in the director's chair after executive producing Jimmy Barnes: Working Class Boy — which veteran filmmaker Mark Joffe (Spotswood, Cosi, The Man Who Sued God) helmed — it traces the impact of a childhood of neglect, abuse and poverty upon Barnes as he became a rock star, all as it charts his time behind the microphone from joining Cold Chisel onwards. In the film and in conversation chatting about it alike, the man who'll also be forever known as the voice of 'Breakfast at Sweethearts', 'Choirgirl', 'Cheap Wine', 'You've Got Nothing I Want', 'Saturday Night', 'No Second Prize' and so much more is candid as well as relaxed, even about the darker days that he's been unpacking in his memoirs and their documentary adaptations. "All that stuff was pretty raw and fairly emotional, but because I've been through writing the book and obviously the process of, I guess, detraumatising myself from it all over the few years after that, and then going through the Working Class Man spoken-word tour, which we based this doco on, it gave me time to process it all," Barnes notes. "So there's stuff there that every time I look at it, I go 'ouch, I wish I could have not done that', but I've learned to live with everything I've done." [caption id="attachment_1018401" align="alignnone" width="1920"] Daniel Boud[/caption] Of Jimmy Barnes: Working Class Man, he says "they've done a fabulous job". Of Farrell: "we've known each other for a long time and I trusted him completely with it". That act of reflecting the past has also been driving some of Barnes' live tours, with Cold Chisel taking to the stage around the country to mark their 50th anniversary in 2024, and the 40th anniversary of 'Working Class Man', the song — and album For the Working Class Man that it's on as well — the reason for his next tour in November 2025. Barnes is currently as prolific as ever: alongside the new documentary and the two tours mentioned above, he opened the 2025 Logies, June was all about his Defiant tour, he's released seven albums in the past decade as well as six books so far, and has his second recipe book with his wife Jane, Seasons Where the River Bends, hitting stores in October. From whether he had any inkling that his memoirs would strike such a chord, their leaps to the screen and how he feels about his part in inspiring men to be emotionally open in a way that isn't usually part of Aussie masculinity, through to everything in his life being a family affair, boasting a catalogue of songs that's engrained in Australia's identity and his career longevity, we also spoke with the icon who'll always be known as Barnesy about plenty more. On Whether Barnes Had Any Idea of What Might Follow Working Class Boy — and the Impact That It Has Had Personally "No, not really. But I did get a feeling pretty soon after I wrote it — it was so liberating to sit and write the book. It was something, at the time, doing it was very painful. And every day I wrote — this is the first book — every day I wrote, it would open up a new can of worms that I had to deal with. And there was obviously a lot with childhood trauma. There's a lot of stuff you just block out, and you forget details and all that sort of stuff. And so I'd be writing it and then I'd remember all the stuff that I hadn't thought about for 50 years, 40 years or whatever. And it'd come back to me, and I'd have to process it and deal with it. So the during the process of it, it was sort of a heavy time, a heavy burden on my shoulders. But every day I'd end up and I'd feel like something has been lifted off. And most days I'd finish writing, and I'd ring up my therapist and talk to him about stuff, and then he'd put more weight back on my shoulders and tell me more things to look for. [caption id="attachment_1018398" align="alignnone" width="1920"] Jess Lizotte[/caption] So the process of doing that, it was dark and hard to deal with, but it was also enlightening at the same time. And so by the time I'd finished the book, I just felt that I'd learnt a process, a way to process the past and my childhood, without having to sit and actually not physically allow it to overwhelm me. I could do it and walk away from it and process it a bit and breathe, and come back and then write again. And every time it got too overwhelming, I could stop. So I learned how to process — and that went along with a lot of help that I got from various psychotherapists and rehabs and all that sort of stuff. I had enough tools to be able deal with it. So I really enjoyed it. In the end, I really enjoyed the process of writing. And that made me just think — I'd sort of half-written Working Class Man while I was writing the other one. The thing was, the publishers and everybody that was on the commercial side of the book was really wanting the rock 'n' roll, sex, drugs and rock 'n' roll story. And I'm going 'I think this is much more important for me to write, that I write the first one first'. And so when I did it, I wasn't going to sit down and write about sex, drugs and rock 'n' roll, and brag about being wild and all that sort of stuff — because a lot of that stuff, it just is what it was, but a lot of it was as painful as when I was a child. And by the time I finished writing the first book, I realised that my behaviour as an adult, which I obviously, as I say in the book and on the show, I take full responsibility for, but it was heavily influenced by that trauma and that stuff that I just dealt with in the book previously. So it gave me an opportunity to to look at not only the mistakes my parents made and the mistakes that we made as children, how we were brought up and all that sort of stuff, but also how that affected me and how I moved on as an adult, and how the impact of childhood trauma kept knocking on the door — it kept, every time I'd get over one thing, something else would reveal itself until it became so entwined with addiction. And you turn into the parents, and I ended up with the same problems as they had, because I hadn't really — before I'd gotten that heavily into alcohol and drugs and that, I hadn't dealt with any of this stuff. So it was interesting. It was a really good process. [caption id="attachment_1018397" align="alignnone" width="1920"] Jess Lizotte[/caption] And the other thing I liked about it was I could sit sitting down after spending years of singing, going out on stage and literally reaching out to people and going 'look at me, look at me, look at me', I could sit — writing books I'm sitting at a desk and just going back into my mind. It gave me a lot of freedom to, like I said, to not cherry pick but go in and look at things and get out of there before it was too heavy. And it allowed me to do the same with my imagination. When I started writing fiction or more towards fiction, I just found it was really enjoyable. I could sit in my own head and just disappear into my own worlds there. So writing that first book has opened up this whole new, not career, but a new chapter in my life — no pun intended — that I really enjoy. I can still go out and make music and feel that emotional response with people, or I can just bury myself in my own head and dig out stories, which I really enjoy almost as much as singing." On What It Means to Barnes to Help Inspire Men to Be Emotionally Open in a Way That Isn't Usually a Part of Aussie Masculinity "Well, it wasn't something that I did myself. It was the start of real growth of men. We'd all been brought up, everybody that I knew had been brought up, with 'men don't cry' and 'you've got to hold your emotions in' and 'don't you don't admit you're wrong', all that bullshit. And I think part of that was just — like when my parents, when my dad was alive, he had to be strong just to survive. He was fighting. He was a prizefighter. My grandfather was fighting bare knuckles in the alleys of Scotland so that he could feed his family, and they had to be tough. They couldn't cry. They couldn't let people know they were weak. But I could look back on them though — and now I remember how scary my grandfather was, I thought he was very scary and that whole image I built up of him was scary — but I look back at it now and I think 'he's probably the same as me, just terrified the whole time'. I know I spoke to my brother John about it — John was a dangerous guy, he was wild and he could fight like hell, and him and I spoke about it. And he said 'I only fought because I was so scared, and I had to be hypervigilant, hyperaggressive. I had to win because I didn't want to be hurt'. And I realised that they were like that. So I guess writing these books, I was never looking for blame, to blame anybody, but in the process of writing them, there were times where I was really angry with my parents and angry with my family and all that sort of stuff. And in the process of the first book, I got angry. With the second book, I realised that I fell into the same patterns and I fell into the same traps, and I was trying the best I possibly could but it just wasn't good. And so I learned about forgiveness for my parents in the process of writing those first two memoirs." [caption id="attachment_1018406" align="alignnone" width="1920"] Sam Tabone/Getty Images[/caption] On Sharing Barnes' Story, and the Path to Working Class Boy and Working Class Man Receiving the Documentary Treatment "I realised when I started writing Working Class Boy, in the process of writing, I realised that my story wasn't that unique to me. It was a common story that a lot of people went through. A lot of people went through the same things as me. And that was one of the reasons why I put the book out. When I was first started to write, I was thinking I'd just write and when it's all finished, I could burn it and that'd be okay. It'd have done its job. But everybody I let have a look at it went 'oh, I can relate to this. I can relate to that'. And I realised that there were people who were going to be touched or see themselves in it, and maybe get a window of hope from it. And so I wanted to film the shows — and one of the reasons I wanted to film the shows was because every night, when I go up and talk about all the stuff that I had written, something else would reveal itself to me. I'd be up there talking about my mum being angry and storming around and dragging us through the streets and stuff, and then I go 'oh geez, I remember this now'. I'd remember something else that she did. There was a point where I remembered, I realised that as scary as my mum was, and as wild and all that sort of stuff, and she neglected us, but actually I realised that the only time I ever felt safe was when she held me in her arms, when I was a baby, when I young. And I realised that and I thought 'oh, man, all of this stuff, I've just kept thinking all the bad stuff. You've got to remember the good stuff, too'. So things would reveal themselves as I wrote them. And I thought — and doing the stories, more would reveal, more detail, I'd think of more things. There's times when I'd be telling the stories — so it's sort of half-rehearsed, but I got pretty good at it after the first ten shows or so — and then suddenly I'd be telling the story and all this new stuff information would come to me. And so it was really, I wanted to film the shows then, because I wanted to see how far that went and see if it could — I didn't know how, if it was going to be a documentary or a movie or what we were going to do with it, it was more to have in case I needed it as another tool to deal with my own shit." [caption id="attachment_1018399" align="alignnone" width="1920"] Jess Lizotte[/caption] On Ensuring That the Documentaries Were Always the Films That Barnes Was Comfortable With — Including No Dramatisations "Mark was a dear friend of mine, and I love Mark's work as a filmmaker, anyway. I've known him for a long time. And one of the deals we did when he said he wanted to make it, one of the deals we made was that it had to be the story we wanted to tell. It wasn't going to be glamorous or dramatised — I didn't want to have people acting as us and all that sort of shit. Which you could do. And I was getting people, literally even once I started writing the book, I was already getting offers to have movies made with actors. And I'm going 'no, this is too close to the bone' and I didn't want dramatisations of it. I wanted it be real. And Mark was really sympathetic to that, and he made me really comfortable. He said 'we're only going to reveal and open up things, wounds, that you think you need to or you think you can learn from or you think that need to be told to tell the story'. So he was very close to me about it. And Andrew was actually, as a producer, was involved working with Mark all the time on that. The first one, I was 'hmm, I don't know if I want to put this out', and then the book seemed to really connect with a lot of people. So that was really a good outcome for me and allowed me to let even more of that stuff go. The second one, I just figured that because everybody had watched me growing up in public onstage, I thought because a lot of those people had read the first book, they would want to see how that affected me — and what effect that had for the good and the bad. I wouldn't have been the wild rock 'n' roll singer I was had I not been brought up that way. Everything about being abused and unwanted and poor, and the violence and the alcohol in the house all the time, everything that happened to me made me the perfect melting pot to make me a rock 'n' roll singer. [caption id="attachment_1018403" align="alignnone" width="1920"] Daniel Boud[/caption] I got there and all I wanted — even before I was in bands — all I wanted to do was for people to like me so I felt safe. And what better way for people to like you than to make the whole bloody country like you? I get up on stage and people go 'yeah, Jimmy, you're okay' — and I go 'yeah, I'm all right'. I'd be falling apart, but it would make me feel safe. And as a traumatised child, to get people to like you they had to look at you. So I'm on stage going 'look at me. Look at me. Look, I can do this — like a monkey, I can do tricks'. And so I wanted people to see what I worked out was actually going on behind the pictures, behind the story that that we all knew that and that I'd created really as far as just being a rock 'n' roll singer. And I wanted to prove that as bad as all that upbringing was, you've got to be thankful for who you are. If you can learn from it and grow from it, then you can learn to be thankful for all the gifts that were given to you in amongst all that shit — and it doesn't seem that bad anymore." On Working Class Man Being a Family Affair, Like Everything in Barnes' Life "They were always there — all the way through my life, my grown life, Jane was there. And she was just waiting for me and she was trying to keep me in the straight and narrow. And at times I drove her into the wild side with me, and there were times where it got out of control, but she was always just trying to keep things and be there for me as long as she could. I think as much healing as I got from writing the first two books, I think the family got it, too. So as soon as I started to get myself together and started to deal with this, my family blossomed. They've always been very supportive. Always there. The kids were always singing with me. I used to take the kids on tour with me all the time, and Jane on tour with me — we'd get teachers and tutors and nannies and stuff to bring them on the road, so we wouldn't be apart, because I was just afraid I was always going to lose them. And as that changed and I started to become a better human being, started to understand my own life, I wanted them there for much better reasons: to share the joy of it with me. And so they went from going — they were always there, but the reasons for them being there and what they were getting from being there changed dramatically. And so, in the end — because my kids naturally grew up and went into music, and Jane became a musician and a singer as well, but they learned that it was all about the joy, and not about the running and the hiding. And it wasn't just about the wildness and about bravado; it was about growing up and baring your soul to people, and making a connection with someone and walking away feeling like you belong. And for me, for my children, for Ruby [Rodgers, who also appears in Future Council], my grandchildren, to feel that connection with an audience is, I think, it's probably one of the best gifts I could have given her in life — to feel that she can connect to people and connect with her own soul. When she started singing, she's done her first record, and it was nothing like any of us singing. It's just really sweet and beautiful. But we weren't all pushing her and telling her what to do. She just did it on her own. And she's found his voice, and she's found this direction that she wants to sing and the way she wants to communicate, which is really beautiful. But it was just because she was allowed, nurtured and it was encouraged that she find her own voice. And I think that's one of the great gifts that we've been able to share in this family. And so they're all a part of this film, because they're all a part of my life and our lives are so entwined. Sometimes, for a while it was unhealthy, but now I think it's very healthy. I used to want Jane to be with me, of course because I love her, but also because I didn't ever want to lose her and I didn't want to be away and I didn't want to forget about her. Now it's just because I just adore her and we just want to be together all the time. So the reasons sorted themselves out. And I realise that being together even through the adversity, there was times where it was probably more dangerous than doing good, but it also helped keep us together." On How Barnes' Period of Reflection Has Inspired New Projects "For a start, being healthier and straight and focused, I just have so much time. I'm hyperactive anyway, but obviously when I was medicating myself and drinking myself to a standstill all the time, it was hard to pick myself up to just even sing. Nowadays, I'm so healthy. I was up at 7am this morning swimming laps. But I feel so healthy and so good. I just wake up and go 'right, what am I going to do now?'. And I've got the cookbook coming out this October. I've written two kids books in the last few months for a couple of my grandkids, in at the publishers now. I've started writing more short stories. I've also started, last year or the year before, I started writing a novel, which I'm in the process of rewriting that. I've got new songs that I've written for the next record. I have to slow down because you really can't put three records in a year. People will go really crazy. But I'm just enjoying having the time and the energy to focus and do things that are creative and that are inspiring." [caption id="attachment_1018402" align="alignnone" width="1920"] Daniel Boud[/caption] On Making Music That's Built Into Australia's Identity "I think we're very lucky that we're a pretty real working-class band, really. It's a mixed bag actually, like Steve [Prestwich] and myself and Ian [Moss] — Ian comes from Alice Springs, he's a country boy; Phil [Small] was sort of middle working class; Steve and I were real working-class families. Don [Walker] was sort of the outsider. His family were writers and are writers, and were really beautiful writers. But Don wrote, he was a voyeur a bit, of life. And he looked at life and the lives that we had and wrote songs about them. So I was lucky enough and we were lucky enough as a band that we wrote songs, that he was writing, that were influenced by us and influenced by what he's seeing around him. And those songs were so good they've connected with people. Our songs aren't about driving in your limousines or whatever. They were songs that were real earthy, and people connected to them. And I found songs like that, songs like 'Khe Sanh', songs like 'Flame Trees' — I could go on, there's a list of them all the way through. 'One Long Day'. Songs about people who just work in an office trying to get through the week, so they can have a nice time of the weekend with their girl or something. Those songs connected with people. And over the years, the songs have become part of people's lives. We've been around for 50 years. We never changed. Cold Chisel was always a band, and same with me, people can walk up and say hello to you. We don't have security. For a while I had security, because it was to keep me from people, because I was too wild. But Cold Chisel have always been approachable. They're always a meat-and-potatoes band. We're like the people we play for. And I think that made us connect with, that band, with those people. And the songs are just — sometimes it really it brings tears to my eyes, because people come up and say 'I buried my father to your songs', 'I danced at my wedding to 'Flame Trees'', 'I danced at my bar mitzvah', whatever it was. All these different things and people, these songs were part of their lives, and that's something that we don't take for granted. That's something that anytime we start to get a bit uppity, we remember this is why we play — to be connected to this society, to the people that we love so closely. And I think a lot of that has to do with the quality of songs." On Barnes' Longevity, Including His Current Prolific Period "I think it's a real blessing. I think one of the reasons why that happens is, as much as Cold Chisel went away for a while, we always all worked. We always stayed connected to our audience, to the music we love. And one of the things I tell young musicians is just 'keep doing it because you love it. Some things are going to be successful, some things aren't. And if you just keep doing them, people connect, come and go'. And I feel, we've made maybe 50 records or something, or something more, and they've not all connected. But some of the ones that haven't connected are really special to me. So if you make music for the right reasons, and you put your heart into it and you put your soul into it, and you're committed, people connect with you and I think you'll always have a career. And the thing is, I'll always have a career because I'll sing till the day I die. Whether I'm selling records or not is another story, but that's what brings me joy, is singing." Jimmy Barnes: Working Class Man screens at the 2025 Melbourne International Film Festival. MIFF 2025 runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, visit the MIFF website.
Artereal Gallery are hosting a new series designed to fill in the gaps in your contemporary art knowledge. You can now head along to the Rozelle gallery every Saturday at 11am for their free event, Contemporary Art 101: A Beginner's Guide to Understanding Contemporary Art. Basically it's a chance to get a guided tour through the current exhibition (in September you'll see Points of Interception, the latest show from Sydney-based artist Yioryios) followed by a Q&A where you can pick the brains of a resident art aficionado. The aim is to remove "the intimidation factor" and cover everything you need to know about new and experimental mediums like video art, installation and new media art. The curators will also discuss online sales, art fairs and – for the aspiring collectors in the crowd - how to best navigate them to acquire contemporary art. So mosey over and learn some stuff. Then you can head to lunch feeling smug with all your new art knowledge. Maybe buy a beret. Image: Sam Holt, Suspension of Hope, 2017, oil and acrylic on Belgian linen, photo by Zan Wimberley
Sydney is not short on options when it comes to getting a good chicken feed. But while most eateries focus on one style – the buttermilk fried variety is overwhelmingly the most popular – new Pyrmont establishment Whirly Bird isn't putting all its eggs in one basket. Anthony Prior (formerly of The Keystone Group, which went into receivership last year) is upping the ante with an extensive menu all about the bird at his new venture. Alongside the obligatory buttermilk fried chicken (paired with either chilli and honey caramel or house-made smoky BBQ sauce), Whirly Bird is also doing rotisserie spit roast birds (available in quarter, half or whole), a shredded chicken banh mi and even a chicken salad bowl. Vegetarians and vegans are not forgotten with salt and pepper silken tofu and a vegan power bowl available. Sharing is encouraged, with plenty of starters and sides to peck at. Think duck fat roasted carrots, celery-battered jalapeno poppers and kimchi slaw. No matter what you prefer to pair with your poultry, the bar menu has you covered with an array of beers, wine and spirits. The cocktail menu designed by The Rook's former bartenders Rollo Anderson and Liam Doherty-Penzer is definitely worth a look, with plenty of options to complement your food choice. With a musical motif ranging from fresh apertifs ('Intro'), headier options ('Chorus') and indulgent digestifs ('Outro'), it is clear the team are aiming to add some elegance to the chicken game. With a generous capacity of 150, the team at Whirly Bird are obviously banking on this vast menu pleasing big crowds. So if you're craving some of the dirty bird in a setting that's not so casual, Pyrmont's latest could be one to try. Whirly Bird is now open at 84 Union Street, Pyrmont. For more information visit www.whirlybirdsydney.com.au.
Sydney Common is anything but. The newly launched restaurant is located an easy stroll up the curving lobby stairs on the second level of the Sheraton Grand Hyde Park where tall windows welcome in a unique leafy aspect of the park without the inconvenience of Elizabeth Street's pedestrian and vehicular traffic obscuring the view. A pleasant start. The restaurant space is sleek, spacious and elegant, perhaps unremarkably so. But it's when the food hits the table that things start getting exciting. The menu has been created by Head Chef Jamie Robertson under the mentorship of culinary legend Martin Benn (formerly of Tetsuya's and Sepia), and that pedigree comes through at every stage of the dining experience. The hero ingredients of each dish are neither overworked nor underplayed. A side dish of charred monterosa tomatoes served with goats curd, smoked oil and togarashi is eyebrow-raisingly delicious, for example. Also excellent is the impressive opener of tuna crudo, precisely cubed and accompanied with tomato jelly and buffalo yoghurt — a technical marvel and highly photogenic dish that doesn't underdeliver in the flavour department. Woodfired cooking is the centrepiece of the kitchen and menu, where the grill is applied to everything from a dry aged Hereford grass fed rib eye cut, vegetables (including the aforementioned tomatoes), and a seasonal seafood lineup that could include Aquna Murray cod, John Dory, Yamba prawns and grilled scallops with nduja. Sydney Common's core team comprises Director of Food & Beverage Adam Leonardi, Restaurant General Manager James Curtis (ex-Aria), and Head Sommelier Sebastian Brogren (ex-Bentley Restaurant and Bar) curating the drinks program with a 260-bin wine list that celebrates classic Australian producers and showcases both new and old world wine. The offering of hotel dining in Sydney is no longer catering purely for in-house guests in need of convenience. Restaurants like the Capella's fabulous Brasserie 1930, Mitch Orr's dynamo menu at Kiln on top of The Ace, the near-impossible-to-get-a-table-at Encore by Clare Smyth at The Crown Barangaroo, and now Sydney Common are making hotels a legitimate destination for locals seeking out great food and service - no staycation necessary. Sydney Common is now open for lunch Fridays and Saturdays and dinner seven days at the Sheraton Grand Hyde Park, Level 1, 161 Elizabeth Street. Bookings are available now via Seven Rooms. Image credit: Steven Woodburn
It doesn't matter what the weather holds for Suzie Sakamoto: with her husband and son missing when Apple TV+'s Sunny begins, the series' titular term can't apply to her days. An American in Kyoto (Rashida Jones, Silo), she's filled with grief over the potential loss of her Japanese family, anxiously awaiting any news that her spouse Masa (Hidetoshi Nishijima, Drive My Car) and their boy Zen (debutant Fares Belkheir) might've survived a plane crash. She'd prefer to do nothing except sit at home in case word comes; however, that's not considered to be mourning in the right way according to custom and also isn't appeasing her mother-in-law (Judy Ongg, Kaseifu no Mitazono). When Suzie soon has a robot for company, an unexpected gift from Masa, dwelling in her sorrow doesn't appear to be what he'd want in his absence, either. In this ten-part series, which adapts Colin O'Sullivan's 2018 novel The Dark Manual for the small screen and starts streaming from Wednesday, July 10, 2024, the technology that's quickly immersed in Suzie's existence is a homebot. The artificial-intelligence domestic helpers are everywhere in this near-future vision of Japan, aiding their humans with chores, organising tasks and plenty more — everywhere other than the Sakamoto house with its firmly anti-robot perspective, that is. Amid asking why her husband has not only sent the eponymous Sunny her way, but also why it's customised specifically to her, questions unsurprisingly spring about his true line of work. Has Suzie been married to a secret roboticist, rather than someone who designs refrigerators? What link does his job have with his disappearance? How does someone cope in such an already-traumatic situation when the person that they're possibly grieving mightn't be who they've said they are? Often with a science fiction twist, Apple TV+ can't get enough of mysteries. Approaching five years since the platform launched in late 2019, that truth is as engrained as the service's fondness for big-name talent, including across Severance, The Big Door Prize, Hello Tomorrow!, Silo, Monarch: Legacy of Monsters, Constellation, Sugar and Dark Matter. Thankfully, there's no content-factory feel to this lineup of shows, or to the streamer's catalogue in general, which is one of the best on offer in the online fight for eyeballs. Sunny's closest equivalent hails from beyond the brand, bringing Charlie Brooker's Channel 4-started, now Netflix-made Black Mirror to mind, but even then it's far more interested in its characters than their relationship to technology. That said, that people and how they use tech remain the real enemy, not gadgets and advancements themselves, hums at the core of both series. Indeed, Sunny proposes a radical path forward for Suzie, especially at a time IRL when generative AI has been making its presence known, and rarely for the better. Creator, showrunner and executive producer Katie Robbins (The Affair) takes her human protagonist down a route where the program's namesake, which matches a WALL-E vibe and emoji-leaning face with the cheerful voice of Barry, I Love That for You, Quarantine and Emma Approved's Joanna Sotomura, is perhaps the only thing that can be trusted. There's no shortage of other flesh-and-blood characters around Suzie, with some kindly and others patently nefarious. Bartender Mixxy (singer/songwriter Annie the Clumsy, Miss Osaka) falls into the first category. The platinum-blonde Hime (You, 9 Border), who seems to have a history with Masa, sits in the second camp. But with her world constantly being turned upside down and her usual confidante in Masa gone, technophobe Suzie might only be able to put her faith in the machine that's now ceaselessly by her side. A show such as Sunny, which is a comedy, drama, thriller and slice of dystopia all in one — alongside an odd-couple buddy pairing, plus a series with multiple puzzles, a stack of technology-driven and existential questions, and a probing of the human condition — needs two things beyond its compelling narrative. If viewers couldn't feel the confidence infused in this delicate mix of components, the show would crumble like circuitry haphazardly jammed together. If audiences couldn't sense the ambition to do far more than join dots as well, Sunny would similarly fail to compute. Not just thanks to its penchant for cliffhangers, this is a mystery with more always on the way, and one that adores teasing out its intricacies in a lived-in world that no other series can call home. That's assurance. That's initiative. Diving in is like strolling through Tokyo: there's always a new lane to mosey down, whether in the pursuit of solving the storyline or unpacking Suzie. The Dark Manual of O'Sullivan's moniker pops up as a hacker guide to customising homebots. Here, the plot also thickens. Still, as the yakuza feature, flashbacks tease out Suzie and Masa's meet-cute, the latter's time as a hikikomori — the portion of the Japanese population who choose to actively withdraw from society — is weaved in and surveillance is ever-present, Sunny never lets the avalanche of developments and threads that keep fuelling its tale become its sole or even main attraction. As penned by a seven-strong writing team led by Robbins with backgrounds on Bunheads, The Staircase, Apples Never Fall, Hit-Monkey, Tiny Beautiful Things and more, this is gripping and addictive viewing. It's a show to sleuth along with. Its retrofuturistic look and Saul Bass-esque opening credits are worth returning for again and again. Nonetheless, Sunny wouldn't connect if didn't value the personal and the human angle of being cast adrift from everything that you relied upon with no certainty about where to turn. Aided by being played by Jones, who so expertly married optimism and cynicism as Parks and Recreation's Ann Perkins — as she had to as the midpoint between Leslie Knope and Chris Traeger versus Ron Swanson and April Ludgate — Suzie is a character of unflagging determination crashing against mourning and anguish. She yearns with hope, as everyone does, for a lost loved one to re-emerge. She couches everything, including that longing, in sarcasm. That she journeyed to Japan to escape past woes, her lack of friends beyond her family and her alienation by refusing to learn the language all help construct a complex portrait. Also assisting: even simple moments, like swigging wine on the toilet. It isn't a secret that bounding through chaos is more relatable when the external tangle that greets a character reflects their inner jumble, as Jones anchors at the heart of her performance. The Boston Public, The Office, Celeste & Jesse Forever, Angie Tribeca and On the Rocks star in never-better territory, in fact, as she must've spotted the potential for; she's also among Sunny's executive producers. New TV arrivals of mid-2024 are now two for two when robot companions are involved. Fantasmas is the other. They're also two for two in world-building and production design that plunges viewers into screen spaces that resemble nothing else, which is no small feat for Sunny with Japan as its setting. Another commonality: not merely making audiences grateful that the non-stop flow of new streaming series can keep delivering programs this unique, but sparking a hunger for more to come. That's the sunny side of more TV begetting more TV and then more still, because a heaving crowd is always made up of individuals. Few new streaming arrivals of late are as distinctive as Fantasmas and Sunny, though. Check out the trailer for Sunny below: Sunny streams via Apple TV+ from Wednesday, July 10, 2024.
If you've visited Japan, may have been to a public bathhouse. If a trip to the country is on your list when international travel resumes, heading for a soak in a communal spot might rank among your must-dos as well. The nation is known for its sentō culture — and if you'd like to discover more without leaving Sydney, The Japan Foundation's latest exhibition will transport you there via a range of art. On display at Steam Dreams: The Japanese Public Bath: retro bits and pieces, murals, photographs spanning both recent and older times, architectural illustrations and local community art, all dedicated to the subject. You'll even see sentō artefacts from the Mosaic Tile Museum in Tajimi, as part of a display curated by Eloise Rapp and Simonne Goran. Entry is free, with the exhibition running from Friday, February 12–Saturday, May 22. As you peruse the works and items on offer, you'll step through more than 150 years of Japanese communal bathing — touching upon everything from the distinct bathing practices of the Meiji and Shōwa periods, changes to design features over time and gender divisions, to mural art that's designed to connect with nature and the importance of the activity to the country. Top image: Kotaro Imada, Edogawa-ku Tokiwayu. 2009 © the artist.
For a city with such a warm climate, Sydney doesn't exactly have an over-supply of rooftop bars. But budding entrepreneur Lyndon Gannon wants to change that. And he has his sights set on the rooftop of the Dymocks Building, which, as you probably know, is smack-bang in the centre of the city on George Street. According to Gannon, the space (pictured) would have capacity for 200 people. He believes that a bar area, small kitchen, greenery as per The Grounds of Alexandria and pergolas — to keep out the rain, when those famous Sydney downpours do hit — could all be part of the picture. Which all sounds great, but, given that the rooftop's not been developed for public use before, it would need to jump through quite a few compliance hoops before gaining council approval. Gannon also cites "heritage and acquiring a DA for use, and construction difficulties" as issues standing in his way. While no concrete plans are in motion yet, Gannon — who was the Liberal candidate for Balmain in 2015 and, having left politics, recently founded his own company, Pie in the Sky Partnerships — says he is in conversation with the building's manager and owners. Which is promising. At the same time, he's investigating a bunch of other unusual, underutilised spaces for their hospitality potential. "Sydney has a lot of basement bars, but not many rooftop bars," Gannon says. "There's a gap in the market...There are so many dormant spaces that could be turned into exciting new places." While the Dymocks dream could turn out to be merely a pie in the sky, activating unused spaces for the public is something we'll always chuck our support behind. Watch this space.
Perhaps you're an outdoorsy type who's never visited a local gallery, or maybe you're a foodie who's never ventured on a local bushwalk. Now we're in the swing of 2021, it's time to step out of your comfort zone. And we're here. Whether you're local to Chatswood, or just visiting, there's more to do in the lower north shore suburb than you might think. From beautiful green spaces to hidden art galleries, Chatswood has a lot to offer if you want to press refresh on your weekend plans. In partnership with Willoughby Symphony Orchestra, we've compiled a list of things to do when you want to try something new to you, in and around Chatswood. [caption id="attachment_796617" align="alignnone" width="1920"] Willoughby Symphony Orchestra[/caption] HEAD TO A SHOW AT THE CONCOURSE The Concourse is the leading entertainment venue on the north shore. Showcasing a dynamic range of productions, including stand-up comedy, musicals, and classical music, The Concourse is where you'll find upcoming shows like Willoughby Symphony Orchestra's Gala concerts, featuring romantic melodies such as Delibes' 'Flower Duet' and Tchaikovsky's 'Waltz of the Flowers' from The Nutcracker. Tickets for the weekend concerts start from $25, and if you've never experienced an orchestra live before this is an affordable way to tick it off your must-see list. Grab a mate, or a date, and book tickets to see Willoughby Symphony Orchestra playing Saturday, February 13 or Sunday, February 14. Aside from classical music, you can also catch The Marriage of Figaro and Lunar New Year Comedy, both coming up at The Concourse over the next month. SEEK OUT THIS INTIMATE ART GALLERY If you want to do more to support the work of local artists this year, then make your way to the intimate and inspiring Art Space gallery located on the ground floor of The Concourse. The gallery holds monthly exhibitions from a diverse group of artists. From February 3–28, you can soak up Resonant Flows, featuring drawings and video art by Sydney-based artist Cindy Yuen-Zhe Chen. The free exhibition explores the interdependent relationship between our bodies, places and water. Stop by for the afternoon before heading to a matinee performance upstairs. [caption id="attachment_798067" align="alignnone" width="1920"] Willoughby Council[/caption] STRETCH YOUR LEGS ON THIS RIVERSIDE WALK Up for spending a little more time outdoors? Strap on your walking shoes and try the Railway to River Walk — a trail that takes you from Chatswood Train Station to Lane Cove River. On the 3.5-kilometre track, you'll be surrounded by woodland and riverside plants, making you feel worlds away from the busy shopping centres. Pack a picnic and follow the signs to the river where you can soak up the views as you tuck into lunch. From here, the adventure continues into Lane Cove National Park, or you can turn around and head back to Chatswood Station on foot or via bus. EAT YOUR WAY AROUND CHATSWOOD MALL MARKET Chatswood is full of great places to eat and drink, but if you want to try something new then check out Chatswood Mall Market on Thursdays and Fridays. Located on Victoria Avenue from 9am–9pm, the outdoor marketplace has stallholders peddling hot treats inspired by cuisines from all over the world. Pick up a couple of plates to share and dive into a dish you've never tried before. Stallholders include Macedonian-style pastries from Alexander's Bakery, noodle soups and dumplings from Bao Dao Taiwanese Kitchen, chorizo rolls and garlic prawns from Mojo Picon and baklava and lamb skewers from Greek Corner. There are also craft stalls that are great places for finding a handmade gift. [caption id="attachment_798064" align="alignnone" width="1920"] Willoughby Council[/caption] TAKE A PICNIC TO BEAUCHAMP PARK Found in the back streets of Chatswood, Beauchamp Park is the perfect spot to stop and take a moment, especially if you've spent half the day on your feet exploring the area. Roughly a ten-minute stroll from Chatswood Station, the park has a rose garden, public artworks and picnic areas as well as a dog-friendly area where your four-legged friends can run amok free of their leash. With accessible concrete pathways, play equipment, sports courts and cool, shady spots under gum trees, the sprawling parkland has something for everyone. While away an afternoon here before seeing a show at The Concourse. Score ten percent off tickets to Willoughby Symphony Orchestra's Gala Concert over here.
Even if you've never been inside The Cauliflower, you've almost certainly seen it. The heritage-listed site has sat on Botany Road since 1862. Here's why you should venture inside: with time comes change. The Cauliflower has had an overhaul in the past few years, stripping away the old-man pub feel and welcoming in the tokens that define a modern establishment. Traditional commercial beers share tap residency with the newer craft beer kids. The wine menu is a good mix of local and imported drops that won't break the bank. The food menu is where things get really interesting with Mexican bites (quesadillas, nachos, tacos), Sichuan-spiced calamari and scotch fillet with chimichurri sitting alongside standard pizzas and parmas. Upstairs has been transformed in to rum bar The Forgotten Cask. As the exclusive Australian distributor of St Lucia Distiller rums, a cocktail at this rooftop oasis, complete with palms and a grass ceiling, will transport you direct to the Caribbean. The food menu keeps the theme going with jerk-spiced chicken wings, barramundi tacos and cauliflower curry. Images: Kitti Gould
A new art gallery has launched in Darlinghurst with the goal of fostering a space for emerging artists in Sydney. Creative studio Babekühl has opened the site on Oxford Street, taking over the former building that fetish store Sax Fetish called home. Babekühl (pronounced babe-cool) has previously been at the helm of a range of multi-disciplinary art projects, including creating music videos for Justin Bieber and Free Nationals, art installations in The Clock Hotel and animating electronic duo Bag Raiders' national tour. The creative collective is now sharing the love, opening a space for young, talented artists to exhibit their work in the heart of Sydney. "I grew up at a time where Darlinghurst, and especially Oxford Street, was the cultural centre of Sydney, but we've been watching it lose some of its energy in recent year," said Bebkühl co-founder Billy Ryan. "We're not interested in gentrifying the area; we're here from a cultural stewardship point of view." The gallery is hidden below a street-level retail space run in collaboration with Sydney record label Motorik. The store features designer vintage clothes, accessories, art, and a collection of local and niche electronic vinyl records. Motorik and Babekühl worked on the shop, gallery and event space throughout the COVID-19 pandemic, transforming it from the basement of the fetish shop. [caption id="attachment_790663" align="alignnone" width="1920"] Image: Billy Ryan[/caption] Since opening on Saturday, November 14, the gallery has been exhibiting Ryan's series Bloomscapes. The series, shot in Shanghai in 2019, captures an expansive cityscape through infrared photography that turns natural trees and shrubs into a wondrous mass of pink reminiscent of an alien algae bloom. A short film and an ambient soundtrack accompany the photography in the humble exhibition space. Bloomscapes will run until Wednesday, November 25, when it will make way for Gnurra Gooah Yewi (South East Wind), a collaborative exhibition between Dale Collier, Tim Buchanan and Wanjun Carpenter. The gallery is also currently running a callout for artists and professionals that want to use the space. If you're looking for a space to exhibit your art or want to check out what Babekühl has done, you can head to the collective's website. Bebekühl Gallery operates out of 110a Oxford St, Darlinghurst. It is open Tuesday–Friday, 12pm–6pm and Saturday–Sunday 10am–6pm. Images: Billy Ryan
Following successful monthly editions, Ryde Wharf Market is doubling down this month — literally — with a fortnightly iteration. On the second and fourth Sunday of every month, the Parramatta River foreshore of Anderson Park in Meadowbank will come to life with market stalls showcasing a range of Sydney's favourite homegrown creatives and makers. Get fuelled with a coffee from Barista's Lab and a deliciously dense bagel from Brooklyn Boy Bagels before you browse over 70 stalls featuring fresh fruit and veggies, flowers, gourmet produce, pantry items and locally designed homewares, apparel and gifts. There'll also be plenty of hot food options from paella to gozleme and dumplings, as well as activities for little ones, including a fishing game, arts and crafts and a jumping castle. Not only is it a picturesque spot to while away a Sunday morning, but it's easy to get to, too. Anderson Park is accessible by ferry, train or bus, with ample parking within a short stroll. Ryde Wharf Market takes place at Anderson Park, Meadowbank, from 9am–2pm on the second and fourth Sunday of every month. For more info, head to the website.
Affordable brekkie and lunch in the CBD from an award-winning hospitality team — you don't come by that very often. But, that's exactly what you'll find at This Way Canteen. Located at the Museum of Sydney between Circular Quay and The Domain, the charming spot comes from House Made Hospitality, the crew behind the winning formula of Hinchcliff House, Promenade and Martinez. Described as a "good-times sandwich bunker", This Way Canteen presents a simple crowd-pleasing menu with fresh produce at the core — plus, it won't break the bank, with all of the sandwiches here under $16. If you're on the hunt for a quick and easy lunch, set your sights on one of these foccacia sambos, ranging in fillings like spicy falafel and a classic schnitty to ramen pork or grilled mango chicken. Maybe it's Friday and you want to give yourself a little treat? Well, just opt for the lunchtime special which includes the loaded schnitzel sandwich and a beer for $20. That's a bona fide bargain. If you're in earlier in the morning, the breakfast menu also offers plenty of options around the $12-14 mark including, granola, B&Es and next-level English muffins. Finally, there are the drinks. A robust coffee selection is on offer alongside juices and a few boozy lunchtime offerings including beers, wines and Four Pillars yuzu gin and soda. Images: Steven Woodburn
2023 already marks Australia's last chance to be in the room where it happens. Until winter, it's now every Aussie muggle's final opportunity to see Harry Potter and the Cursed Child pick up its wands as well. Currently running as a condensed single-night play rather than the original two-part version, this onstage follow-up to the page and screen Harry Potter franchise has announced that it'll wrap up its Melbourne season on Sunday, July 9 — and then leave our shores. Unlike other big shows such as Hamilton, Moulin Rouge! The Musical and The Book of Mormon in recent years, Harry Potter and the Cursed Child isn't jumping elsewhere around the nation after its stint in the Victorian capital. So, when the curtain falls on its lengthy stay at Melbourne's Princess Theatre after four years, that'll be the end of its magic Down Under. That gives theatregoers five months to book in a date with the hit wizarding production, which picks up 19 years after Harry Potter and the Deathly Hallows and its abominably cheery epilogue on Platform 9 3/4. Here, Harry is now an overworked Ministry of Magic employee, with the play focusing on both him and his youngest son Albus Severus Potter as they grapple with the past and future. Since debuting in London in July 2016, Harry Potter and the Cursed Child has won a swathe of awards (including nine Olivier Awards and six Tonys) and proven a repeated sellout — in the West End, on Broadway and in San Francisco, too. In its Melbourne run, it has become the most successful play in Australian history, including attracting 326,500 people in its first year. Four years on from first opening in Australia in February 2019, and after navigating the pandemic during that time, the local season has sold more than a million tickets and hosted over 1300 performances. "We are extremely proud of our Melbourne production and to be the longest-running play in the history of Australia is an extraordinary achievement," said producer Sonia Friedman CBE, announcing Harry Potter and the Cursed Child's Aussie end date. "Opening our production here has been one of the highlights in the life of our groundbreaking, astonishing show and we look forward to an amazing final five months in this glorious city." Muggles, if you want to see The Cursed Child, you'll need to accio yourself along before July — with more tickets released on Monday, February 6. Harry Potter and the Cursed Child plays Melbourne's Princess Theatre until Sunday, July 9. For more information and to buy tickets, head to the play's website. Images: Michelle Grace Hunder.
Sorry Thanks I Love You isn't quite like any other store in Sydney — and they're proud of it. A unique mash-up of high-end fashion, gourmet food, craft beverages, jewellery and accessories makes the Sorry Thanks I Love You space feel like a big, boujee playground for adults. A big part of that feel can be attributed to the physical space. Designed by Han Lim from StudioMKZ and hand-assembled over the past four months by Archiway's Scott Sun and his team, you'll be surrounded by eight thousand pieces of interwoven timber as you enter the 300 square metre space. The design is inspired by Japanese sculptor Tadashi Kawamata and immerses visitors and viewers in the intoxicating smell of pine. The store has partnered with small makers and sourced underground artists from across the globe — all the way from Tokyo to Tasmania. Expect to find collections from the likes of Comme Des Garçons, Pleats Please Issey Miyake, Marni and MM6 Maison Margiela. The emphasis here is on handmade, expertly-designed products that tell a story. All of the creations in the space are unique and thoughtfully-designed, so you're in very little danger of doubling up on gifts for your mate. The store also features a sleek specialty coffee and chocolate bar for a perfect pick-me-up. The menu of single origin coffee from Sydney's Single O is complemented by the full range of chocolates from Byron Bay's Loco Love. The chocolates are all handmade and naturally sweetened with coconut blossom nectar. They're made from medicinal spices and superfoods, which means they're vegan, gluten-free and devoid of any refined sugar. Other unique goodies ready to be discovered include a gin-spiked mayonaise, artisanal glassware and a curated range of books from independent Japanese, English and French publishers. Finally, the store can be transformed to accommodate any manner of exhibition or event. A fifteen metre-long crescent of communal, tiered seating will accomodate events including wine tastings from P&V Wines, compelling talks and screenings, free after-dark yoga classes and oozy cheese tastings with Nick Haddow from Bruny Island Cheese. The Sorry Thanks I Love You store is located on Level 1 at Westfield Sydney, Pitt Street Mall and is open from 9.30am – 6pm.
Double Bay's growing reputation as one of Sydney's most dynamic dining destinations is in no small part thanks to Neil Perry. Since opening his comeback solo venture Margaret in 2021, the legendary chef, who was officially declared a culinary icon earlier this year, has been slowly expanding his Bay Street empire. In 2022, Perry partnered with Melbourne bakery Baker Bleu, establishing its first Sydney outpost next door to Margaret. Perry's third Double Bay venue, Song Bird, is now set to open its doors on Friday, August 30. Spread over three levels of the heritage-listed Gaden House, this 230-seat Cantonese fine-diner will showcase Perry's long-held affection for Asian cuisine. Seafood will feature heavily, with Perry drawing on the same local fishermen and producers who supply Margaret. Seasonality will also be a big influence, with the menu shifting depending on the best available produce. [caption id="attachment_965872" align="alignnone" width="1920"] A render of Song Bird's exterior[/caption] Throughout his career, Perry has explored Asian flavours through a personal lens, reimagining classic dishes with modern Australian twists. Perry and his team have been hard at work refining a menu for Song Bird that offers familiar favourites like dumplings, pipis in XO sauce, kung pao chicken and Peking duck, elevated through a suite of complex techniques. For example, Wollemi ducks, sourced from Copper Tree Farms, have the main cavity sealed after air is pumped under the skin. The bird is then blanched in boiling water before receiving a seasoning bath of maltose, vinegar and soy. Finally, the meat is aged for between three and seven days, until the colour, skin texture and tenderness are just right. Once it reaches this peak, the duck is roasted, ready for the table. [caption id="attachment_961055" align="alignnone" width="1920"] Image: Petrina Tinslay[/caption] Another new Double Bay venue from Perry will also welcome its first guests in the coming months. Bobbie's will be an underground speakeasy-style cocktail lounge, located on — you guessed it — Bay Street, not far from Margaret. Perry's longtime collaborator Linden Pride, who also launched award-winning New York bar Dante, will oversee the new drinking den, which is named in tribute to Pride's grandfather, the famed Australian broadcaster and disc jockey Bob Rogers OAM who died in May, 2024 aged 97. Perry is not the only restaurateur to see the potential of Double Bay. Recently opened ventures including Asian-fusion diner Bartiga and modern Mexican Gitano have revitalised the suburb, attracting Sydneysiders from all corners of the city in search of a delicious feed. View this post on Instagram A post shared by @songbirddoublebay Find Song Bird at 24 Bay Street, Double Bay. Head to the venue's website to make a reservation.
Don't let the sporadic showers fool you — summer is most definitely on its way. It's time to pull your beachwear out from the depths of your cupboard, dust off your tatty straw hat and prepare for three months of good food, good music and stunning sunshine. Heineken are celebrating the launch of the new low-carb Heineken 3 and hosting a series of Sunday sessions at Watsons Bay Boutique Hotel from December 4 until January 28. Look forward to great music, cold beer and beautiful views of the sun setting over Sydney's stunning harbour. On January 29 model, TV presenter and Channel V star Demi Bryant will be guest DJ-ing as DJ Demi, and she will bring the vibes to your favourite beachside bar. Gather your crew and head down to Watsons Bay for some post-swim snacks and a cold drink. Heineken 3 buckets are available, on special, and served from a Heineken bike.
Humans have made a pastime of staring up at the night sky for as long as history can tell us. Unfortunately, the amount of excess light that our city leaks into the sky makes for pretty poor stargazing conditions on an average night in the inner city. With that in mind, we've scoped out the top spots in and around Sydney where you can take part in this time-honoured tradition. At these locations, all it takes is a telescope — and, in some cases, just looking up — to feel engulfed by the vast night sky above. Whether you're headed to Australia's only accredited Dark Sky Park or to one of our many impressive observatories, this list has you covered. OBSERVATORIES SYDNEY OBSERVATORY, CBD In terms of physical proximity to the night sky, Sydney Observatory is a pretty good starting point. One of the highest points overlooking Sydney Harbour, its building houses three telescopes — including the oldest working telescope in Australia, which was built for the 1874 transit of Venus. The other two are a 40-centimetre computer-controlled lens and, for those of you who prefer gazing at the star closest to us, a telescope that lets you look at the sun. The Observatory runs night and day tours, workshops exploring early Indigenous astronomy and a range of short courses. This is definitely the first step for every would-be Galileo. LINDEN OBSERVATORY, BLUE MOUNTAINS Situated in the Blue Mountains, Linden Observatory was the work of a single brilliant amateur astronomer, Ken Beames. He finished the site's 61-centimetre telescope during World War II, while also building the dome that houses it and the direction control system himself. Access to Linden's heritage-listed building is by appointment only, but you can easily fill out the form here to get in touch. If you're happy enough to check out Beames' handiwork from the outside, Reverend Bob Evans runs monthly beginners astronomy courses on Saturdays in the nearby viewing field — and you can join in with a small donation. PENRITH OBSERVATORY, PENRITH Penrith Observatory is part of Western Sydney University, run by a team of maths and engineering boffins dedicated to cracking the universe open to see what makes it tick. They pause occasionally in this quest to host programs for the public, ranging from paper rocket construction to exploring the life cycles of stars. Volunteers from the Western Sydney Cosmic Data Lab also hold astronomy nights on most Saturdays of the year, regardless of the weather. For the less nocturnal, there are various day programs that give visitors the chance to safely observe the flaming gas giant that supports life on this planet. And it's less than an hour from the CBD. MUDGEE OBSERVATORY, MUDGEE Located just a 15-minute drive from the town centre, Mudgee Observatory is located within some seriously dark skies — so there's zero chance of confusing Jupiter with your neighbour's bug zapper. It's also where, in 1999, Steve Lee discovered Comet Lee. In the past, the facilities have been used by staff of the Sydney Observatory, members of the Sutherland Astronomical Society and by UNSW. This prestigious space is also open to the public, with regular daytime sun tours and night sky tours on offer — and heaps of telescopes and binoculars available to guests. The theatre and flat screen planetarium features a space mission program too. But be sure to booking ahead and expect a $15 entry fee. CRAGO OBSERVATORY, BOWEN MOUNTAIN Just out past Richmond, the Astronomical Society of New South Wales has established one of their "dark sky" observing sites in the middle of the Blue Mountains National Park. The observatory is old-school, comprised of an olive brick building with a basic kitchen on the ground floor and a camping area nearby. The dome itself is made from corrugated iron. Beginners will need to be accompanied by an accredited ASNSW member, but there's also a viewing space that has been cleared so amateurs can wander along and watch galaxies collide and stars implode at a time that suits them. TEBBUTT'S OBSERVATORY, WINDSOR This observatory was hand-built by 19th century astronomy nut John Tebbutt. If the name sounds familiar, it could be because you were flush in the '80s and '90s — his face graced the $100 note until '96. Tebbutt's Observatory in Windsor was rebuilt a number of times as he updated his telescopes, but the building that remains dates to 1879. Tebbutt, it was said, couldn't look up without discovering a comet. So make no mistake — if astronomical greatness is going to find you, it will find you here. DARK SKY SITES If you're feeling more intrepid and would prefer an astronomical experience that doesn't take place through the roof of a building, try a dark sky site instead. Observatories aren't the only place to look up, with these secluded fields and lookouts also offering a great vantage point to take in heavenly bodies. [caption id="attachment_730730" align="alignnone" width="1920"] Destination NSW[/caption] WARRUMBUNGLE NATIONAL PARK, COONABARABRAN Located a six-hour drive from Sydney, Warrumbungle National Park is one of the top three places on the planet to revel in galactic goings-on. That's thanks to the State Government, which has dedicated funds to limit light pollution in and around the park, making it Australia's only official Dark Sky Park — it's just one-of-three in the world, sitting alongside Death Valley National Park in the US and Galloway Forest Park in Scotland. Warrumbungle does have its own observatory, but scientists and astronomers have the run of the place after sundown. Amateur astronomy in Warrumbungle is best performed the old-fashioned way, with the humble eyeball. At the moment, all campsites in the area require booking, so make sure to organise it ahead of time here. [caption id="attachment_730726" align="alignnone" width="1920"] The Great Orion Nebula as viewed from Wiruna; Photographer: Marc Aragnou; supplied by ASNSW[/caption] WIRUNA, BLUE MOUNTAINS Wiruna is the Astronomical Society of NSW's best kept secret. Located on the outskirts of Wollemi National Park in the Blue Mountains, Wiruna is 107 acres of astronomy lovers' bliss. But there is one catch — this top-notch dark sky facility is for ASNSW members and their guests only. If you don't happen to have any ASNSW mates on hand, you can get in touch and organise a visit that way. Otherwise, simply book into an overnight campsite at Wollemi and enjoy your stargazing the old fashion way — equipment isn't necessary here, it'll be a breathtaking view either way. TERREY HILLS, NORTHERN BEACHES Another patch of unadulterated sky can be found in Sydney's Terrey Hills, near the northern beaches. This is one of the Northern Sydney Astronomical Society's new haunts, where observing nights are run on weekends for novices and experienced sky captains alike. As with most of these astro society hangouts, they've got telescopes to share and keen eyes with which to point out the myriad phenomena taking place in the universal void. If you're a lonely wanderer through the vast wash of space, this may well be the place to enter the orbit of some like-minds.
Like many a great singer-songwriter before her (cue Bob Dylan, Leonard Cohen and Tom Waits), Kate Tempest began as a dealer in words. In 2013, she became the first ever person under 40 to win the Ted Hughes Award for innovation in poetry. In 2014, she attracted a Mercury Prize nomination for her hip hop-driven debut album, Everybody Down. Now she's published a novel. Billy Bragg loves her. Chuck D is a fan. Check out her fresh, authentic freestyling for yourself. Kate Tempest plays the Magic Mirrors Spiegeltent on January 21 at 7.30pm and January 22 at 11.45pm. This is just one of our ten picks for Sydney Festival's best gigs. Check out the whole list.
Phil Ferguson, aka Chili Philly, is a Melbourne-based artist proving that crochet is not just for nannas. Creating wearable crochet art in the form of just about anything — from burgers to beer bottles, goon sacks to pea pods, tea bags to sushi rolls — Ferguson has become an Instagram wunderkind, clocking up a casual 140,000 followers to @chiliphilly in a flash. Ferguson's cheeky craftwork is now the subject of a new exhibition at Australian Design Centre, titled Crochet Social. It's his first major solo exhibition and features his crochet art alongside the quirky and slightly awkward self-portraits that have gained him so much popularity on social media. As part of the exhibition, ADC is also presenting a series of events and workshops to incite audiences to jump aboard the crochet bandwagon. There's a 'Cocktails and Crochet' night, a makers market, talks and panel discussions. Images courtesy the artist. Installation images by Simon Cardwell.
It's easy to look at abstract art with an air of confusion, yet it is this initial reaction that strikes at the core of the discipline. The very soul of the principle of abstraction is to challenge a point of view, a way of thinking, or an entire mindset. Superposition of three types gathers brand new and specially commissioned works from 13 Australian artists who have spent their careers experimenting and pushing the boundaries of their craft. The exhibition focuses on challenging conceptions of colour and form in art by displaying works that use varying media to create new and unique ways of expressing dissent from traditionalist art. The exhibition takes place at Artspace, one of Sydney's leaders in contemporary art, from February to April, and will combine not only the colourist work by Sydney Ball, Rebecca Baumann, live-artist Huseyin Sami and a host of others, it will also incorporate audiovisual performances, including a choreographed experience from Shelley Lasica. Image: Brendan Van Hek, Colour Comp.
Summer is coming to Chippendale's Old Clare Hotel. The recently revamped luxury lodgings opened for business a few months back, wowing us with their stylish interior and food offerings so good they border on offensive. To be honest, we didn't really need another reason to want to pay them a visit. But then who are we to say no to a high altitude pool and bar? Officially open as of Friday, November 20, The Old Clare Rooftop Pool and Bar is located on the fourth floor of the boutique hotel, which occupies the site that formerly housed the Carlton United Brewery Administrative Building. Visitors will be able to enjoy killer views of the city while lounging around on deckchairs in the sun, before cooling off with a dip in the proverbial drink. As for literal drinks, you can expect summer cocktails a plenty courtesy of Matt Fairhurst, who is also the beverage manager at the yet-to-be-opened Kensington Street Social downstairs. The Miami Vice, for example, is part pina colada, part frozen strawberry daiquiri, and seems like basically the most perfect poolside beverage that anyone could possibly imagine. They'll also have beers, ciders, spirits and gin & tonics with a twist, as well as fresh juice and non-alcoholic spritzers. Get a preview of the rooftop #Clarepoolbar at the Clare bottle shop this Sat 14th and Sun 15th Nov from 3-7pm. Expect tastes of the outrageous Miami Vice frozen cocktail, Strawberry Daiquiri layered with Pina Colada. Bring down the heat with chilled Murray's Fred beers and live music from Cory Jackson. P.S. Chances to win bar tabs for the Rooftop Pool and Bar opening (next) weekend for the best guests. -- #TheOldClareHotel #Clarebottleshop #unlistedcollection A photo posted by The Old Clare Hotel (@theoldclare) on Nov 10, 2015 at 10:06pm PST The Old Clare will also use the rooftop space for group fitness sessions that will be open to both hotel guests and the general public. Classes will include yoga, cardio boxing, circuit and personal training. The Old Clare Hotel can be found at 1 Kensington Street, Chippendale. The poolside bar will be open from 3pm Wednesday through Friday, and from 11am on weekends. Images: Nikki To.
If your ultimate holiday involves a beach dedicated to you — and only you — then make the Far South Coast your next destination. This wild stretch of shoreline, beginning at Moruya in the north and ending at the Victorian border, is so far from both Sydney and Melbourne it can easily be forgotten. Here you'll find some of Australia's most pristine beaches, hidden away at the end of long, winding dirt roads and protected by national parks. And in between beach days, you can visit 19th-century lighthouses, cruise deep natural harbours, sample award-winning oysters and snorkel with fur seals. If those aren't reasons enough to book your night in the Far South Coast, we've listed a few more below. From coastal getaways to outback adventures, Australia is home to a wealth of places to explore. Every trip away offers the chance to not only reconnect and recharge, but also to support the communities that have been affected by bushfires. Your visit plays an important role in Australia's recovery, which is why we've partnered with Tourism Australia to help you plan your next Holiday Here This Year. Some of the places mentioned below may still be closed due to COVID-19 restrictions. Please check websites before making any plans. [caption id="attachment_772991" align="alignnone" width="1920"] Dee Kramer Photography[/caption] MAKE YOUR FIRST STOP GREEN CAPE LIGHTHOUSE It's a long drive to the Far South Coast if you're travelling from Sydney. Prepare for a seven-hour drive south, or a 70-minute drive from Merimbula Airport if you've chosen to fly there. Make your first stop Green Cape lookout, where you'll find a lighthouse surrounded by wilderness, perched on Disaster Bay's rocky northern peninsula. Forget mobile coverage. Step into the 19th century in the former keeper's cottages — which have been turned into cosy accommodation, with classic wooden furniture, claw foot baths, open fires and shady verandahs. Between May and December, you may even spot whales from the lookout point. But if you don't spot one, there's plenty of other wildlife to look out for, including fur seals, dolphins, albatrosses, gannets and sea eagles. [caption id="attachment_772989" align="alignnone" width="1920"] Destination NSW[/caption] EXPLORE THE DEEP NATURAL HARBOUR IN EDEN Fifty minutes north of Green Cape is the 3000-person settlement of Eden, which spreads over undulating cliff tops on the shores of one of the deepest natural harbours in the world. Formerly a whaling capital, Eden is now better known for whale watching. Cat Balou Cruises runs ocean-going adventures from the main wharf. During whale season, you could be spotting as many as 70 in a day. Between January and April, you can spot dolphins and seals, too. [caption id="attachment_772990" align="alignnone" width="1920"] Destination NSW[/caption] LEARN ABOUT THE HISTORY OF KILLER WHALES IN EDEN To know about the history of Eden's relationship with the mighty whale, make sure you visit the Eden Killer Whale Museum. It's $12 entry for adults, and you'll get to explore permanent exhibitions that relate the story of Old Tom — an orca known to whalers in the port of Eden during the 1930s — and others that look at the continuing use of the port for tourism and as a food source. Hungry? Head to the Great Southern Inn afterwards. It's self-dubbed "that nice pub on the coast", and the seafood here is locally caught and served unpretentiously with salad and chips. Also keeping matters simple is Sprout Cafe, with its fresh, pesticide-free produce. Slip into the sunny courtyard for a toasted ciabatta with house-made salmon pate and local salmon gravlax. Or, down the road at Eden Smokehouse, there's smoked-on-the-spot rainbow trout, eel and hoki. [caption id="attachment_772995" align="alignnone" width="1920"] Tathra Hotel, Destination NSW[/caption] VISIT THE HOME OF WORLD RENOWNED ROCK OYSTERS Make your next stop the home of the best bivalves in Australia, if not the planet: Tathra Oysters. They've won 180 awards and are Neil Perry's favourite, mainly because they grow in pristine Nelsons Lake, surrounded by national park. What's more, the Rodeley family have been running this oyster haven since the 1980s. And the oysters taste even better eaten from Tathra's dramatic headland. Head to Tathra Hotel to sample a few. The traditional country pub has been a beacon for locals for 100 years and the family friendly establishment has all the pub classics, like schnitties and steaks, as well as a platter of oysters served natural, Asian-inspired or kilpatrick. Order a dozen and wash them back with a tap beer made at the onsite craft brewery, Humpback Brewery. [caption id="attachment_773007" align="alignnone" width="1920"] Destination NSW[/caption] FIND THE HORSE HEAD ROCK AT WALLAGA LAKE In Bermagui, you can seek out a rock formation that's thought to be 500 million years old. It's majestic, and has a curved shape that you can't help liken to a graceful horse's head. You can see it from an elevated walking track between Camel Rock and Murunna Point at Wallaga Lake. Allow for an hour to complete the 1.5-kilometre track, and if you choose to get up close to the rock be aware that it's not an easy task, and should only be attempted during low tide. [caption id="attachment_772999" align="alignnone" width="1920"] Destination NSW[/caption] SNORKEL WITH FUR SEALS AT MONTAGUE ISLAND Rise and shine, your next adventure is Montague Island, a magnificent nature reserve nine kilometres off shore. It hosts the biggest fur seal colony in New South Wales, which attracts as many as 2500 seasonal residents, as well as over 90 bird species and a 12,000-strong little penguin colony. The best time to visit if you want a good chance of seeing these animals is during spring, but from late winter the seal colony on the island starts to grow and you're likely to spot penguins on an evening walk around the island. For a more organised tour, Lighthouse Charters offers a variety of options, including day trips with whale watching, snorkelling with fur seals and little penguin watching. To make the most of your trip, book an overnight stay. Montague Island's Assistant Lighthouse Keeper's Cottage sleeps seven people across three bedrooms, and you'll more or less have the island to yourself. Before leaving Narooma, grab an antipasto grazing box from Mr Bold Catering Co, which comes packed with local cheeses, chutneys, cured meats and fruit. [caption id="attachment_773000" align="alignnone" width="1920"] Destination NSW[/caption] SEE MORUYA'S BEAUTY FROM THE SKIES Drive 40 minutes north to the riverside town of Moruya, where you can level up your trip with a 15-minute flight taking in views of unspoilt beaches directly below, and mountains to the west. You'll be in prime position to spot whales in the Batemans Marine Park, too. It's $188 for a scenic flight with Moruya Sea Planes, and if you want to spend more time in the skies there are flights around Montague Island, Tross Falls and special occasion experiences where you'll break up the in-air fun with a picnic on a secluded beach. [caption id="attachment_775021" align="alignnone" width="1920"] Tanja Lagoon Camp[/caption] SLEEP UNDER CANVAS AT TANJA LAGOON CAMP Twenty-two kilometres east of Bega is a wilderness camp surrounded by spotted gum trees, overlooking Tanja Lagoon. Expect to be greeted by kangaroos before being shown to a luxury safari tent, one of only four, on the edge of Mimosa Rocks National Park. For active types, there is a chance to go paddling and bushwalking to secluded beaches. For lazy bones, options include lolling about in the handcrafted bed followed by moonlit soaks in a giant bathtub, which looks out to the surrounding trees through a big picture window. Expect to pay upwards of $600 per two-night stay, and plan your trip well in advance as this place tends to book out quickly. Whether you're planning to travel for a couple of nights or a couple of weeks, Holiday Here This Year and you'll be supporting Australian businesses while you explore the best of our country's diverse landscapes and attractions. Top image: Montague Island Nature Reserve courtesy of Destination NSW.
Hitting the indoor mini-golf course for a few holes of pop culture-themed fun and a few rounds of delightfully named beverages isn't just something Brisbanites should enjoy, or Sydney residents either. After launching in Queensland in late 2016, and announcing their first New South Wales venture, Holey Moley Golf Club officially opens in Melbourne today, Thursday, April 20. From noon, 590 Little Bourke Street will be home to 27 holes of club-swinging antics across two levels. It's Holey Moley's biggest venue yet, which means that there's plenty of room for the three nine-hole courses. The Brisbane bar is known for its creativity when it comes to creating courses, and this venue is no exception. Melburnians will be able to tap, tap, tap their way through rooms dedicated to The Simpsons and Game of Thrones and throwbacks to Pacman and Barbie dolls. Plus, everyone will be able to break out into song at the same time, with karaoke part of the antics. If you choose to work your way through the Happy Gilmore soundtrack, no one will stop you (at least not any of the staff). Drinks-wise, expect cocktails. The Caddyshack Bar boasts a pun-laden drinks list that includes the The Sugar Caddy, the Teeyonce Knowles and a Long Island Iced Tee (just what it sounds like, but with an appropriate name). Beer, cider and wine will also be available, but when you're aiming for a hole-in-one, it seems appropriate to be drinking from one (made from Pampero white rum, cinnamon whisky, half a banana, sugar syrup and a doughnut — yep, a doughnut) at the same time. Holey Moley Golf Club is now open at 590 Little Bourke Street, Melbourne. It will be open noon till late Monday to Friday, and 10am till late on weekends. For more info, check out their website. Images: Lucas Dawson.
What would you do if you were a little less freaked out by consequences? Would you talk to more new people, fear a bit less, dance a little more like FKA Twigs, or quit your desk job and start that business you've always wanted to give a red hot go? Some sparkling young Australians are already flinging their inhibitions into a ziplock bag and seizing this little ol' life with both hands. Concrete Playground has teamed up with the Jameson crew to give you a sneak peek into the lives of some of the country's boldest characters who took a big chance on themselves. They've gone out on a limb and rewritten their path, encapsulating 'Sine Metu', the Jameson family motto which translates to 'without fear' — getting outside your comfort zone and trying something new. After all, we only get one shot at this. Take notes. Having dabbled in his fair share of pulse-quickening activities as a youngster, Sydney street artist and skateboarder Sid Tapia is no stranger to the concept of overcoming big fears. In a career that started at age ten, he's hung out of train doors to tag them, skateboarded at a pro level and even founded his own label, Crown St. rediscover a passion he thought he'd lost forever. FUEL THAT FIRE IN YOUR BELLY Sid got cracking on his creative pursuits pretty early on, recalling being captivated by his mother's old handwriting textbooks at the age of four. Soon after that, Sid began recreating the characters in his life: the faces of friends and family. "I'd spend ages trying to do what I saw," he says. "I would see someone or something that I thought was beautiful and be like, 'I want to do that on paper'." It's an interest that would eventually lead him into the graff scene, swapping out paper and pens for trains, walls and spray paint. Meanwhile, Sid's older brother Walker was offering his own brand of influence, introducing him to alternative music genres, hip-hop culture and, ultimately, the street art movement. "He was like my mentor-slash-father figure growing up," Sid explains. "He really taught me a massive step in being able to overcome not just challenges, but confrontations as well." NEVER STOP LEARNIN' At around age ten, Sid discovered the world of graffiti, and he was instantly hooked on this risky, yet exhilarating form of creative expression — especially the risky sport of train tagging. The fact that he could lean out of a train, paint his name up and others would see it was both scary and adrenaline-pumping (not to mention highly illegal). But just a few years later, Sid's flirtation with locomotive art was rattled, after his friend was injured in a serious train accident, reminding him (very bluntly) of the elephant in the room: mortality. "Graffiti was never the same after that," Sid says. "It was nerve-wracking — it was scary." And so he gave up graff. Having come so close to paying the ultimate price for his passion, Sid diverted his attentions to skateboarding — and despite being discouraged from the sport by his family, it was clear he had some serious skills. "My grades were really bad, but I knew that my skating was really good," he says. "And I was like, 'I'm gonna do this thing.'" Skating was a passion that continued well into his twenties, landing him sponsorship deals and a heap of recognition on the Sydney scene. He was even profiled in the awesome 1997 short film by Warrick Thornton for SBS's Eat Carpet. Like many twenty-somethings, at the time it looked as though Sid had, in his own words, "everything sorted" — but he was really "a wreck". So he turned to an old friend to navigate through it: books. "To understand what it is to overcome, what it is to get through a challenge, what's needed — and a lot of the time what's needed is knowledge." TACKLE THE CHALLENGES AND GET BACK IN THE DAMN GAME 23 years later, Sid was still shaken by that train accident — and his own decision to run away. "I had to live with that for a long time," he admits. "I knew I ran away from something massive that could have helped her out. I was just too scared. But about a year ago, I thought: 'I have to face up to this'." So he located his former friend and reached out to her on social media, laying down the emotional apology that had been such a long time coming. "I was in tears…it was heavy," Sid says. "That was a fear I had to overcome by literally confronting it…having to just man-up and be emotional and apologise." Like the big cats he spray paints on his walls, Sid was finally fierce in approaching the situation, and moved forward regardless of harboured fears. And in doing so, he not only opened up a positive new relationship with his old friend, but a newfound positive relationship with his art. Sid's back doing the graffiti thing again — only this time around, it's in a much more holistic (and completely legal) capacity. Working on both commissions and his own pieces, his striking large-scale murals grace walls across Sydney, from the skate park at Bondi Beach to countless buildings in Stanmore, Camperdown, Newtown and the inner west. His lettering and illustration work is equal parts mind-blowing and mindful. He's a highly sought-after, full-time working artist now, running the odd class with Work-Shop and the Museum of Contemporary Art, and working with Marrickville Council's 'Perfect Match' program pairing residents with street artists. All those setbacks? Turns out he didn't let them set him back at all. "I love that I'm able to get what I do and bless people with it. I want to put something out that's going to inspire, or encourage… spark a little bit of wow in someone's life." Want to experience a little bit of 'Sine Metu' yourself? Thanks to Jameson and The Rewriters, one extremely fortunate Concrete Playground reader (and their even more fortunate mate) will get the chance to 'fear less' and go on a big ol' adventure to Ireland. In addition to two return flights departing from your choice of Sydney, Melbourne or Brisbane, this epic giveaway comes with five night's accommodation and $500 spending money you can use to paint the Emerald Isle red. ENTER HERE. For more about how 'Sine Metu' influenced John Jameson's journey visit Jameson's website. Images: Sid Tapia.
Packing well for holidays is one of the vastly underrated artforms of our time. Knowing exactly what to bring and what to spend your dimes on before the actual trip takes a long-practiced, realistic ability to predict the weather, activities and highly Instagrammable moments of your future vacation. But not everyone's got the coin to drop on exxy designer threads before they land. So we've taken it upon ourselves to pack your suitcase with affordable goods, whether you're headed for a riotous camping adventure to your chosen annual music festival, hitting art galleries and destination restaurants on a cultural endeavour, or opting for the classic ol' beach holiday. Best bit? It's all from the one place — ASOS. And because they know some of the world's most keen travellers are penny-pinching students, they're offering a 20 percent discount just for students from Wednesday, February 23. THE MUSIC FESTIVAL CAMPING WEEKEND You've loaded up your rental (or pa-rental) car with tents, tarps and tinnies. You've pored over the festival timetable and listened up to the lineup. You're in full-on camping festival mode, and the trick here is to pack light, but pack smart. You've got to toe the line between statement pieces and everyday essentials — you'll need both for this adventure. Word to the wise? Leave the exxy cocktail dresses and dress shirts at home, but remember to bring pieces that make you happy; you'll be in them all day in the hot sun, pouring rain and occasional mud-slips. And bring more undies than you think you'll need. WOMENS ESSENTIALS Reclaimed Vintage Pull Over Hooded Festival Jacket $95 Cheap Monday Denim Short Dungarees $99 Pimkie Wellie Boot $34 MENS ESSENTIALS Nike Court T-Shirt 739479-100 $51 ASOS Check Shirt in Viscose With Long Sleeves $53 ASOS 5 Panel Cap In Black Canvas With Contrast Patch $26 THE ARTY CULTURE ADVENTURE Whether you're scooting between galleries, tasting All The Wine or sauntering through some serious shopping districts, culture adventures can be the trickiest for packing light. You'll want to bring every last pair of kickass shoes in your closet. You'll have plans to debut every new outfit you've recently impulse bought. But here's the thing, you're carrying your wardrobe with you. So choose a couple of pieces you can wear day-to-night and one pair of all-purpose, super fly shoes. That way you can throw more dosh on new pieces on your holiday shopping sprees. WOMENS ESSENTIALS ASOS Oversize T-Shirt Dress With Curved Hem $47 Glamorous Bell Sleeve Smock Dress With Festival Embroidery $51 ASOS OTTAWA Heels $74 MENS ESSENTIALS ASOS Super Longline Long Sleeve T-Shirt With Hooded Drape Neck $38 Reclaimed Vintage Drapey Duster Jacket $138 River Island Chukka Boots In Brown Faux Leather $95 THE CLASSIC BEACH HOLIDAY Towel, sunnies, bathers, sunscreen, book, beer. So begins the checklist for the age old beach holiday, the classic retreat for city slickers. This vacation's the easiest to pack light for, but that doesn't mean you have scrimp on style. Invest in a few new beachy staples and you'll be staging your own magazine shoots on your next ocean-bound road trip. Just remember to slip, slop, slap, wrap etc. WOMENS ESSENTIALS South Beach Mix and Match Wrap Cut Out Bikini Top $30 ASOS Stripe Rope Belted Beach Shirt Dress $60 ASOS Strappy Maxi Dress $38 MENS ESSENTIALS ASOS Mid Length Swim Shorts With Turtle Print $38 Base London Tiberius Leather Sandals $74 River Island Round Sunglasses In Silver $43
If you're a North Shore local or frequent visitor, consider yourself onto a winner with Goodfields. The brainchild of father-and-son duo George and Anthony Karnasiotis (The Butcher's Block), it's a charming, contemporary corner spot perched just across from Lindfield Station. Inside, good feels abound, with the cheery mix of polished concrete, crisp white tiles and foliage spilling from above. From 6am daily, the coffee window is open and the machine up and running, tempting early morning commuters with brews from Five Senses. Meanwhile, the kitchen is turning out a memorable all-day brunch offering that sits classics alongside fun, modern revamps. There's an indulgent lobster benedict with roasted lobster tail bites, grilled garlic brioche, spinach and hollandaise, and an avocado smash served with heirloom tomatoes, feta, poached eggs and sourdough. Lunch might call for the slow-roasted lamb shoulder pita, crispy-skinned salmon with charred broccolini, or a fried chicken burger with bacon, maple aioli, American jack-cheese and thick-cut chips. Littlies will be kept busy, too, with options like house-made buttermilk chicken nuggets and maple syrup-drenched hotcakes. To accompany those long lunches or weekend brunches with mates, you'll even find a tidy range of beers and wines at Goodfields. Appears in: Where to Find the Best Breakfast in Sydney
Usually, when a new year hits and Hollywood starts handing out shiny trophies for the best movies and television programs of the past 12 months, audiences are asked to get watching not once but twice. First, there's all of the ceremonies — and then there's the must-view list that springs from those newly anointed winners. The initial cab off the rank each year, the Golden Globes, did their thing for 2022 on Monday, January 10. This isn't a normal event for these accolades, however. After multiple controversies surrounding the Hollywood Foreign Press Association, the organisation behind the awards, the Globes weren't given out at a star-studded event. Plenty of films and TV shows still emerged victorious, though. Yes, even without sitting through the three-hour-plus televised ceremony, you still have a whole heap of freshly minted Globe-recipients to see — and you can watch most of them right now. Whether you're keen to hit the big screen to catch a filmic gem, stream a stellar flick or binge your way through an excellent series or two, here's 12 of the Globes' best winners that you can check out immediately. (And if you're wondering what else won, you can read through the full list, too.) MOVIE MUST-SEES 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. GLOBES Won: Best Motion Picture — Drama, Best Performance by an Actor in a Supporting Role in Any Motion Picture (Kodi Smit-McPhee), Best Director (Jane Campion) Nominated: Best Performance by an Actor in a Motion Picture — Drama (Benedict Cumberbatch), Best Performance by an Actress in a Supporting Role in Any Motion Picture (Kirsten Dunst) The Power of the Dog is available to stream via Netflix. 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. GLOBES Won: Best Motion Picture — Musical or Comedy, Best Performance by an Actress in a Motion Picture — Musical or Comedy (Rachel Zegler), Best Performance by an Actress in a Supporting Role in Any Motion Picture (Ariana DeBose) Nominated: Best Director (Steven Spielberg) West Side Story is currently screening in Australian cinemas. 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. GLOBES Won: Best Motion Picture — Animated Nominated: Best Original Score — Motion Picture, Best Original Song — Motion Picture Encanto is currently screening in Australian cinemas, and is also available to stream via Disney+. 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. GLOBES Won: Best Original Score — Motion Picture Nominated: Best Motion Picture — Drama, Best Director (Denis Villeneuve) Dune is currently screening in Australian cinemas. 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. GLOBES Won: Best Original Song — Motion Picture No Time to Die is currently screening in Australian cinemas. Read our full review. TICK, TICK... BOOM! "Try writing what you know." That's age-old advice, dispensed to many a scribe who hasn't earned the success or even the reaction they'd hoped, and it's given to aspiring theatre composer Jonathan Larson (Andrew Garfield, Under the Silver Lake) in Tick, Tick… Boom!. The real-life figure would go on to write Rent but here, in New York City in January 1990, he's working on his debut musical Superbia. It's a futuristic satire inspired by George Orwell's Nineteen Eighty-Four, and it's making him anxious about three things. Firstly, he hasn't yet come up with a pivotal second-act song that he keeps being told he needs. Next, he's staging a workshop for his debut production to gauge interest before the week is out — and this just has to be his big break. Finally, he's also turning 30 in days, and his idol Stephen Sondheim made his Broadway debut in his 20s. Tick, Tick… Boom! charts the path to those well-worn words of wisdom about drawing from the familiar, including Larson's path to the autobiographical one-man-show of the same name before Rent. And, it manages to achieve that feat while showing why such a sentiment isn't merely a cliche in this situation. That said, the key statement about mining your own experience also echoes throughout this affectionate movie musical in another unmissable way. Lin-Manuel Miranda didn't write Tick, Tick… Boom!'s screenplay; however, he does turn it into his filmmaking directorial debut — and what could be more fitting for that task from the acclaimed In the Heights and Hamilton talent than a loving ode (albeit an inescapably overexcited one) to the hard work put in by a game-changing theatre wunderkind? GLOBES Won: Best Performance by an Actor in a Motion Picture — Musical or Comedy (Andrew Garfield) Nominated: Best Motion Picture — Musical or Comedy Tick, Tick… Boom! is available to stream via Netflix. Read our full review. SMALL SCREEN BINGES SUCCESSION For fans of blistering TV shows about wealth, power, the vast chasm between the rich and everyone else, and the societal problems that fester due to such rampant inequality, 2021 has been a fantastic year. The White Lotus fit the bill, as did Squid Game, but Succession has always been in its own league. In the 'eat the rich' genre, the HBO drama sits at the top of the food chain as it chronicles the extremely lavish and influential lives of the Roy family. No series slings insults as brutally; no show channels feuding and backstabbing into such an insightful and gripping satire of the one percent, either. Finally back on our screens after a two-year gap between its second and third seasons, Succession doesn't just keep plying its astute and addictive battles and power struggles — following season two's big bombshell, it keeps diving deeper. The premise has remained the same since day one, with Logan Roy's (Brian Cox, Super Troopers 2) kids Kendall (Jeremy Strong, The Trial of the Chicago 7), Shiv (Sarah Snook, Pieces of a Woman), Roman (Kieran Culkin, No Sudden Move) and Connor (Alan Ruck, Gringo) vying to take over the family media empire. This brood's tenuous and tempestuous relationship only gets thornier with each episode, and its examination of their privileged lives — and what that bubble has done to them emotionally, psychologically and ideologically — only grows in season three. It becomes more addictive, too. There's no better show currently on TV, and no better source of witty dialogue. And there's no one turning in performances as layered as Strong, Cox, Snook, Culkin, J Smith-Cameron (Search Party), Matthew Macfadyen (The Assistant) and Nicholas Braun (Zola). GLOBES Won: Best Television Series — Drama, Best Performance by an Actor in a Television Series — Drama (Jeremy Strong), Best Performance by an Actress in a Television Supporting Role (Sarah Snook) Nominated: Best Performance by an Actor in a Television Series — Drama (Brian Cox), Best Performance by an Actor in a Television Supporting Role (Kieran Culkin) All three seasons of Succession are available to stream via Binge. SQUID GAME Exploring societal divides within South Korea wasn't invented by Parasite, Bong Joon-ho's excellent Oscar-winning 2019 thriller, but its success was always going to give other films and TV shows on the topic a healthy boost. Accordingly, it's easy to see thematic and narrative parallels between the acclaimed movie and Netflix's highly addictive Squid Game — the show that's become the platform's biggest show ever (yes, bigger than everything from Stranger Things to Bridgerton). Anyone who has seen even an episode knows why this nine-part series is so compulsively watchable. Its puzzle-like storyline and its unflinching savagery making quite the combination. Here, in a Battle Royale and Hunger Games-style setup, 456 competitors are selected to work their way through six seemingly easy children's games. They're all given numbers and green tracksuits, they're competing for 45.6 billion won, and it turns out that they've also all made their way to the contest after being singled out for having enormous debts. That includes series protagonist Seong Gi-hun (Lee Jung-jae, Deliver Us From Evil), a chauffeur with a gambling problem, and also a divorcé desperate to do whatever he needs to to keep his daughter in his life. But, as it probes the chasms caused by capitalism and cash — and the things the latter makes people do under the former — this program isn't just about one player. It's about survival, the status quo the world has accepted when it comes to money, and the real inequality present both in South Korea and elsewhere. Filled with electric performances, as clever as it is compelling, unsurprisingly littered with smart cliffhangers, and never afraid to get bloody and brutal, the result is a savvy, tense and taut horror-thriller that entertains instantly and also has much to say. GLOBES Won: Best Performance by an Actor in a Television Supporting Role (Oh Yeong-su) Nominated: Best Television Series — Drama, Best Performance by an Actor in a Television Series — Drama (Lee Jung-jae) Squid Game is available to stream via Netflix. TED LASSO A sports-centric sitcom that's like a big warm hug, Ted Lasso belongs in the camp of comedies that focus on nice and caring people doing nice and caring things. Parks and Recreation is the ultimate recent example of this subgenre, as well as fellow Michael Schur-created favourite Brooklyn Nine-Nine — shows that celebrate people supporting and being there for each other, and the bonds that spring between them, to not just an entertaining but to a soul-replenishing degree. As played by Jason Sudeikis (Booksmart), the series' namesake is all positivity, all the time. A small-time US college football coach, he scored an unlikely job as manager of British soccer team AFC Richmond in the show's first season, a job that came with struggles. The ravenous media wrote him off instantly, the club was hardly doing its best, owner Rebecca (Hannah Waddingham, Sex Education) had just taken over the organisation as part of her divorce settlement, and veteran champion Roy Kent (Brett Goldstein, Uncle) and current hotshot Jamie Tartt (Phil Dunster, Judy) refused to get along. Ted's upbeat attitude does wonders, though. In Ted Lasso's also-excellent second season, however, he finds new team psychologist Dr Sharon Fieldstone (Sarah Niles, I May Destroy You) an unsettling presence. You definitely don't need to love soccer or even sport to fall for this show's ongoing charms, to adore its heartwarming determination to value banding together and looking on the bright side, and to love its depiction of both male tenderness and supportive female friendships (which is where Maleficent: Mistress of Evil's Juno Temple comes in). In fact, this is the best sitcom currently in production. GLOBES Won: Best Performance by an Actor in a Television Series — Comedy (Jason Sudeikis) Nominated: Best Television Series — Comedy, Best Performance by an Actress in a Television Supporting Role (Hannah Waddingham), Best Performance by an Actor in a Television Supporting Role (Brett Goldstein) Ted Lasso's first and second seasons are available to stream via Apple TV+. THE UNDERGROUND RAILROAD Two words: Barry Jenkins. Where the Oscar-nominated Moonlight director goes, viewers should always follow. That proved the case with 2018's If Beale Street Could Talk, and it's definitely accurate regarding The Underground Railroad, the phenomenal ten-part series that features Jenkins behind the camera of each and every episode. As the name makes plain, the historical drama uses the real-life Underground Railroad — the routes and houses that helped enslaved Black Americans escape to freedom — as its basis. Here, though, drawing on the past isn't as straightforward as it initially sounds. Adapting Colson Whitehead's Pulitzer Prize-winning novel of the same moniker, the series dives deeply into the experiences of people endeavouring to flee slavery, while also adopting magic-realism when it comes to taking a literal approach to its railroad concept. That combination couldn't work better in Jenkins' hands as he follows Cora (Thuso Mbedu, Shuga), a woman forced into servitude on a plantation overseen by Terrance Randall (Benjamin Walker, Jessica Jones). As always proves the case in the filmmaker's work, every frame is a thing of beauty, every second heaves with emotion, and every glance, stare, word and exchange is loaded with a thorough examination of race relations in America. Nothing else this affecting reached streaming queues in 2021 — but even one series like this made it a phenomenal year for audiences. GLOBES Won: Best Television Limited Series or Motion Picture Made for Television The Underground Railroad is available to stream via Amazon Prime Video. HACKS It sounds like an obvious premise, and one that countless films and TV shows have already mined in the name of laughs. In Hacks, two vastly dissimilar people are pushed together, with the resulting conflict guiding the series. Ava Daniels (Hannah Einbinder, North Hollywood) and her new boss Deborah Vance (Jean Smart, Mare of Easttown) couldn't be more different in age, experience, tastes and opinions. The former is a 25-year-old who made the move to Hollywood, has been living out her dream as a comedy writer, but found her career plummeting after a tweet crashed and burned. The latter is a legendary stand-up who hasn't stopped hitting the stage for decades, is approaching the 2500th show of her long-running Las Vegas residency and is very set in her ways. They appear to share exactly one thing in common: a love for comedy. They're an odd couple thrust together by their mutual manager Jimmy (Paul W Downs, Broad City), neither wants to be working with the other, and — to the surprise of no one, including each other — they clash again and again. There's no laugh track adding obvious chuckles to this HBO sitcom, though. Created by three of the talents behind Broad City — writer Jen Statsky; writer/director Lucia Aniello; and Downs, who does double duty in front of and behind the lens — Hacks isn't solely interested in setting two seemingly mismatched characters against each other. This is a smart and insightful series about what genuinely happens when this duo spends more and more time together, what's sparked their generational conflict and what, despite their evident differences, they actually share beyond that love of making people laugh. And, it's a frank, funny and biting assessment of being a woman in entertainment — and it's also always as canny as it is hilarious. GLOBES Won: Best Television Series — Comedy, Best Performance by an Actress in a Television Series — Comedy (Jean Smart) Nominated: Best Performance by an Actress in a Television Series — Comedy (Hannah Einbinder) Hacks is available to stream via Stan. Read our full review. MARE OF EASTTOWN Kate Winslet doesn't make the leap to the small screen often, but when she does, it's a must-see event. 2011's Mildred Pierce was simply astonishing, a description that both Winslet and her co-star Guy Pearce also earned — alongside an Emmy each, plus three more for the HBO limited series itself. The two actors and the acclaimed US cable network all reteamed for Mare of Easttown, and it too is excellent. Set on the outskirts of Philadelphia, it follows detective Mare Sheehan. As the 25th anniversary of her high-school basketball championship arrives, and after a year of trying to solve a missing person's case linked to one of her former teammates, a new murder upends her existence. Mare's life overflows with complications anyway, with her ex-husband (David Denman, Brightburn) getting remarried, and her mother (Jean Smart, Hacks), teenage daughter (Angourie Rice, Spider-Man: Far From Home) and four-year-old grandson all under her roof. With town newcomer Richard Ryan (Pearce, The Last Vermeer), she snatches what boozy and physical solace she can. As compelling and textured as she always is, including in this year's Ammonite, Winslet turns Mare of Easttown into a commanding character study. That said, it's firmly an engrossing crime drama as well. Although yet again pondering the adult life of an ex-school sports star, The Way Back's Brad Ingelsby isn't just repeating himself by creating and writing this seven-part series, while The Leftovers and The Hunt's Craig Zobel takes to his directing gig with a probing eye. GLOBES Won: Best Performance by an Actress in a Limited Series or a Motion Picture Made for Television (Kate Winslet) Nominated: Best Television Limited Series, Anthology Series or Motion Picture Made for Television Mare of Easttown is available to stream via Binge.
The NGV has hosted some pretty epic exhibitions over the last few years — Ai Weiei and Andy Warhol, Hokusai and Van Gogh are just a few— but this might be its most ambitious exhibition yet. Descending on the gallery from today — Friday, December 15 — and then every three years after that, the NGV Triennial presents a smorgasbord of art and design, plucked from all corners of the globe and representing established artists, emerging talent, and plenty else in between. And the first one is nothing short of grand. The free exhibition will take over all four levels of the gallery until April 2018 and host a slew of newly commissioned works by over 60 artists and designers. But where it's really upping the ante is in the audience experience, with visitors invited to present their own ideas through cross-platform content, and the exhibition's participatory works designed to engage like never before. Legendary Japanese artist Yayoi Kusama, best known for her obsessive patterning and vibrant representations of the infinite, will invite glimpses into the artist's mind with a work titled Flower obsession. Created especially for the NGV Triennial, the interactive exhibition will have visitors unleashing some creativity of their own, as they help plaster a furnished space with an array of colourful flower stickers and three-dimensional blooms. Another highlight is an epic display of 100 oversized human skulls created by Australian artist Ron Mueck, and you'll want to step inside teamLab's immersive mirrored room that reacts to visitors' movements. Kusuma joins other international names like Germany's Timo Nasseri and Canada's Sascha Braunig, alongside an Aussie billing that includes the likes of Ben Quilty, Louisa Bufardeci, and Tom Crago. There'll be an installation from Chinese haute couture fashion guru Guo Pei, designer of Rihanna's canary-yellow Met Ball gown, and chemist and odour theorist Sissel Tolaas will create the 'scent of Melbourne' exclusively for the Triennial. And Alexandra Kehayoglou will be creating one of her monumentally-sized, lushly illustrated carpets, spanning over eight metres long. The NGV Triennial will be on display at the National Gallery of Victoria from December 15, 2017 till April 15, 2018. For more info, visit ngv.com.au.
In Patricia Piccinini's mind, bulbous creatures float through the sky. In her imagination, automobiles may as well be animals, and the line between humans and other critters is razor thin. It all sounds like something out of a science-fiction movie (or several), but the Australian artist's output isn't just confined to a screen. Across a variety of media, Piccinini explores the way that nature and technology, people and animals, and the unusual and the sublime all combine — and, more than that, she finds ways to make their weird and wonderful blend appear, feel and seem real. With Piccinini's body of work spanning from figures that look so naturalistic you'll expect them to start moving, to looping short film installations that bring strange beings to life, to paintings and sculptures made with actual human hair, wandering through her creations is like wandering into another realm. At Brisbane's Gallery of Modern Art until August 5, that's exactly what's on offer. Taking over the entire ground floor of the building — and filling the place with more than 70 sculptures, photographs, videos, drawings and large-scale installations, including both exisiting favourites and newly commissioned pieces — Patricia Piccinini: Curious Affection transforms GOMA into a pleasingly intriguing playground. Indeed, if Piccinini's famous animal-shaped hot air balloon, The Skywhale, literally unleashed her unique sensibilities out into the world, then Curious Affection does the opposite: it invites everyone into the acclaimed artist's mind and lets them roam around. Inside, visitors get a peek at not-quite-human lovers cosying up in a caravan, walls filled with alien-like mushrooms, and a vast array of peculiar yet beautiful creatures. And, in an exhibition designed to make you ponder what it means to be human, that's just a fraction of its treasures. In short: entering the otherworldly showcase is an experience like few others, crafted by an artist who has taken her visibly distinctive sensibilities everywhere from the Venice Biennale to Japan's skies to galleries around the world over the past two decades. Discovering exactly what her imagination has brought forth is part of the fun, but here are five things to look out for along the way — and, whether you're a Brisbanite keen on an arty staycation or you're travelling from interstate to see the exhibition, we've found you somewhere to stay as well. [caption id="attachment_667357" align="aligncenter" width="1920"] Installation view 'Patricia Piccinini: Curious Affection' at Brisbane's Gallery of Modern Art, 2018, featuring The Field 2018. Photograph: Natasha Harth, QAGOMA.[/caption] WANDER THROUGH A FIELD OF OTHERWORLDLY FLOWERS The Field isn't the first thing you'll see at Curious Affection, but this darkened room will stay with you long after you've left GOMA. It's the exhibition's main attraction for a very good reason: there's nothing quite like walking into a cavernous hall filled with more than 3000 flower-like sculptures, lightly bouncing along the spring-loaded floors and finding out that nothing's really as it seems. Each individual stem is a feat of astonishing artistry that'll make you think about the real meaning of beauty, not to mention the kind of creations that sci-fi filmmakers like Ridley Scott (Alien) and David Cronenberg (The Fly) would be proud of. When you're not staring into their hypnotic expanse, the four larger-scale sculptures — two of mothers with children, two of curious creatures — scattered around the gallery are just entrancing, not to mention perfectly on-theme. [caption id="attachment_667360" align="aligncenter" width="1920"] Patricia Piccinini, Australia VIC. b.1965. Pneutopia 2018. Ripstop nylon, shed, air. Courtesy the artist, Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco.[/caption] ENTER A GARDEN SHED — AND LOOK UP Maybe you saw The Skywhale float through the sky back earlier this decade. Maybe you just wished you did. Either way, if you ever wondered what it looked like inside, then inflatable installation Pneutopia almost has the answer. It's not Skywhale 2.0, but this custom-built blow-up creation comes close — just confined within GOMA's huge two-storey hallway rather than roving free on the wind. Roam around either the ground or second level, and you can feast your eyes on the outside of this billowing orange and pink structure. Enter the ordinary-looking garden shed underneath, however, and you'll peer through a window into the heart of the balloon. [caption id="attachment_664391" align="aligncenter" width="1920"] Installation view 'Patricia Piccinini: Curious Affection' at Brisbane's Gallery of Modern Art, 2018, featuring The Young Family 2002. Photograph: Natasha Harth, QAGOMA.[/caption] GET UP CLOSE AND PERSONAL WITH CURIOUS CREATURES In one corner, a girl sits with an owl flapping over her shoulder. At several other points around the exhibition's first few rooms, kids reach out to strange critters, or cradle them in their arms, or find them laying on their backs. On a leather platform, a pig-human chimera feedings her suckling offspring. In a life-sized bed, a toddler stands shoulder-to-shoulder with a creature that could've stepped out of her dreams (or nightmares). There's more where they came from, representing some of Piccinini's best-known sculptures, and they really are the best introduction to the artist's work that you can get. Each attention-grabbing piece makes a statement, whether about natural evolution, genetic experimentation, the open mind that comes with child-like wonder, or the fine line between horror and empathy. As the exhibition's explanatory text describes, it's a collection that's "startling but rarely fearsome". [caption id="attachment_664396" align="aligncenter" width="1920"] Installation view 'Patricia Piccinini: Curious Affection' at Brisbane's Gallery of Modern Art, 2018. Photograph: Natasha Harth, QAGOMA.[/caption] MOSEY THROUGH A STRANGE PATCH OF GREENERY In the last corner of the exhibition, GOMA becomes a forest — but you don't usually see creatures called 'tyre lions' and 'butthole penguins' in a standard patch of greenery. Yes, that's their actual name, and they're bizarre but delightful, like figures from an offbeat animation you now definitely wish existed. Piccinini arranges these pieces as if she's arranging a display in a natural history museum, which only adds to their uncanny allure. It's the final piece in a gallery-wide puzzle that presents an assortment of seemingly familiar figures, animals, scenes and objects, but shows that they really couldn't be less ordinary. [caption id="attachment_667355" align="aligncenter" width="1920"] Installation view 'Patricia Piccinini: Curious Affection' at Brisbane's Gallery of Modern Art, 2018. Photograph: Natasha Harth, QAGOMA.[/caption] KEEP YOUR EYES ON THE SCREENS As well as Piccinini's eye-catching sculptures, installations and other pieces, GOMA's walls are lined with multiple screens playing her video works. Each runs on a loop, ranging from 90 seconds to a couple of minutes in duration — and if you're keen to dive even deeper in the artist's mind, they're all well worth your time. Gaze at Ghost, aka a hairy chicken-like creation hanging from the ceiling, for example, then watch In Bocca Al Lupo, a mesmerising short film filled with similar critters. If you only make time for one, however, then head to an adorably odd effort called The Seedling's Dance. It runs for less than three minutes, and it's playing on a cinema-sized screen that you you really won't be able to miss. COMING FROM OUT OF TOWN OR INTERSTATE? Can't get enough art? Not quite ready to re-enter reality after wandering through Piccinini's intriguing creations? Heading in from out-of-town and looking for a suitably creative place to stay? Brisbane's Art Series Hotel The Johnson fills its walls, halls, rooms and suites with abstract works from its namesake artist, Michael Johnson, offering the closest thing you'll find to sleeping in a gallery. And, for the duration of Curious Affection, the boutique hotel has a stay-and-see deal that includes one night's accommodation and two tickets to the GOMA exhibition. When you're not marvelling at Piccinini's work, you can look through the in-house art library, watch the dedicated in-room art channel, or get a dose of outdoor splendour while you're taking a splash with a view in the 50-metre pool or lazing around on the luxe deck. Patricia Piccinini: Curious Affection exhibits at Brisbane's Gallery of Modern Art until August 5, and includes a film screening series and Friday night art parties throughout June and July. For more information, head to the gallery website. Patricia Piccinini: Curious Affection images: Natasha Harth, QAGOMA.
