Introducing Sketch Chair, a project from London and Lisbon's design studio Diatom. Sketch Chair is a software program allowing anyone and everyone to design their own chairs, regardless of how design-savvy they may be. The program uses a 2-D drawing interface that incorporates a physics engine which automatically tests the stability of a creator's design. Users can even simulate sitting in the chair with a customised virtual version of themselves to guarantee the highest level of comfort. Once a chair design is completed, a cutting pattern for the pieces of the chair is sent to the digital fabrication machine. The parts of the chair are then created and delivered so users can assemble their designs on their own as well. All custom designs come in lightweight but sturdy pieces that are easy to assemble - no glue required. https://youtube.com/watch?v=Q36rJMjM1OU
Need a little more spice in your life around Valentine's Day? Gelato Messina has combined forces with the well-loved Asian sauce brand, Lee Kum Kee, to create two bold new flavours. And for one day only this weekend, it's your chance to score free scoops at this Sydney pop-up. Sure, classic flavours like chocolate, vanilla and strawberry are staples for a reason, but that doesn't mean you shouldn't experiment from time to time. After months of testing, Messina and Lee Kum Kee are ready to release their limited-edition flavours into the wild, celebrating Chinese New Year and the power of sugar and spice. Your first option is caramel and soy sauce gelato with Premium Soy Sauce brownies. As decadent as it sounds, Lee Kum Kee's sauce pairs with Messina's signature dulce de leche to take it to even smoother, richer heights. Next, coconut & kaffir lime gelato with peanut topping and Chiu Chow Chili Oil peanut crisps delivers a tangy and refreshing hit. If you're a spice fan, drizzle a little more of this classic sauce on top. Ready to scoop? Get down to the forecourt outside the Queen Victoria Building from 11.30am–2.30pm on Saturday, February 15 to see what this unexpected collaboration is all about.
Laneway Festival has revealed its full 2026 lineup, marking a milestone 21st anniversary edition of the beloved summer series. Returning next February, the festival will expand its route across Australia and New Zealand, adding three new venues to the circuit. Fans can expect another year of sold-out crowds after the 2025 festival drew over 200,000 attendees across main dates and a further 40,000 at sideshows. "It's incredible to be celebrating 21 years of Laneway. What began as a little street party in a Melbourne laneway has grown into a summer ritual across Australia and New Zealand," festival co-founders Danny Rogers and Jerome Borazio said. "Every year we're blown away by the response from the artists, fans, and community that make Laneway so special — 2026 is about honouring that history while looking to the future." See the full lineup below. View this post on Instagram A post shared by Laneway Festival (@lanewayfest) Laneway 2026 will run from February 5–15, with shows confirmed for Auckland, the Gold Coast, Sydney, Melbourne, Adelaide and Perth. Tickets and more information are available now from the Laneway Festival website.
In 2019, just one Australian bar made it into the World's 50 Best Bars list: Maybe Sammy. This year, not only has the innovative bar in The Rocks made the list again, it has jumped 32 places to number 11 — and it's joined by two more Sydney spots. Laneway mezcal bar — and one of Concrete Playground's favourite openings of 2019 — Cantina OK! came in at number 28, while Bulletin Place, which has made the list many times during its eight-year life, came in 39. If you've been looking for an excuse to spend a night drinking cocktails in the city, this is it. With many Sydneysiders WFH during the pandemic, CBD bars have done it tough, with some venues reporting drops in revenue of 40 percent and more. Now, it's more important than ever to go out and support them (in a COVID-safe way, of course). For those yet to be acquainted with Maybe Sammy, its luxurious styling nods to old-school Vegas glamour, all blush pink velvet banquettes and lush indoor greenery, while the list of theatrical signature drinks pays homage to the classics. Cocktails are served with the likes of scent-filled pillows, hand cream and rosemary bubbles. The latter, comes atop the much-Instagrammed Dunes cocktail, pictured below, which is a delicate balance of gin, fino sherry, watermelon and agave. [caption id="attachment_788842" align="alignnone" width="1920"] Dunes cocktail at Maybe Sammy by DS Oficina[/caption] While Sydney cleaned up in the top 50, only Melbourne venues (from Australia) featured in the 51–100 list, which was announced late last week. Fitzroy bar The Everleigh snagged the 73 spot, while newer CBD haunt Byrdi came in at 80. Petite Collingwood bar Above Board followed not too far behind at number 84 and the long-running Black Pearl — which has scooped a spot in the Top 50 list numerous times throughout the award's 12-year history — was voted in at 98. The annual World's 50 Best Bars awards are voted on by over 540 bar industry experts from around the world, including bartenders, consultants, drinks writers and cocktail specialists. You can check out the full lineup of the World's 50 Best Bars 2020 here, and see 51–100 here. Top image: Cantina OK! by Kimberley Low
It's baaaaack! That celebration of all things punani, foo foo and vagina with one message — love your lady parts. Philip Werner's photographic exhibition 101 Vagina is en route to the TAP Gallery as part of the Sydney Fringe Festival so "get your bits out, they're all fine" (if you watch the promo video that should make more sense). The last incarnation of 101 Vagina back in June at Redfern's 107 Projects was met with a flurry of complaints. Police ordered the floor-to-ceiling windows at the entry to the building covered to protect the eyes of unwitting passers-by, and disappointed vagina lovers responded by heaping on yet more love. Expect an even greater turnout to this iteration of 101 Vagina, which launches with a night of spoken word performance, talks from a #vaginasoit editor and sex educator and therapist Nikki Goldstein, Vaginal Mary Confessional (confess your sins to a living breathing vagina), Vagina Crafternoon and a vagina soap display. Vagina! The exhibition is from Werner's coffee-table book of the same name, which features black-and-white stills of full-frontal vaginas and accompanying messages from the subjects. The show will be up for three days at 107 Projects in a bid to not only celebrate but redirect the plight of the forgotten vagina. Tied up in all kinds of taboos, mandatory porno airbrushing and a dramatic increase in labiaplasty, it sounds like the old girls could use a breath of fresh air. So feel free to giggle, scream or get naked (but don't say it came from me).
The kids are all right: in Future Council, the third feature-length documentary directed by Australian actor-turned-filmmaker Damon Gameau after That Sugar Film and 2040, children are brimming with enthusiasm to act to solve the inescapable problem facing every single person on earth right now. There's no avoiding the fact that the earth is in the midst of an eco-crisis, and that challenges to fix it linger at every turn. The young environmentalists in front of Gameau's lens know this deeply. They're distressed and angry about it. They're also driven to act, to bring about change and to do whatever they can to stop the planet's plight from continuing to worsen. When That Sugar Film became a sensation in 2014 — it's in the top five Australian documentaries of all time at the local box office, and sparked many among its audience to rethink the role of the movie's titular substance in their lives — it did so through a particular approach. Gameau, then best-known as an actor in the likes of The Tracker, Thunderstruck, Love My Way, Razzle Dazzle, Underbelly, Balibo, Patrick, Charlie's Country and Puberty Blues (he also played an Australian backpacker on an episode of How I Met Your Mother), put himself and his eating habits at the centre of the film. Think: Super Size Me, but Aussie and about the sweet stuff. Accordingly, Gameau physically charted the consequences of a high-sugar diet. The viewer response, as the cinema takings show, was phenomenal. Gameau wasn't thinking at the time that he'd discovered the blueprint for his approach as a filmmaker, aka documentaries with both a personal and an activist angle. "Upon reflection, I didn't know it at the time," he tells Concrete Playground. "I certainly just wanted to tell stories and thought that there weren't enough stories that, I guess, could enlighten or educate and inspire people. And so I thought that was the goal of making that. And then obviously seeing the impact that had, even in influencing policy in some countries — that kind of lit the fuse, I guess, of like 'oh, there's something really potent about storytelling'." "So much of our storytelling has been used for distraction and other means, and they're perpetuating values that maybe we don't need in this moment," Gameau continues. "So, how could we tell better stories that actually give people a bit more hope and show that there's a different part of humanity, rather than just conflict and competition and really base values around things — you think of those reality shows. So I just got inspired, I think, to tell more stories and try to encourage other storytellers, artists, whatever, to use their platform to maybe highlight the best of us as opposed to other values." Next on his behind-the-camera filmography — after more on-screen stints in Secrets & Lies, Gallipoli, Miss Fisher's Murder Mysteries, Barracuda and The Kettering Incident — came 2019's 2040. In a film that world-premiered at the Berlin Film Festival, follows in An Inconvenient Truth's footsteps and is in the top ten Aussie docos of all time at the box office, Gameau retained the same documentary style but changed subjects. His topic: climate change and ways to combat it. The personal element came via packaging his plea to the world to act as a letter to his then-four-year-old daughter, then travelling the globe to delve into potential solutions. Again, it was a massive success. Just as That Sugar Film helped put Gameau on the path to 2040, the latter did the same with Future Council. The environment is again the focus and the writer/director appears on-camera once more, but eight kids — Australian Ruby Rodgers, Joseph Wijaya from Bali, Norfolk Islander Hiva Tuki Grube, Karla Albjerg from Uganda, The Netherlands' Joaquin Minana, Clemence "CC" Currie from Scotland, Wales' Skye Neville and Aurvi Jain from Singapore — are the true stars of the show. Each was selected after a callout for children to accompany Gameau across Europe on a biofuel-powered school bus to both examine options for tackling the planet's predicament and speak with the leaders of companies contributing to the issue. The film's name doesn't just apply to their actions in the doco, either, with the kids making the child-led Future Council a real and ongoing organisation that's advocating for genuine action to save the earth. Gameau isn't merely giving voice to the frustration of the next generation about humanity's current handling of the climate crisis, then, but is helping them in their efforts. One result so far, almost a year before the film reached Australian cinemas in general release on Thursday, August 7, 2025 (but after world-premiering at the 2024 Melbourne International Film Festival): Ruby, Joseph, Hiva, Karla, Joaquin, CC, Skye and Aurvi appearing at, screening the feature for and meeting with world leaders at the United Nations General Assembly in September 2024. Their deeds, plus Future Council as an off-screen initiative, are inspiring both fellow children and adults — as also chronicled in a movie that's well aware of adult-washing but never earns that description itself, even while ensuring the film is accessible, and also balancing the seriousness of the environmental situation with a sense of joy, play and empowerment. Future Council, the film, is as much a celebration of unique personalities and children following their passions, too — and proves as heartening in that element as well. With Gameau, we also explored that key aspect of the documentary, his show-don't-tell approach to factual filmmaking in general, the path from 2040 to Future Council and the difficult task of getting CEOs to speak with the movie's eight kids, plus his own journey from when he was starting out as an actor and more. On the Show-Don't-Tell Approach Resonating Across Gameau's Documentaries "I think particularly, in this film, I think it could have failed really, really dramatically if it had felt preachy, if the kids were too precocious or pretentious, if it felt like I was steering them in any way and it was a sort of manipulation. That's a careful dance to do and it does take some crafting. I guess I don't think about it too overtly, but I think I know what I don't want it to be. And I see films where it does feel preachy and I think that's really off-putting, and people don't want that. They're craving authenticity in the current state of the world. They want people to be real. And I think that's what the children bring in spades." On How 2040 Put Gameau on the Path to Making Future Council "I took 2040 around the world and a lot of the releases did school visits, and I did lots of classrooms — and the questions were often better than any adult would ask in the Q&As. The kids really knew their stuff. And I just realised that I've projected my own childhood onto these children sometimes and forgotten that they just have access to so much information now. And the ones that are passionate about sustainability just go super-deep on these subjects — and they can online now. So they often know far more than most adults do. So it really felt like 'well, this is their moment. They deserve a platform. How do we connect them together so they don't feel like their only avenue is to protest on the streets? What if they could actually come together meaningfully, collaborate with organisations, businesses, their schools, and actually actively shape and design their own future?'. And I think we've got the opportunity with our tech now, their knowledge, their awareness, to do that, and so that just felt like a good fit for the Future Council." On Whether Gameau Expected the Huge Response That 2040 Received Around the World "I don't think so. I mean, you probably know it yourself, but I think there's a default in any artist that is self-sabotaging and doesn't think we're much good at anything, really. So it's always a little bit of a surprise when something does well. And I guess I was a bit spoilt with Sugar in that that was just such a bizarre, extraordinary takeoff that I didn't expect. That was always going to be hard to match. So I just, yeah, I was surprised. But I think 2040 came at a time when people were looking for solutions and, strangely, that narrative hadn't been told very much — which was a real surprise to me, that we weren't focusing all the great things that people were doing. And so I can see now why it resonated, but of course, yeah, anytime you make something and put it out in the world, you kind of assume that no one is going see it. And it means something to you, but might not connect. So it's always a lovely bonus when people do support it." On Gameau Not Worrying About Falling Into the Adult-Washing Trap By Making Optimistic and Empowering Environmental Documentaries for All Ages "No, I think it's the very thing we need. I think this whole particular movement has got bogged down in so much graphs and analysis and data that what it needs is humanity. It needs a burst of heart. And there's a great quote by an English academic, Louisa Ziane, and she says that 'if you want to change the world, you've got to throw a better party'. And I think that that's what these children bring. Even though, as you saw in the film, they're really processing deep grief, they still find a way to be children, and to play and have fun and find the best moments in in their life. And I think there's great lessons in that for all of us that, yeah, times are incredibly tough right now — we need to be honest about — but when we are honest about it and we give ourselves a good cry like the kids do, you do free up some space to also find the joy and be grateful for the things that are still happening in our lives. And that's the thing that's going to sustain us. If we all get too bogged down in the way of the world, we're no good to anyone, and I can relate to that. I know the state I get in when I'm too serious. So the children really taught me and inspire me to make sure I stay in my heart, and to make sure I still find the moments of joy and the slices of light among these dark times. They do still exist. There are people doing extraordinary things in the face of this adversity, trying to come up with new solutions right now, find the best and be the best humans they can be. So we need to focus on that just as much as we're focusing on the things we don't want." On Whether the Children Setting Up a Real-Life Future Council Was Always the Aim for the Film "It was always in the back of the mind there was a potential that could happen. But again, I was so careful to not steer this or lead the kids on in any way. And that sort of started to happen midway through the film. That's when the children went 'oh, we can see that we've got something to say here. We can see we're valuable and we are having an impact in these boardrooms — what if we did actually start extending this out?'. So it was an idea we talked about halfway through filming. And then subsequently, we've developed that together. We've run every decision through them — 'okay, from everything from branding, what would this look like? How would you want it to run? What don't you want it to be?'. And so now we have a functioning Future Council entity with a COO and board members, and it's all kicking off. And there's now an invitation to children right around the world — which is what this film will do as we take it around the world, is recruit children that want to sign up and join. And then it'll be child-led. So all the decisions go through the children. But we've got the adults that want to support the children with the more-complex stuff and the logistics and the governance, all those sort of things. But the idea is to really make sure that the children feel like they're making the decisions and it is coming from them. They're not being told by their teachers or someone else. Because they do know their stuff, and they do have a chance to really make change — and let's let them drive it." On How Future Council's Children Are Inspiring Adults "Every screening, something magical happens. Like, someone from somewhere reaches out. Some adult wants to join up some organisation. We've got people who just — one woman just gave every child $10,000 to support their initiatives. They are doing something. There's a magic that they have together, and I think it is that humanity. There's a lot of emotion in the screenings. There's people being very, very — it's sort of unlocking parts of them they haven't confronted for a while. So there's just — I don't know, it's hard to describe. There's a magic that's coming out of the tailpipe of this bus as it cruises around, and I'm just sitting back, watching it all, I'm observing, and I'm incredibly excited by what's forming and the people from right around the world that are coming in to support this. I think it's just one of those stories that's come at the right time. The children are taking this conversation to a deeper level that it needed to go to." On Getting Representatives From Large Corporations to Meet with the Children "Yeah, that was a challenge. And I guess the framing was that we wanted to make sure that we — it wasn't about just telling them they're wrong, that it was an invitation to some of these groups to say 'these kids have some really good ideas, and I think you'd be crazy not to access some of their creativity'. I think the children learned that as it went along, that, as you saw, when we started with Nestle, they did go in with quite an activist bent — and it was a much more aggressive take. Then they reflected on that and thought 'you know what, I don't know that that worked entirely'. So they tried and pivoted to a slightly different approach with ING — and by the time we got to Decathlon, which is the world's biggest sporting goods retailer, they were so collaborative. 'Right, how can we work?'. And that, I think, is when they discovered their superpower, and that's why they then wanted to turn this into something much bigger. So it was a really interesting journey. But as I said, to their credit, these companies did say yes. A lot said no. And it was a very, very difficult challenge to get the children in there, to be honest, and I was very lucky that I had some people that were supportive of my previous work in 2040 and were able to open the doors there. But yeah, full credit to those CEOs that did front up and listen to, as you saw, what were some pretty awkward questions and difficult conversations for them. But they were willing to lean in, not shut the film down, not try to edit or cancel — which they could have done. So in the end, we're grateful for the conversations we were able to have." On How Pivotal It Is for Future Council to Celebrate the Unique Personalities of the Kids in the Film — and to Make Children Feel Included for Whatever It Is That They're Passionate About "I obviously really love these kids and they do have their own uniqueness — and that's what's beautiful about it. And Ruby said it on a Q&A — what she learned was that some people feel like they can't do enough or 'who am I to do anything?' or 'I'm not doing enough?', but we all have our own unique way to contribute to this problem right now. And that's, I think, what the kids brought. Ruby found herself that she didn't think she was of any value, and then realised that her art is the thing that people need. And now she's got a record deal and now she's singing live, and all this stuff is happening because she's expressing her grief through her music Whereas Hiva, for example, is just obsessed with birds. And I've watched him give a TED talk now and bring a whole room to its knees because he channels these birds and tells people how important they are to our ecosystem. So they've all got their different superpower. And then they came together as this incredible force. And I think that's the metaphor, isn't it? That's the great example of what we need to do as humans, as a whole, is that no matter what field we're working in, no matter what area of interest we have or our passions, when we actually come together and reknit that fabric that's been torn apart from us by this system, that we can achieve extraordinary things. And I think that's the best takeaway — and my favourite scene in the film is that last scene where the kids are all coming together, they're all acknowledging what they learned from each other and the best that they see in each other. Whoa — what a what a lesson that is for adults right now and how we're going to fix some of these problems we're facing." On Whether Making Inspiring Documentaries Was Gameau's Aim Back When He Was Starting Out as an Actor "No. God no. No, I was way too self-obsessed back then. That was very much sort of, I guess, trying to forge my own path. 'What am I doing in life?'. I hadn't really understood — I always never felt quite happy. I was lucky enough, obviously, to do a film like The Tracker or Balibo, and those felt very, very rich and deep, and felt really fulfilling. But other than that, I always felt a little bit frustrated and not comfortable. And I was lucky enough, obviously, to work with people like Rolf [de Heer, who directed Gameau on The Tracker and Charlie's Country] and Rob Connolly [Balibo's filmmaker], and they showed me how powerful storytelling can be. And I decided that I wanted to start telling my own stories. I thought I had something to say and I wanted to find the courage to be able to say that. And that took a long time to find that courage. I had a lot self-doubt that so many people do, and I was really my worst enemy in that sense. So it's taken me a long time, and I'm still on that journey of really believing this. But I see it now. I can see the impact of what these stories have done and I'm just so grateful. It's been a magical experience. And this one even more so. I feel like it's less about me, this one — the others were quite focused with me at centre, but this again is a shifting in my own journey, to give a platform to these eight kids and then these other kids around the world. So yeah, it's just I've seen it. I just think storytelling is our most-potent tool for change and it is so underutilised and undervalued. And I think it's the only way we're going to get through. I really want to call out to all artists, whether they're musicians or artists or storytellers, whatever it might be, that this is our moment. This is our time. Terence McKenna had this great quote, he said that 'the role of the artist is to save the soul of mankind and anything else is a dithering while Rome burns. If the artist can't find the way, then the way cannot be found'. And I just think whoa, what a moment right now, given everything we're facing — let's unite as artists and tell a new story." Future Council opened in Australian cinemas on Thursday, August 7, 2025.
Remix masters and synchronised dance machines Metronomy have expanded from a 3 piece to 4 since they graced our shores in January, wowing audiences with their candy-pop meets quirky-dance electro for the Sydney Festival.You may remember late last year their hits Hearbreaker and Thing For Me being a staple at any party or club with off-centre faux-fem vocals over the top of cheesey slap bass bounce. They have a new EP coming out late September entitled Not Made For Love which has new tracks and remixes that we should hear when they are back here for the Parklife festival and a smattering of club shows on the side.Since the departure of lanky bass man Gabriel Stebbing (who will be missed for his campy charismatic style) the lineup has incorporated more live instrumentation (including live drums) and less loops; a more dynamic ship for the falsetto croon and songs of main man Joseph Mount. They were really impressive in January and hopefully with the addition of new members and maybe some new dance moves they will be just as much fun. Opening is Danimals, a side project of one of the members of Sydney band Sherlock’s Daughter and Sleater Brockman.Radio Ladio - 2009 version
Returning to Australia with all the flair of a growling octogenarian swirling a glass of wine in one hand, the brilliantly manic Dylan Moran has announced his brand new comedy tour Off the Hook will be stopping at 12 locations across the country this July to August. The Irish comedian, who won our hearts as the creator and star of Black Books, is celebrated across the globe for his brilliant brand of rambling, brutally sharp stand-up comedy. Though you may hear Moran most frequently described as "curmudgeonly", the charm and intelligence of his manic comedy are hypnotic as he bombards audiences with his thoughts on everything from ageing and politics to kids, love and misery. Moran is coming to Australia straight off the back of a stint touring around the less likely locales of Kiev, Moscow and Kazakhstan — as well as becoming the first Western comic to perform in St Petersburg — with his surly ways winning him acclaim along the way. Bringing an always entrancing stage presence of slurring insights and bizarrely poetic complaints, broken by hysterical cackling and sips of wine, Moran's tour promises you comedy of the highest, most unpredictable kind. DYLAN MORAN'S OFF THE HOOK AUSTRALIAN TOUR Tickets on sale 10 March 10am Friday 10 July Riverside Theatre, Perth, WA Tuesday 14 July Civic Theatre, Newcastle, NSW Saturday 18 July Sydney Theatre, Sydney, NSW Thursday 23 July West Point Entertainment Centre, Hobart, TAS Saturday 25 July Princess Theatre, Launceston, TAS Monday 27 July State Theatre, Melbourne, VIC Tuesday 4 August QPAC Concert Hall, Brisbane, QLD Saturday 8 August Convention Centre, Cairns, QLD Tuesday 11 August Entertainment Centre, Darwin, NT Saturday 15 August Royal Theatre, Canberra, NSW
More than two decades ago, Australian coffee roastery Single O took its first steps right here at home. Soon, the Sydney-based brand will boast more locations to its name in Japan than Down Under. A decade since heading overseas, four years after opening its first international cafe in the country's capital back in 2021 and just a year since its last Tokyo expansion, Single O is launching a new concept in the must-visit city: its first-ever day-to-night venue. Located near Akihabara, the neighbourhood of Kanda Awajicho is your next destination for one of the chain's cuppas in Tokyo — and for cocktails, wine and beers as well. Opening on Thursday, April 24, 2025, this will be Single O's largest venue in the city, as well as its new Japanese flagship. "We're excited to open our newest Single O location in Kanda. We've been in Japan for over ten years now, and it's unreal to be part of specialty coffee's growth here and support a thriving independent cafe scene," said Single O CEO Mike Brabant. "It's a sister to our Surry Hills site in Sydney, seating a community of coffee lovers, locals and travellers alike," he continued. "We're calling it the mothership and we hope people will come in, discover something new and feel at home — whether they're here for our signature Reservoir St flat white, [to] experience the latest single origin on tap from our producer partners around the world or grab an after-work drink." For the new 50-seater venue's look, Single O have gone with a space-age theme. "Mixing futuristic, industrial aesthetics found us celebrating the brand's DNA, Australian roots and celebrating Japan's vibrant culture," advised Stuart Krelle, with Sydney-based design firm Luchetti Krelle behind the aesthetic. The brand's commitment to sustainability remains in place, however, including in the Kanda cafe's recycled plastic countertops, upcycled plywood chairs and reused central communal table. Among the sips, coffee on tap is a feature, of course, with six free-pour options available. The lineup of drinks running through them will rotate between origins, blends and seasonal choices. Or, order something else caffeinated and get the cafe's staff to put the espresso machine to good use. When it comes time to say cheers to a boozy beverage, expect coffee cocktails, naturally. Single O has even whipped up its own piña colada featuring a pineapple and coconut coffee clarification that's created with spent coffee grounds, plus washed coconut rum and soda water. Australian craft beers and wines are also on offer. Yes, the banana bread with espresso butter is on the food menu. So is The Avo Show, aka rye, achiote cashew cheese, pickled fennel, seasoned crumb, chilli oil and sweet lemon aspen. You can also tuck into the Mothership Bowl (made with brown rice, caramelised mushrooms, seasonal vegetables, pickles and a soft boiled egg) and the Yuzu Benny (which features a poached egg, sourdough, smoked salmon, yuzu hollandaise, cucumber, mint, coriander, pickled apple, lemongrass sate, chilli oil, crispy rice and shallot crumb). In another first for Single O, the Kanda outpost also sports its debut range of pastries baked onsite thanks to Head Chef Yoko Kobayashi (an alum of Bills in Australia) and Pastry Chef Johnny Pisanelli. Single O's Kanda location joins its Hamacho spot, plus Ryogoku Roastworks — which initially started as a roastery and tasting bar before its initial Japanese cafe, then moved into bigger digs and added its second space for aficionados to grab a brew — and its Shibuya coffee bar. In Australia, the chain has venues in Surry Hills and at Carriageworks in Sydney, and in Newstead in Brisbane. Find Single O's new Kanda cafe at at 〒101-0063 3F Waterras Tower 101, 2-chome Kanda Awajicho, Chiyoda-ku, Tokyo, from Thursday, April 24, 2025 — open from 8am–9pm weekdays and 9am–6pm on weekends. Head to the brand's website for more details.
Been spending the first few months of 2021 pondering the future? Given how the past year has panned out, that's only natural. But come Wednesday, May 26, you might want to look to the skies as well — and feast your eyes on a luminous lunar sight. For folks located Down Under, this is when you'll see this year's 'blood' supermoon. While super full moons aren't particularly rare — two usually happen each year, and one occurred just last month — there are plenty of reasons to peer upwards this time around. It's the last supermoon of 2021, for starters. It's also a total lunar eclipse. If you're wondering what else you need to know, we've run through the details below. WHAT IS IT? If you're more familiar with The Mighty Boosh's take on the moon than actual lunar terms, here's what you need to know. As we all learned back in November 2016, a supermoon is a new moon or full moon that occurs when the moon reaches the closest point to Earth in its elliptical orbit, making it particularly bright. They're not all that uncommon — and because May 2021's supermoon is a full moon (and not a new moon), it's called a super full moon. It's also a flower moon, too, which doesn't refer to its shape — obviously — but to the time of year. In the northern hemisphere, the May full moon usually arrives as spring wildflowers are blooming. Of course, it's currently autumn in the southern hemisphere, but the name still sticks. This May's supermoon also happens to coincide with a total lunar eclipse, which is why it's also called a blood moon. When the astronomical body passes directly into the earth's actual shadow, it turns a blood-red shade thanks to sunlight that's filtered and refracted by the earth's atmosphere. WHEN CAN I SEE IT? If you're keen to catch a glimpse — and you didn't nab a ticket for Qantas' flight above Sydney just for the occasion — you'll want to peek outside on Wednesday, May 26. In the New South Wales capital, and in Melbourne and Brisbane, the lunar eclipse is due to begin at 6.47pm, reach its maximum at 9.18pm and end at 11.49pm, according to Timeanddate.com. In Adelaide, all of those times move forward half an hour — so it'll begin at 6.17pm, reach its maximum at 8.48pm and end at 11.19pm. And in Perth, it'll start at 5.16pm, reach its maximum at 7.18pm and end at 9.49pm. You'll want to have your cameras at the ready, of course — and see if you can outdo previous big batches of supermoon snaps and super blue blood moon pics. WHERE CAN I SEE IT? According to NASA, folks in the Pacific Rim will be best placed to see the supermoon total eclipse — which includes in Australia. Naturally, you'll be hoping for clear skies that evening. You can take a gander from your backyard or balcony, but the standard advice regarding looking into the night sky always applies. So, city-dwellers will want to get as far away from light pollution as possible to get the absolute best view. If you can't get a clear vantage, The Virtual Telescope Project will be live-streaming from the skyline above Rome from 5am AEST. And Timeanddate.com will be hosting its own livestream, too, starting at 7.30pm AEST. The 'blood' supermoon and total lunar eclipse will take place from 6.47pm AEST on Wednesday, May 26. For further information, including about timing, head to either NASA or Timeanddate.com.
Driftwood Cafe & Homeware is a bright and bustling place to start your day in Narrabeen on Sydney's northern beaches. The all day breakfast menu has got something for everyone. Try the surfer's brekkie with sausage, bacon, scrambled eggs and toast, the mushroom and feta omelette, or the corn fritters with avocado and chilli. There's also fresh juices and smoothie bowls — our pick is the tropical sunrise with mango, banana, strawberries and chia. If you're heading out for a picnic, you can order a grazing platters to-go that comes with bread, dips, cheese, fresh fruit and more. Inside, the décor is warm and colourful and the staff are welcoming. Visit Driftwood for breakfast after a morning walk or before going to the local markets. Images: Mel Koutchavlis
It won six Oscars, was nominated for four more, and made a mint at the box office — and now Mad Max: Fury Road has been named the best Australian movie of the 21st century so far by the country's film critics. George Miller's high-octane post-apocalyptic effort — the fourth in his Mad Max franchise, which came 30 years after the series' third instalment — was picked as the top recent local effort in the biggest survey of Aussie critics ever conducted. And it's in great company, with the top 25 spanning plenty of highlights from the industry's last 18 years. Crime drama Animal Kingdom nabbed second place, while Samson & Delilah, Chopper and Lantana rounded out the top five — and everything from The Babadook to Sweet Country to Snowtown also ranked highly. It's a list big on drama, though musical Moulin Rouge! was 11th, comedies The Dish and Kenny came in at 16th and 20th respectively, documentary Sherpa took 21st position and the animated effort Mary and Max secured 22nd spot. The survey was conducted by Australian film website Flicks.com.au, with 51 critics — 26 male, 25 female — taking part. David Stratton and Margaret Pomeranz were among the participants, unsurprisingly, with other critics hailing from a wide range of major news outlets, trade publications, magazines, commercial and community radio, websites, podcasts, TV and blogs. Disclaimer: Sarah Ward participated in Flicks.com.au's Australian film poll, and contributes to the site. She is also one of Concrete Playground's senior film writers and weekend editor.
Start planning your costumes: when Halloween hits in 2024, Sydney will welcome a brand-new festival celebrating the horror-themed occasion that'll be filled with spooky treats. Scary movies? Tick. A haunted house? Tick again. A murder-mystery party? Keep ticking. A zombie disco? That earns a big tick, too. Ghost in The Rocks Festival will debut on the absolute right day for it, Thursday, October 31, 2024, then run across four days until Sunday, November 3. The full program won't drop until September, but the idea is to turn The Rocks into a feast of frights and fright-inspired fun, including via tentacles taking over buildings, lights flickering around the place and creatures of the night — well, people dressed up, clearly — roaming the streets. The event is the brainchild of the team behind Mov'in Cinemas, Sydney's Bastille Festival and Canberra's Xmas in July Festival, which knows a thing or two about sprawling fests, theming around a beloved date on the calendar and adding a big-screen component. The plan: not just to put on the festival as a once-off, but to make it an annual happening. For now, until more details arrive, get excited about the fact that the House of Horror won't just be about eeriness, but will also be a party spot. Also, the Ghost Cinema will be dedicated to horror movies and thrillers, and feature an atmosphere to match; the Murder Bar will get you sleuthing; and the Zombie Disco will be where you make shapes. [caption id="attachment_937709" align="alignnone" width="1920"] Mov'In Bed Cinema[/caption] There'll be a parade as well, where costumed characters and Halloween floats take to the streets. Some aspects will be free, such as the disco, parade and entry to the bar. Others will be ticketed, like the haunted house and the cinema. There's no word yet on trick-or-treating, themed food and drink options, and if venues around The Rocks will also be getting into spirit of the occasion — but cross your fingers and broomsticks that all of the above is part of Ghost in The Rocks Festival, too. Ghost in The Rocks Festival will run from Thursday, October 31–Sunday, November 3, 2024 around The Rocks, Sydney, with the full program revealed in September. Head to the event's website for further details in the interim. Top image: BBR Group.
Though the Art Gallery of New South Wales was established in 1871, its international contemporary art collection started 50 years ago — and it really took off in the 1980s. Art Gallery of NSW director Michael Brand wanted the new exhibition, Some Mysterious Process: 50 Years of Collecting International Art, to honour the work of those curators, directors, benefactors and donors who've helped build the collection across the last five decades to what it is today. The exhibition is the result of two years of contemplating how the Gallery's international contemporary art collection came about, and the decisions that were made along the way. Split across four rooms, Some Mysterious Process charts key moments in the Gallery's acquisitions, including purchases of artworks by well known artists like Anish Kapoor, Tracey Emin, Michael Armitage, Andy Warhol and Roy Lichtenstein. But also of perhaps lesser-known artists such as Nona Garcia and Lubna Chowdhary. The title of the exhibition refers to a musing on the act of making art by American artist Philip Guston. But Brand says it's as much about the mystery of curation, too. "How public collections come together is a totally mysterious process," he says. "Local history, local interest, local taste, local wealth, or lack of wealth — all those factors come into play." We spoke with Brand about the artworks that prompted the most interesting insights into how and why they were acquired, and what's next for the Gallery's future acquisitions as it looks to the Sydney Modern Project (set to open in late 2022). Read on to discover more. [caption id="attachment_774794" align="alignnone" width="1920"] Yinka Shonibare 'Alien toy painting' (2011), Art Gallery of New South Wales, Tony Gilbert Bequest Fund 2012 © Yinka Shonibare, MBE[/caption] AFTER THE PANDEMIC: SEEING ART WITH NEW EYES Though Some Mysterious Process had been ready to install in March 2020, the Gallery was forced to close its doors due to the COVID-19 lockdown. Nothing much changed within the exhibition itself, but as the Gallery geared up to welcome back visitors in June 2020, Michael Brand noticed that living through a pandemic did affect how he experienced some of the artworks. In particular, British-Nigerian artist Yinka Shonibare's 'Alien toy painting' (2011). The giant wall installation features printed cotton fabric manufactured in Dutch colonial mills in Indonesia, sold in West Africa. "I'd always thought about that work — which is about invasion, and movement of people and ideas, and trade, and colonisation — and that it had this viral overlay," says Brand. "But I never realised quite how pertinent it would be when we opened the exhibition." Likewise with Richard Hamilton's 'Kent State' (1970) — "one of the first international works acquired in the 1970s". One of the weeks during installation coincided with the 50th anniversary of the Kent State shootings (May 4, 2020). "It's the first work in the exhibition. We're trying to highlight that 1970 was a moment of incredible political action, worry and anxiety." And it's easy to draw parallels with today's protests and ongoing uncertainty. [caption id="attachment_774738" align="alignnone" width="1920"] 'Some Mysterious Process: 50 Years of Collecting International Art' featuring: Louise Bourgeois's 'Arched figure' (1993, cast 2010) and Philip Guston's 'East Tenth' (1977). Photo by AGNSW, Diana Panuccio[/caption] HOW THE GALLERY'S ART FUND CHANGED ITS COLLECTING POWER Some Mysterious Process charts both when the artworks were made, but also when they were acquired by the Gallery. "So even though the exhibition starts in 1970, collecting at the gallery doesn't start taking off in a really significant way until, say, 1983, when the Foundation is established," says Brand. "Which was created to bring money in for major acquisitions." At the centre of the exhibition is a large space filled with masterpieces acquired with funds raised by the Foundation." The Art Gallery of NSW Foundation is the Gallery's major acquisition fund, and, thanks to the fund, the Gallery was able to make some significant purchases of international art. 'Arched figure' (1993) by Louise Bourgeois, was purchased 23 years after it was created by the artist. "What an amazingly important artist, but a woman artist that hadn't been bought earlier by us," says Brand, who made the decision not to correct the gender inequality of the Gallery's early acquisitions in the exhibition. In the same space, you'll see Philip Guston's 'East Tenth' (1977) — the artist's musings on art-making inspired the name of the exhibition. Acquired in 1988, it was the fourth work to be purchased with funds raised by the Foundation. [caption id="attachment_775760" align="alignnone" width="1920"] Gordon Walters 'Painting no. 1' (1966), Art Gallery of New South Wales, purchased 1968 © Estate of Gordon Walters[/caption] EARLY ACQUISITIONS: PLEASANT SURPRISES When Brand started digging through the archives, he was pleased to discover two smart choices made in the early days of the Gallery's collecting. "There were a couple of early acquisitions which were fantastic," says Brand. "In 1968, a painting by the Maori-New Zealand artist Gordon Walters is a terrific painting which I think most people don't realise we have — that was a really smart move. "Then, in 1976, a painting by Bridget Riley, an English artist, was bought in the same year it was painted. It was a pleasant surprise to see that they were buying a totally contemporary work by a woman artist at the time — they could have bought a few more — but that's how collections develop. They develop against history, with history, with different personalities involved... and what you hope to show after 50 years of collecting is that it adds up to a really good collection." [caption id="attachment_774796" align="alignnone" width="1920"] Zhang Xiaogang 'The boy who sticks out his tongue' (2001), Art Gallery of New South Wales, purchased 2002 © Zhang Xiaogang[/caption] BRINGING DIVERSITY INTO THE COLLECTION The director admits the Gallery could have taken steps earlier to balance its art collection in terms of gender, nationality and overall diversity. Pinpointing the shift towards broadening the Gallery's collection can be seen in the Universal ideas section of the exhibition. "Certainly there were major shifts and major bold steps taken well before my time here," says Brand. He notes the influence of former curator of international art Anthony Bond, for example. But what you can see in the Universal ideas room is a shift in how the Gallery started to collect artworks. "In that room, there are quite a few women artists, which is great to see. Miriam Schapiro — her work 'Black bolero', partly embroidered and appliqué, made in 1980, was in the fourth Biennale of Sydney 1982. That was a really good step. And I think it was quite expensive at the time, too. In 2001, in that same room, there's a painting by [Chinese artist] Zhang Xiaogang, who was becoming very important. It certainly signals a turning towards [buying] contemporary art from Asia," he says. [caption id="attachment_775754" align="alignnone" width="1920"] Lubna Chowdhary 'Certain times IV' (2019), Art Gallery of New South Wales, Mollie Douglas Bequest Fund 2019 © Lubna Chowdhary[/caption] BUYING NOT ONLY THE BIG NAMES, BUT ALSO THE UNDERREPRESENTED One of the other big decisions made by those in charge of the international art collection is whether to use funds to buy well known artists, to build a collection based on personal preference, to seek unknown artists, or to respond to a cultural movement. "There's so much fantastic art out there if you look widely and if you don't always buy just the big names," says Brand. "For example, buying ceramics by Lubna Chowdhary — who I have to say I had not known about until I saw her work at Art Basel Hong Kong. [Head of international art] Justin Paton and I compared notes and we reserved them immediately. You've got to get a great curatorial team together, and to encourage everyone to have an open mind, and I hope that last room shows that — while also showing that we have amazing philanthropic support, because without that we couldn't be adventurous. We couldn't do anything, actually." [caption id="attachment_775756" align="alignnone" width="1920"] Tracey Emin 'I do not expect' (2002), Art Gallery of New South Wales, gift of Geoff Ainsworth AM 2018. Donated through the Australian Government's Cultural Gifts Program © Tracey Emin[/caption] HAVING OPEN-MINDED PHILANTHROPIC SUPPORT Which is a really important point. Without private financial support, the Art Gallery of New South Wales wouldn't have an international art collection. "We've been very blessed here at the Art Gallery of New South Wales; our philanthropic supporters have been very constructive and respectful of that relationship between the benefactor and the public art museum curator and director, and we work really well together," says Brand. "Perhaps the best example is Geoff Ainsworth, who was a trustee until the end of 2018." Ainsworth also chaired the Gallery's acquisitions committee and he was involved in the acquisition of nine works in the exhibition. "Which is pretty remarkable in a show of 70-75 works." Brand says he's a perfect example of that philanthropic support that means the Gallery can continue to collect works like these in the future. "He's incredibly generous, very modest, and all about working with the curator and the director where we think he can help us the most." 'Some Mysterious Process: 50 Years of Collecting International Art' runs until September 13, 2020 at the Art Gallery of New South Wales. It's free to attend. Top images: Installation views from 'Some Mysterious Process: 50 Years of Collecting International Art' exhibition at the Art Gallery of NSW. All photography: AGNSW, Diana Panuccio.
Winter might be long, but it has its advantages — from beers by the fireside to dog sledding and snowshoeing. Then there are the whales. Between May and October, thousands of the mighty beasts swim north from the Antarctic to warmer waters to have babies. And, if you're anywhere on the Australian East Coast, you're likely to see them. But if you're on Phillip Island, you'll get even better views. To celebrate this fact, the island hosts an annual whale festival. For three happy days from Friday, July 11–Sunday, July 13, you can escape the city to gaze at humpbacks while soaking up films, talks, art and live music. This year, the heart of the event is the Festival Hub, where you can go on a scavenger hunt through interactive installations, explore underwater via virtual reality, hear from whale researchers, and immerse yourself in the sights and sounds of a marine world. Beyond the hub, there'll be a pop-up art show at Clay & Co Studio, a creative arts station at Phillip Island Gallery (from where you can set off on an artists' trail), the 2025 Ocean Film Festival at Berninneit Theatre and, of course, plenty of chances to go whale watching — on land and at sea. Images: Island Whales
There are lots of ways you can throw your support behind native wildlife conservation, but there's no doubt which one is the tastiest. That would be the new Koala Choc Caramel ice cream the team at Paddle Pop has created in collaboration with wildlife rescue organisation WIRES. Hitting shelves today, Monday, September 7, the koala-shaped frozen treat marks the start of an ongoing partnership between the two groups, which aims to help raise awareness for koala conservation projects across the country. The themed ice cream features a blend of chocolate and caramel, made with all-Aussie dairy products. It's debuting at convenience and petrol stores from this week, scheduled to hit Coles and IGA stores later this month. If you're in NSW, you can pick one up from Sydney Zoo, which, throughout September and October, is also donating ten percent of all Koala Paddle Pop sales to WIRES. It's fitting timing for both the ice cream launch and the announcement of the new joint venture, as Australia today celebrates National Threatened Species Day. Paddle Pop's two-year partnership with WIRES also launches at an important time, with a report released by the NSW government estimating that 5000 koalas — a third of the state's population — were wiped up by last summer's devastating bushfires. The Streets ice cream brand will help support three of WIRES' key initiatives, including the Water Drinkers Project — which aims to install 800 animal water drinkers in drought- and bushfire-impacted areas — and the Koala Rehabilitation Facilities program, planning new facilities to help a variety of native species. It'll also support the Koala Health Hub at the University of Sydney, backing its research, management and education efforts. Find the new Koala Choc Caramel Paddle Pop at convenience and petrol stores, as well as at Sydney Zoo, from September 7. It'll hit shelves at your local Coles and IGA stores later this month.
Take a historical figure, but someone from several centuries back who isn't a worldwide household name. Use them as the basis for a new comedy series which doesn't promise to stick to the facts for a second. And, enlist famous hilarity-inspiring folks to tell the tale. The above description sums up Our Flag Means Death, which has sadly departed the streaming seas after being cancelled following a two-season run. It also fits Apple TV+'s upcoming six-part effort The Completely Made-Up Adventures of Dick Turpin, with The Mighty Boosh's Noel Fielding in the titular role. Where Our Flag Means Death's Stede Bonnet was an 18th-century pirate, The Completely Made-Up Adventures of Dick Turpin's namesake stuck to land in the same era as a highwayman. You can look up how his story turned out, or you can see how the series gives it the comic treatment from Friday, March 1, as it follows Turpin and his gang of fellow outlaws. As the just-dropped trailer demonstrates, working in plenty of dick jokes — well, it is the show's main character's moniker — is high on The Completely Made-Up Adventures of Dick Turpin's agenda. So is Fielding in his usual comic mode, as seen on The Great British Bake Off and Never Mind the Buzzcocks as well. Turpin's quest: to evade the corrupt Jonathan Wilde (Hugh Bonneville, Downton Abbey: A New Era), who fancies himself as a thief-taker, and just generally stay alive. And if you're wondering what kind of antics are in store, Fielding is also one of the series' writers, so anything could happen. Wild costume changes are a given. So is Fielding playing charming but chaotic. "I know what you're thinking: who is this guy with the incredible cheek bones? Where does he get his hair done? One day, I'll be the most-famous highway man in all of England," Turpin tells a crowd to start of the show's sneak peek — only for it to be revealed that he's standing on a gallows, about to be hanged. Joining Fielding in the cast: Ellie White (Wonka), Marc Wootton (High & Dry), Duayne Boachie (You Don't Know Me), Tamsin Greig (Sexy Beast), Asim Chaudhry (Barbie), Dolly Wells (The Outlaws) and Joe Wilkinson (Sex Education) — and also Noel's brother Michael (also The Mighty Boosh) and his Never Mind the Buzzcocks host Greg Davies (The Cleaner). Check out the trailer for The Completely Made-Up Adventures of Dick Turpin below: The Completely Made-Up Adventures of Dick Turpin streams via Apple TV+ from Friday, March 1, 2024.
Stare at The False Mirror at Magritte, one of the Art Gallery of New South Wales' just-announced big summer exhibitions, and the masterpiece of a painting from 1929 will peer right back. One of Belgian surrealist René Magritte's most-famous creations, the piece features a giant eye looking at the viewer, while also filled with a cloudy blue sky. It's an unforgettable work, and it's one of the stars of the 2024–25 Sydney International Art Series. Another striking painting that's hitting the Harbour City from Saturday, October 26, 2024–Sunday, February 9, 2025: Golconda, Magritte's 1953 work that brings two other pieces of popular culture to mind. Just try not to think about Mary Poppins and The Weather Girls' song 'It's Raining Men' while you feast your eyes on the sight of bowler hat-wearing men streaming down from the heavens. [caption id="attachment_959955" align="alignnone" width="1920"] René Magritte 'Golconda (Golconde)' 1953, oil on canvas, 80 x 100.3 cm, The Menil Collection, Houston, V 414 © Copyright Agency, Sydney 2024, photo: Paul Hester.[/caption] At Magritte, which is exclusive to Sydney, The False Mirror, Golconda and 1952's The Listening Room (La Chambre d'Écoute) — which shows an oversized apple — will have ample company at AGNSW's south building Naala Nura. In total, 100-plus works are set to display. This will not only be a huge retrospective dedicated to the artist, but also Australia's first retrospective dedicated to the artist. More than 80 of the pieces will be paintings, demonstrating why he's considered one of the most-influential figures in 20th-century surrealism; however, archival materials, photographs and films will also feature. Sydney International Art Series isn't just about one major exclusive showcase, of course. From Saturday, November 30, 2024–Sunday, April 13, 2025, AGNSW will also host Cao Fei: My City. Over at the Museum of Contemporary Art Australia from Friday, November 29, 2024–Sunday, April 27, 2025, Julie Mehretu will be on display as well. [caption id="attachment_959956" align="alignnone" width="1920"] René Magritte 'The listening room (La chambre d'écoute)' 1952, oil on canvas, 45.2 x 55.2 cm, The Menil Collection, Houston, gift of Fariha Friedrich, 1991-53 DJ © Copyright Agency, Sydney 2024, photo: Adam Baker.[/caption] Cao Fei: My City is also an Australian-first retrospective and the largest showcase of its namesake's pieces Down Under, putting the Guangzhou-born, Beijing-based artist in the spotlight. Expect cyber futurism to grace AGNSW's walls in a 1300-square-metre space in Naala Badu, the gallery's south building, as part of an exhibition designed by Cao Fei with Hong Kong's Beau Architects. Your entry point: a replica of a Beijing cinema from the 60s. And your exit point isn't a gift shop, but a Sydney yum cha restaurant. As for Julie Mehretu, it will be the southern hemisphere's first major survey of the Ethiopia-born, New York-raised artist's output, spanning over 80 paintings and works. Some will date back as far as 1995. Others have been created just for the exhibition. Mehretu herself will also be in Sydney for the showcase's opening. [caption id="attachment_959957" align="alignnone" width="1920"] Cao Fei 'Nova' 2019, single-channel HD video, colour, 5.1 sound, 97:13 min, 2.35:1 © Cao Fei, Vitamin Creative. Courtesy Sprüth Magers.[/caption] "Magritte and Cao Fei are giants of their respective times and leading figures in both the modern and contemporary art worlds. Magritte will consider the Belgian artist's groundbreaking contribution to surrealism in an exhibition that highlights the uniqueness and independence of his artistic vision. This Art Gallery-exclusive exhibition will give Australian audiences the chance to experience Magritte's practice in deeper and more profound ways than ever before, providing a real glimpse into the evolution of his practice," said Art Gallery of New South Wales Director Michael Brand. "Naala Badu, our new SANAA-designed building, allows us to stage inventive kinds of exhibitions as never before, and the imaginative format of Cao Fei: My City is Yours befits the playfulness of one of the world's most prominent and innovative living artists. This exhibition builds upon the Art Gallery's proud history of staging exhibitions of Chinese art since the 1940s, and with this show we celebrate the pioneering creativity of this globally acclaimed artist, as well as the boundless possibilities that art offers for deeper understanding and connection. With both Cao Fei and Magritte on show this summer, we have an unmissable offering for visitors to Sydney and local art lovers alike," Brand continued. [caption id="attachment_959961" align="alignnone" width="1920"] TRANSpaintings (green ecstatic), 2023–24, courtesy the artist and Marian Goodman Gallery; TRANSpaintings (emergence), 2023–24, courtesy the artist and Marian Goodman Gallery; TRANSpaintings (recurrence), 2023, Pinault Collection; TRANSpaintings (skull), 2023, courtesy the artist and White Cube; TRANSpaintings (mask), 2023, courtesy the artist and White Cube; Your Eyes are two blind eagles, That Kill what they can't see, 2022–23, private collection. Installation view, Julie Mehretu. Ensemble, 2024, Palazzo Grassi, Venezia. Ph. Marco Cappelletti © Palazzo Grassi, Pinault Collection.[/caption] "The Museum of Contemporary Art Australia is delighted to be presenting to audiences in Australia this remarkable exhibition by an artist who is undoubtedly one of today's most exciting living painters, and whose dynamic language of abstraction speaks so powerfully to the contemporary world in which we live," added MCA Australia Director Suzanne Cotter about the Julie Mehretu exhibition. "The experience of Mehretu's paintings is nothing short of a visual and physical event. We are proud to present this year's Sydney International Art Series with Julie Mehretu to build upon the MCA's history of introducing to the public in Australia the work of today's most influential artists." [caption id="attachment_959954" align="alignnone" width="1920"] René Magritte 'The false mirror (Le faux miroir)' 1929, oil on canvas, 54 x 80.9 cm, Museum of Modern Art, New York, 133.1936 © Copyright Agency, Sydney 2024, photo © The Museum of Modern Art, New York/Scala, Florence 2024.[/caption] Sydney International Art Series 2024–25: Saturday, October 26, 2024–Sunday, February 9, 2025 — Magritte, Art Gallery of NSW Friday, November 29, 2024–Sunday, April 27, 2025 — Julie Mehretu, Museum of Contemporary Art Australia Saturday, November 30, 2024–Sunday, April 13, 2025 — Cao Fei: My City, Art Gallery of NSW [caption id="attachment_959963" align="alignnone" width="1920"] Cao Fei 'Nova' 2019, single-channel HD video, colour, 5.1 sound, 97:13 min, 2.35:1 © Cao Fei, Vitamin Creative. Courtesy Sprüth Magers.[/caption] Sydney International Art Series 2024–25 runs from October 2024 — head to the AGNSW and MCA websites for further details. Top image: excerpt of René Magritte 'The false mirror (Le faux miroir)' 1929, oil on canvas, 54 x 80.9 cm, Museum of Modern Art, New York, 133.1936 © Copyright Agency, Sydney 2024, photo © The Museum of Modern Art, New York/Scala, Florence 2024.
The Art Gallery of New South Wales has reopened its 20th-century gallery with revitalised displays and a commitment to championing works by female artists, Aboriginal artists and works hailing from Asia and the Pacific. The gallery space has been given a major refurbishment and is now open, showcasing an array of significant works from local and international artists. Situated in the 1972 wing of AGNSW, the space has been refreshed in order to facilitate these fan-favourite artworks while revealing the gallery's original heritage architecture. The refurbishments include the reopening of the internal balconies that overlook the eight-meter-high atrium. At the core of this new gallery is the idea that Australian artists play a significant role on the world cultural stage and should be appreciated in the context of the global artistic movements. [caption id="attachment_867009" align="alignnone" width="1920"] Installation view of the 20th - century galleries at the Art Gallery of New South Wales, featuring (left to right): Frank Stella Khurasan Gate variation II 1970, Sydney Ball Transoxiana 9 1968 and James Doolin Artificial landscape 6 1969, photo © Art Gallery of New South Wales, Christopher Snee[/caption] "In a shift from traditional museum practice, we are showing Australian artists alongside international artists," AGNSW director Michael Brand said. "Such a display allows us to not only explore the connections between local artists and global art movements, it asserts that Australian artists have always been international artists, and that many international artists continue to work in Australia in many different ways." Gallery highlights include a radical bark painting by Noŋgirrŋa Marawili, a seminal painting by Papunya artist Kaapa Tjampitjinpa, Martin Creed's immersive Work no. 2821 installation made of hundreds of yellow balloons and the historic moving image work The story of the Kelly Gang. Visitors will catch works from local favourites Brett Whiteley and Grace Cossington-Smith alongside international names like Francis Bacon and Pierre Bonnard. The gallery is now open seven days a week across two levels of the Art Gallery of NSW. The ground floor displays works from the first half of the 20th century, while the second level is prominently dedicated to works from the 1960s onwards. This newly revealed space forms part of the wider Sydney Modern Project transformation, which will open to the public on 3 December. [caption id="attachment_867010" align="alignnone" width="1920"] Martin Creed Work no 2821 2017, yellow 11-inch balloons, installation dimensions variable, Art Gallery of New South Wales, purchased with funds provided by the Mollie and Jim Gowing Bequest and Atelier 2017 © Martin Creed[/caption] The Art Gallery of NSW is located at Art Gallery Road, The Domain, Sydney and is open daily 10am–5pm, with extended opening hours until 10pm on Wednesdays. Top image: Installation view of the 20th-century galleries at the Art Gallery of New South Wales, photo ©Art Gallery of New South Wales, Christopher Snee
Another one down: in a year that keeps bringing bad news for music lovers and festivalgoers, Spilt Milk has joined the long list of events that aren't going ahead in 2024. In 2023, the touring event announced its lineup in July. As the month draws to a close this year, it has revealed that there'll be no Spilt Milk again until 2025 rolls around. The festival advised of its 2024 cancellation via social media, in a brief and informal post on Friday, July 26. "Sorry pookies, we couldn't get you the Spilt Milk you deserve this year," the announcement begins. "Sooo imma dip for a bit and come back when I can make all ur dreams come true. i miss u xx," it continues. View this post on Instagram A post shared by Spilt Milk (@spiltmilk_au) Last year, Post Malone, Dom Dolla, Latto, Tkay Maidza and Aitch led the Spilt Milk lineup, hitting up a fest that plays Canberra, Gold Coast, Ballarat and Perth. Talent details hadn't yet been advised for this year, unlike two other big festivals that also haven't taken place as normal. Both Groovin the Moo and Splendour in the Grass dropped lineups, then scrapped this year's fests mere weeks later. Australia's music festival scene has been suffering of late, with Summergrounds Music Festival, which was meant to debut at Sydney Festival 2024, also ditching its plans. As announced in 2023, Dark Mofo took a breather this year — and Mona Foma, the summer fest also held by Tasmania's Museum of Old and New Art, advised that its 2024 event was its last ever. Yours and Owls has postponed its next fest until 2025, too, but is hosting a pre-party in October this year. [caption id="attachment_851187" align="alignnone" width="1920"] Jordan Munns[/caption] Originally only popping up in Canberra, then expanding to Ballarat, then the Gold Coast and finally also to Perth, multi-city one-dayer Spilt Milk had cemented its spot as a must-attend event on the annual Aussie calendar, including for its lineups — and for its food offering as well, which spanned bites to eat from Chebbo's Burgers, 400 Gradi, Chicken Treat, and the BBQ and Beer Roadshow in 2023. Flume, Stormzy and The Wombats were named as headliners in 2022 — the first Spilt Milk since the pandemic began — although Stormzy subsequently dropped out and cancelled his Australian tour. Khalid and Chvrches topped the bill in 2019, and Childish Gambino did the honours in 2018. [caption id="attachment_851188" align="alignnone" width="1920"] Jordan Munns[/caption] [caption id="attachment_674160" align="alignnone" width="1920"] Cole Bennetts[/caption] [caption id="attachment_674158" align="alignnone" width="1920"] Pat Stevenson[/caption] Spilt Milk isn't taking place in 2024, and instead plans to return to Canberra, Ballarat, the Gold Coast and Perth in 2025. Head to the festival website for more information. Top image: Billy Zammit.
Tenth Muse has made a name for itself as the go-to specialty food store on Percival Rd, Stanmore. It dedicates itself to supplying quality ingredients and harder-to-find foods that inspire home cooking and entertaining. Just like any good specialty food shop, Tenth Muse offers an extensive range of pantry staples along with international cheeses, locals meats and other gourmet refrigerated provisions. On its website, Tenth Muse also has a large array of recipes and articles, as well as an online shop with a section of products stocked in its brick-and-mortar shop.
A drug kingpin disappearing into a new life, clashing cousins, voting popes, a veteran actor trying to reclaim her career with the help of a mysterious liquid, Adrien Brody surviving history's horrors again, fierce tennis competitors: films about all of the above have earned Golden Globes in 2025. Stressed-out chefs, stand-up comedy greats, Japanese warriors, Gotham villains, determined detectives: TV shows about them are all also in the same category. And, they each have a heap of company. Held on Monday, January 6 Australian and New Zealand time, this year's Golden Globes ceremony started with host Nikki Glaser cracking gags about everything from Dune: Part Two's running time to Nicole Kidman making awards-nominated work to get away from Keith Urban's strumming and Adam Sandler pronouncing Timothée Chalamet's name. It then threw in excited shouts and enthusiastic speeches aplenty among the winners. Picking up the first award of the night — but not the only award for Emilia Pérez — Zoe Saldaña (Special Ops: Lioness) delivered both alone. Other highlights from the hijinks: Catherine O'Hara (The Wild Robot) and Seth Rogen (Mufasa: The Lion King), co-stars in upcoming streaming series The Studio, making up a whole lot of accolades for fake Canadian projects; The White Lotus favourite Jennifer Coolidge being Jennifer Coolidge; Emilia Pérez songwriter Camille calling the whole shebang "such an American experience"; and Vin Diesel (Fast X) starting his presenting stint with "hey Dwayne". And more standouts among the awards: gorgeous Latvian independent animation Flow taking out its category, in the first time that a movie from the nation has been at the Golden Globes; Kieran Culkin winning the supporting actor Succession battle for A Real Pain over Jeremy Strong for The Apprentice; Shogun's well-deserved swag of gongs; Demi Moore's touching sentiments about believing in your own value; A Different Man winner Sebastian Stan demanding that tough films still get made; and also Feranda Torres emerging victorious for I'm Still Here over Nicole Kidman (Babygirl), Pamela Anderson (The Last Showgirl), Angelina Jolie (Maria), Tilda Swinton (The Room Next Door) and Kate Winslet (Lee). Not every ace nominee could snag a statuette, of course. Not every worthy movie and TV series even made the roster of contenders. They're truths that everyone should remember at every awards ceremony. Still, the rundown of newly minted 2025 Golden Globe winners spans an array of deserving folks and projects — and comes in less than a fortnight before the Oscars joins in, announcing its nominees on Saturday, January 17 Down Under time. Will the Academy Awards follow in these footsteps? And the Emmys later in the year, too? What else received some love? Here's the full list of 2025's Golden Globe winners and nominees (and you can also check out our rundown of victorious films and TV shows to watch right now): 2025 Golden Globe Winners and Nominees Best Motion Picture — Drama The Brutalist — WINNER A Complete Unknown Conclave Dune: Part Two Nickel Boys September 5 Best Motion Picture — Musical or Comedy Anora Challengers Emilia Pérez — WINNER A Real Pain The Substance Wicked Best Motion Picture — Animated Flow — WINNER Inside Out 2 Memoir of a Snail Moana 2 Wallace & Gromit: Vengeance Most Fowl The Wild Robot Cinematic and Box Office Achievement Alien: Romulus Beetlejuice Beetlejuice Deadpool & Wolverine Gladiator II Inside Out 2 Twisters Wicked — WINNER The Wild Robot Best Motion Picture — Non-English Language All We Imagine as Light Emilia Pérez — WINNER The Girl with the Needle I'm Still Here The Seed of the Sacred Fig Vermiglio Best Performance by a Female Actor in a Motion Picture — Drama Pamela Anderson, The Last Showgirl Angelina Jolie, Maria Nicole Kidman, Babygirl Tilda Swinton, The Room Next Door Fernanda Torres, I'm Still Here — WINNER Kate Winslet, Lee Best Performance by a Male Actor in a Motion Picture — Drama Adrien Brody, The Brutalist — WINNER Timothée Chalamet, A Complete Unknown Daniel Craig, Queer Colman Domingo, Sing Sing Ralph Fiennes, Conclave Sebastian Stan, The Apprentice Best Performance by a Female Actor in a Motion Picture — Musical or Comedy Amy Adams, Nightbitch Cynthia Erivo, Wicked Karla Sofía Gascón, Emilia Pérez Mikey Madison, Anora Demi Moore, The Substance — WINNER Zendaya, Challengers Best Performance by a Male Actor in a Motion Picture — Musical or Comedy Jesse Eisenberg, A Real Pain Hugh Grant, Heretic Gabriel Labelle, Saturday Night Jesse Plemons, Kinds of Kindness Glen Powell, Hit Man Sebastian Stan, A Different Man — WINNER Best Performance by a Female Actor in a Supporting Role in Any Motion Picture Selena Gomez, Emilia Pérez Ariana Grande, Wicked Felicity Jones, The Brutalist Margaret Qualley, The Substance Isabella Rossellini, Conclave Zoe Saldaña, Emilia Pérez — WINNER Best Performance by a Male Actor in a Supporting Role in Any Motion Picture Yura Borisov, Anora Kieran Culkin, A Real Pain — WINNER Edward Norton, A Complete Unknown Guy Pearce, The Brutalist Jeremy Strong, The Apprentice Denzel Washington, Gladiator II Best Director — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Edward Berger, Conclave Brady Corbet, The Brutalist — WINNER Coralie Fargeat, The Substance Payal Kapadia, All We Imagine as Light Best Screenplay — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Brady Corbet, Mona Fastvold, The Brutalist Jesse Eisenberg, A Real Pain Coralie Fargeat, The Substance Peter Straughan, Conclave — WINNER Best Original Score — Motion Picture Volker Bertelmann, Conclave Daniel Blumberg, The Brutalist Kris Bowers, The Wild Robot Clément Ducol, Camille, Emilia Pérez Trent Reznor, Atticus Ross, Challengers — WINNER Hans Zimmer, Dune: Part Two Best Original Song — Motion Picture 'Beautiful That Way', Andrew Wyatt, Miley Cyrus, Lykke Zachrisson, The Last Showgirl 'Compress / Repress', Trent Reznor, Atticus Ross, Luca Guadagnino, Challengers 'El Mal', Clément Ducol, Camille, Jacques Audiard, Emilia Pérez — WINNER 'Forbidden Road', Robbie Williams, Freddy Wexler, Sacha Skarbek, Better Man 'Kiss The Sky', Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi, The Wild Robot 'Mi Camino', Clément Ducol, Camille, Emilia Pérez Best Television Series — Drama The Day of the Jackal The Diplomat Mr & Mrs Smith Shogun — WINNER Slow Horses Squid Game Best Television Series — Musical or Comedy Abbott Elementary The Bear The Gentlemen Hacks — WINNER Nobody Wants This Only Murders in the Building Best Television Limited Series, Anthology Series or Motion Picture Made for Television Baby Reindeer — WINNER Disclaimer Monsters: The Lyle and Erik Menendez Story The Penguin Ripley True Detective: Night Country Best Performance by a Female Actor in a Television Series — Drama Kathy Bates, Matlock Emma D'arcy, House of the Dragon Maya Erskine, Mr & Mrs Smith Keira Knightley, Black Doves Keri Russell, The Diplomat Anna Sawai, Shogun — WINNER Best Performance by a Male Actor in a Television Series — Drama Donald Glover, Mr & Mrs Smith Jake Gyllenhaal, Presumed Innocent Gary Oldman, Slow Horses Eddie Redmayne, The Day of the Jackal Hiroyuki Sanada, Shogun — WINNER Billy Bob Thornton, Landman Best Performance by a Female Actor in a Television Series — Musical or Comedy Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Selena Gomez, Only Murders in the Building Kathryn Hahn, Agatha All Along Jean Smart, Hacks — WINNER Best Performance by a Male Actor in a Television Series — Musical or Comedy Adam Brody, Nobody Wants This Ted Danson, A Man on the Inside Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear — WINNER Best Performance by a Female Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Cate Blanchett, Disclaimer Jodie Foster, True Detective: Night Country — WINNER Cristin Milioti, The Penguin Sofía Vergara, Griselda Naomi Watts, Feud: Capote Vs. The Swans Kate Winslet, The Regime Best Performance by a Male Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Colin Farrell, The Penguin — WINNER Richard Gadd, Baby Reindeer Kevin Kline, Disclaimer Cooper Koch, Monsters: The Lyle and Erik Menendez Story Ewan McGregor, A Gentleman in Moscow Andrew Scott, Ripley Best Performance by a Female Actor in a Supporting Role on Television Liza Colón-Zayas, The Bear Hannah Einbinder, Hacks Dakota Fanning, Ripley Jessica Gunning, Baby Reindeer — WINNER Allison Janney, The Diplomat Kali Reis, True Detective: Night Country Best Performance by a Male Actor in a Supporting Role on Television Tadanobu Asano, Shogun — WINNER Javier Bardem, Monsters: The Lyle and Erik Menendez Story Harrison Ford, Shrinking Jack Lowden, Slow Horses Diego Luna, La Máquina Ebon Moss-Bachrach, The Bear Best Performance in Stand-Up Comedy on Television Jamie Foxx, Jamie Foxx: What Had Happened Was Nikki Glaser, Nikki Glaser: Someday You'll Die Seth Meyers, Seth Meyers: Dad Man Walking Adam Sandler, Adam Sandler: Love You Ali Wong, Ali Wong: Single Lady — WINNER Ramy Youssef, Ramy Youssef: More Feelings The 2025 Golden Globes were announced on Monday, January 6, Australian and New Zealand time. For further details, head to the awards' website.
Even in 2020, the most unpredictable of years, the end of November marks two things: the shift to warm summer weather and an influx of Black Friday and Cyber Monday sales. While we may not celebrate Thanksgiving here in Australia that doesn't mean we can't enjoy some outrageous deals in the lead-up to the holiday season. To help you sort through all the emails and Facebook ads you're being served up right now, we've collected a few of this year's biggest sales in one place for you — so you can pick up between 20 and 70 percent off a new gym outfit, mattress or reusable cup.
In the heart of Sydney's centre is a haven of enthralling cuisine: Nel, the passion project of owner and Chef Patron Nelly Robinson. Described as a "culinary odyssey" Nel's constantly evolving 11-course degustation menu is crafted to elevate modern Australian fine dining experiences. Nel's exquisitely formed dishes show a delicacy, imagination and precision of technique that quickly sets the place apart. Each course is plated to precision under the watchful eye of Chef Nelly who started his career as a kitchen hand when only a teenager at the Michelin-starred restaurant Northcote (UK). He has built his vast culinary experience working in restaurants across the UK and abroad — including a stint at the Michelin-starred Lancashire chef Nigel Howarth — before earning his spot as one of Australia's top personalities and opening Nel in March 2015. [caption id="attachment_893950" align="alignnone" width="1920"] Gardens By The Bay. Nel. Supplied[/caption] Located in an underground bunker in an otherwise drab stretch of Wentworth Avenue, Nel is a subdued but stylish space with exposed brickwork and an open kitchen. The set menu ($185PP, wine pairing $165PP, non-alc pairing $85PP) is a prix fixe affair that changes periodically. Each menu concept created by Chef Nelly tells a unique story with engaging and thought-provoking elements. The innovative dishes serve as a masterclass on combining different textures into a harmonious whole. There's a touch of Philippa Sibley in the exquisite presentation and maybe even a bit of Heston's playfulness to Robinson's cooking. Every dish brings at least one touch of left-field inspiration, be it an unexpected crunch or a surprising citrus zing. If you are opting for the wine pairing, drops are carefully calibrated to match the food while building on the profile of the partnering wine. As with everything at Nel, it is clear a lot of thought has gone into these pairings. With exemplary, well-informed service to guide you through a heady menu, Nel is exceptional from start to finish. Originally published in 2015. Updated March, 2023.
Kelly Reichardt's Night Moves is a work of moral and technical greys. A measured, minimalistic environmental thriller about a small group of activists planning to blow up a dam, it's a tale that creeps along with low, silent tension, propelled by the work of its three primary actors and the morally ambiguous actions of the characters that they play. What it lacks, however, is a sustainable sense of momentum. Without it, the film struggles to stay afloat. Reichardt's eco-warriors aren't the most original of characters, but she's able to get away with it thanks to the calibre of her cast. There's paranoid loner Josh (Jesse Eisenberg, jumpier than usual), rebellious trust-fund kid Dena (a dressed-down Dakota Fanning) and burnt-out ex-marine Harmon (Peter Sarsgaard, disaffected and acerbic). Together they hatch an act of environmental terrorism as a means of upsetting the consumerist status quo. As in her previous films Meek's Cutoff and Wendy and Lucy, Reichardt's directorial approach is one of dispassionate observation. The camera follows the anarchist trio without any undue flair or sense of judgement. As such, the suspense becomes increasingly interwoven with questions of audience culpability. Viewers will go back and forth as to whether the group's actions are in any way justifiable. But after observing every step of the mission's meticulous preparation, it's difficult not to feel invested in its success. In one sequence, for example, Dena must try to convince a supplier to sell her 500 pounds of ammonium nitrate fertiliser without providing proper identification. It's a simple scene, entirely dialogue driven. And yet it's as riveting as watching a time-bomb tick backwards down to zero. Where Night Moves begins to falter is in its handling of the fallout from the attack. It's not a spoiler to say that things don't go the way the group expects, and soon cracks in their solidarity begin to appear. There's tension to be mined here, in the fear and mistrust, but Reichardt seems unable to really exploit it. The narrative and visual minimalism, initially such an asset, eventually leaves the audience feeling numb. By the time the movie stumbles to its unconvincing conclusion, the atmosphere has entirely disappeared. https://youtube.com/watch?v=s7-VqKLYZks
Have you launched a hospitality business that deserves some love? Think you could be Australia's next great business success story? Been in business for five years or less? Keep reading because you could be in with a chance to win a business-changing worthy prize. Here at Concrete Playground, we love championing the hospitality businesses that keep the country fed and entertained. We also understand that times are tough right now. That's why, in partnership with Square, Concrete Playground is giving away a marketing package worth $20,000. If you've been in business for five years or less, the Boost Your Business competition aims to shine a light on your brand. By entering the competition, you could be in with a chance to win a native editorial feature on Concrete Playground and get your business in front of our dedicated readers, as well as inclusion in Concrete Playground's hospitality directory. You'll also receive a social media push as we promote your business across various channels and help you reach engaged audiences with an eDM inclusion. Intrigued? Simply tell us in 25 words or less why your hospitality business is Australia's next great success story. For the full details, see the comp form below. T&Cs apply. [competition]1022571[/competition]
For us, summer is all about getting together with friends and family to toast to the silly season with delicious drinks. And this year, Moët & Chandon is making your end-of-year celebrations even sparklier with its pop-up drinking destination coming to the Sydney Harbour foreshore. You and your crew can enjoy a luxe day at Moët & Chandon's Sydney Effervescence from Thursday, December 2 till Saturday, December 4. Set against the backdrop of the Royal Botanic Gardens, this glittering installation will take you far beyond your typical harbourside drinks. Inside a breathtaking 500-square-metre sculpture, you'll get to sip champagne in the luxe Moët & Chandon Lounge as you soak in the spectacular harbour views. Tickets to this sparkling experience are $35 per person and include a Moët Mini on arrival. And while there are some walk-in spots available, we recommend booking ahead to secure your spot. Not only is it going to be an ideal place to reconnect with loved ones but also it'll provide a fitting backdrop to get that all-important festive (and glitzy) snap with your mates. Ready to immerse yourself in the effervescent world of Moët and Chandon this summer? For more information and to book your tickets, visit the website.
While Sydney's beaches are hard to beat, the coasts, both north and south of the city, are home to some breathtaking stretches of ocean. And, if you're looking for something other than your usual beach outing, those coasts are also home to heaps of ocean pools. Sheltered or battered by waves, lap pools or true swimming holes, hidden behind cliffs or right on the beach — our coast has it all. Here's our list of the best ocean pools near Sydney, all of which are free to the public and open all year round. Recommended reads: The Best Ocean Pools in Sydney The Best Natural Springs in NSW The Best Coastal Walks in Sydney The Best Beach Camping Sites in NSW [caption id="attachment_755793" align="alignnone" width="1920"] Destination NSW[/caption] THE BLUE POOL, BERMAGUI Located about a five-hour drive south of Sydney, The Blue Pool at Bermagui will require you to book an overnight stay — but the road trip will be well worth it. This Sapphire Coast gem is set on a sheer cliff that juts out into the ocean and is the ideal spot to watch the sunset in warmer months. It's located just off Pacific Drive and is equipped with recently built showers, toilets and changing rooms. The rock pool often boasts impossibly clear blue waters and is a favourite among snorkellers. Apart from the concrete and railed steps down to the pool, this bath really feels like it's part of the ocean. From September–November, you'll find the space teaming with whale watchers, who sit along the viewing platform for unbridled coastal views, too. [caption id="attachment_755795" align="alignnone" width="1920"] Russell Street via Flickr[/caption] COALCLIFF ROCK POOL, SOUTH COAST Created in the 1920s, the Coalcliff Rock Pool is tucked away on the coast of Leeder Park, set on the southern tip of Coalcliff Beach. The pool is a go-to for local swimmers all year round, but you can expect it to be a little busier (and warmer) during the summer months. The secluded swimming spot also offers panoramic views across the South Pacific. Up at Leeder Park, there are picnic areas, walking tracks, shower facilities and free parking, too. Or, if you're keen to traverse by foot, you can also walk along the incredibly idyllic Sea Cliff Bridge. Then, jump in your car — or on the train, there are stations at both Coalcliff and Coledale — and head to the Coledale Rock Pool. The two-in-one trek is easily doable as a day trip from Sydney. COLEDALE ROCK POOL, SOUTH COAST The vast rocky landscape down at Coledale Beach gives the spot a real 'edge of the word' vibe — so much so that its deeply carved rock pool just looks like part of the landscape at high tide. A closer look toward the beach's southern end reveals a large lap pool that runs off directly into the expansive ocean beyond. The pool offers both a shallow and deep end, which means it's ideal whether you're looking for a casual place to cool off or are a serious swimmer wanting to do laps. It's also a quick 1.5-hour train from Sydney and within walking distance of the station, with changing rooms and showers available at the top before you head down to the rocks. [caption id="attachment_755789" align="alignnone" width="1920"] Destination NSW[/caption] BOGEY HOLE, NEWCASTLE Newcastle's Commandant's Baths is one of NSW's oldest human-made ocean baths. The heritage-listed ocean pool was cut into the sandstone rocks by convict labour in 1819 — yes, a whopping 200 years ago — and is now called the Bogey Hole, which comes from the Dharawal word meaning 'to bathe'. The 1.5-metre deep pool is set within a base of cliffs near Shepherds Hill and can get seriously rocked by waves spilling over from the ocean, so beware if you're expecting a more relaxed swim. But, for those looking for a little adventure, it's a must see — and it's worth the drive up to Newcastle, which is home to many great swimming spots (we'll get to the others in a second). THE ENTRANCE OCEAN BATHS, CENTRAL COAST The Central Coast is home to its own heritage-listed ocean pool dubbed The Entrance, and it includes a 50-metre, seven lane Olympic-sized lap pool — plus a separate 22-metre pool for more casual swimming and a wading pool to boot. Constructed in the mid-1950s along Ocean Parade, it replaced an earlier iteration called Roberts' Pool, with the aim to bring the baths closer to the Entrance Beach shoreline. As with the others, it's free of charge and open to the public year round. It also boasts heaps of nearby amenities and a kiosk for post-swim bites. The Entrance Ocean Baths is the only ocean pools in the Central Coast region, too. [caption id="attachment_755791" align="alignnone" width="1920"] Destination NSW[/caption] NEWCASTLE OCEAN BATHS, NEWCASTLE The Newcastle Ocean Baths particularly stands out because of its art deco-style pavilion and striking water's-edge setting, sat high above the rocky coast. It's arguably the most popular ocean lap pool in the area, but it's big so you (hopefully) won't be kicked in the head with a flipper while swimming around. It's also situated just next to the Merewether Baths, and both pools are open all year round. Built back in 1922 and 1935, the baths are both heading towards the big 1-0-0 and the City of Newcastle is seeking expressions of interest to redevelop both pavilions, so you may see some major changes to the pools down the track. [caption id="attachment_755788" align="alignnone" width="1920"] Andrew Gregory for Destination NSW[/caption] WHALE BEACH ROCKPOOL, NORTHERN BEACHES Located at the southern end of Whale Beach, this 25-metre-long rock pool fills at high tide. It's the less crowded southern cousin to Palm Beach, so you'll have much more space for splashing about. Its stone walls give the pool a green tint typical of chlorinated swimming pools, but rest assured it's all natural ocean water here. A swim at this rock pool also offers unrestricted views out across the South Pacific. Once you've finished your swim, head to the barbecue area for lunch. Then be sure to take the short 15-minute stroll to the Careel Head Lookout for more stunning views before you head off. Top image: Newcastle Ocean Baths by Destination NSW.
When it debuted in 2022 with a full-frontal embrace of feminism, penises and 70s porn for women, Minx instantly cemented itself among the year's best new TV shows. The setup: Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying) makes her dream of starting her own magazine come true, but for Bottom Dollar Publications pornography publisher Doug Renetti (Jake Johnson, Spider-Man: Across the Spider-Verse). Created by Ellen Rapoport (Clifford the Big Red Dog) and executive produced by Paul Feig (Last Christmas), the show wasn't shy about the industry it dived into, even if its protagonist initially was. It wasn't afraid to push the strait-laced Joyce out of her comfort zone, see the empowering side of erotica for the fairer sex and champion the female gaze, either. The end result: a savvy, smart and breezy series that was as layered as it was astute and funny — and, yes, one that happily filled its frames with male genitalia. It took mere months for Minx to score a season-two renewal, and welcomely; however, the path from that great news to the show's second go-around arriving — from Friday, July 21 on Stan in Australia — bears more than a little in common with the attitudes that the series rallies against. Originally made by HBO Max, HBO's US streaming service, Minx was then cancelled in December 2022 during production. Underestimating the appeal of something confident and unashamedly raunchy where women are in control? Yes, that's what this casualty of David Zaslav's cost-cutting measures at Warner Bros Discovery demonstrated. Luckily, fellow American network Starz then stepped in. Watching Minx's bigger, richer and deeper second season, it's mindboggling to think that it almost didn't make it to screens. "Minx is back and better than ever," announces Doug with his usual likeable, affable, shambling brand of swagger — the kind that Johnson long-perfected in New Girl, and also in film roles in Drinking Buddies and Win It All — and he isn't wrong. Of course, he's talking about the series' eponymous erotic mag, not the series itself, but he's on the money. First, though, the again vibrantly shot, styled and costumed show has season-one finale fallout to deal with, after Joyce and Doug ended their tumultuous working relationship. The former goes looking for a new publisher, with boardrooms overflowing with besuited men dropping compliments and promising money awaiting. Then billionaire and ex-shipping industry titan Constance Papadopoulos (Elizabeth Perkins, The Afterparty) shows an interest in the magazine, in supporting and mentoring Joyce, and in having Doug involved. Decades of TV sitcoms and procedural dramas have spent episode after episode testing their characters with problems, then restoring the status quo before the credits roll and the next instalment arrives. Minx falls into neither genre, nor that trap. Joyce and Doug were always destined to reteam as colleagues early in season two, but this series doesn't go backwards. There's a new dynamic at play with Joyce leading the charge, Constance pushing for growth and Doug attempting to find his best new angle. (Some ideas: hosting a screening of Deep Throat, international expansion and taking the mag from the page to reality Chippendales-style.) There's another case of mirroring, too, this time firmly within the show; the world at large navigates sexual freedom and the women's liberation movement, and Joyce and Doug endeavour to work out what that truly means for them, and also what they want it to. Egos and ambitions still clash, and the naked male form remains a frequent and ample presence, but Minx has evolved from a fledgling enterprise to a success both on- and off-screen. Within the series, that sees Joyce, Doug, Constance and the returning magazine staff — namely Bottom Dollar's former model Bambi (Jessica Lowe, Miracle Workers), photographer Richie (Oscar Montoya, Final Space), Doug's girlfriend and ex-secretary Tina (Idara Victor, Shameless), and Joyce's sister Shelly (Lennon Parham, Veep) — try to grasp what their ideal version of a popular, well-known, boundary-pushing Minx is. Making a splash sparks expectations and fame. It deepens the challenges and compromises. And it brings attention, competitors and the potential for bigger losses with bigger risk. Minx season two backdrops the workplace chaos — because yes, this is a workplace-set series as much as fellow 2022-debuting aces Severance and The Bear — with familiar historical details. Deep Throat is just the beginning, with Joyce profiled by Rolling Stone and enjoying a fling with a musician, and references to Gloria Steinem and Annie Leibovitz popping up. The Battle of the Sexes match between Billie Jean King and Bobby Riggs gets the men and women of the office competing themselves (including by swinging tennis racquets in an unorthodox way). Key parties get a shoutout via Shelly's new arc, which is playfully introduced via an errant earring spotted on her bedroom floor. That stray piece of jewellery does belong to another woman, but because Shelly has embraced suburban swinging with her dentist husband Lenny (Mad Men alum Rich Sommer). That isn't the only way that she's exploring herself sexually, and not just by reigniting her dalliances with Bambi, either. Joyce and Doug earn much of Minx's spotlight again, spending plenty of their time clashing and bickering as they learn and grow, but season two realises how strong the series is as an ensemble effort. There wasn't a disappointing performance among the key cast in season one, which the show leans into more heartily. Not just Shelly but also Bambi, Richie and Tina receive meaty arcs — with Bambi, now Bottom Dollar's Chief Fun Officer, wanting to be valued for more than her looks; Richie campaigning to service Minx's queer male readers but receiving homophobic responses; and Tina striving to be seen for her business acumen, not her trusty place at Doug's side. And, not just the excellent scene- and show-stealing Parham but also Lowe, Montoya and Victor turn in weighty portrayals to match. Surveying shifting gender dynamics as well as the complicated media landscape, Minx also knows that it's peering back to the past while pointing out what has and hasn't changed today. Sometimes, it's as direct as a centrefold, as witnessed when Joyce is invited onto a panel with other editors of female-centric publications, most of them are male and those men expect her to fight with the only other woman onstage. Sometimes, it builds slowly and steadily for just as spectacular an outcome, including as it widens its focus. Season two's only real issue: eight episodes doesn't feel like enough. Wanting more of a great thing? Now there's a very Minx problem. Check out the trailer Minx season two below: Minx season two streams via Stan.
Maybe your day hasn't truly started until you've had your caffeine fix. Perhaps you like the ritual of the coffee shop experience. Or, you might just love pairing your cuppa with a cafe spread. Whichever applies, you'll have your favourite spots for a coffee — and you'll know that not all venues slinging it are created equal. According to the first-ever Top 100 Coffee Shops list, the very best place for a cuppa on the planet is Down Under. Toby's Estate Sydney flagship cafe and roastery in Chippendale in has been named the best in the world in the inaugural ranking, which made its picks based on the quality of coffee, barista experience and customer service, as well as each venue's approach to innovation, ambience and atmosphere, plus its sustainability practices, food and pastry quality, and consistency. Combined, Australia and New Zealand account for a tenth of the list, with eight other Aussie spots joining Toby's Estate, alongside one from Aotearoa. Two of those other Australian coffee shops also made the top ten: Proud Mary in Melbourne at fourth and Coffee Anthology in Brisbane at eighth. From around the globe, they were joined by Onyx Coffee Lab in the USA at second, Gota Coffee Experts in Australia in third and Tim Wendelboe in Norway at fifth — then Singapore's Apartment Coffee taking sixth place, Kawa in France at seventh, Malaysia's Story of Ono in ninth and Colombia's Tropicalia Coffee at tenth. Back to Down Under coffee havens, Veneziano Coffee Roasters in Melbourne came in at 19th, fellow Melburnian Calēre Coffee ranked 28th, Adelaide's Exchange Coffee placed 37th and Fonzie Abbott in Brisbane took 70th spot. Next came Melbourne's Vacation Coffee at 71 and Seven Seeds, also in Melbourne, at 87. Flying the flag for NZ, Rocket Coffee in Hamilton notched up 62nd place. [caption id="attachment_733568" align="alignnone" width="1920"] Proud Mary[/caption] So, in plenty of cities across Australia and Aotearoa, you've got no excuse to drink a subpar coffee. While Toby's Estate's Sydney flagship earned the list's love, it also has locations in Brisbane and Melbourne locally. "At Toby's Estate, coffee is at the heart of everything we do, and I think that's reflected in our customer's experience. Our whole team puts in an immense amount of effort to make the best coffee possible, so we're absolutely delighted to be awarded this incredible recognition," said the brand's General Manager Jody Leslie about the win. [caption id="attachment_992420" align="alignnone" width="1920"] Toby's Estate[/caption] [caption id="attachment_935274" align="alignnone" width="1920"] Fonzie Abbott[/caption] [caption id="attachment_631878" align="alignnone" width="1920"] Vacation Coffee[/caption] [caption id="attachment_918220" align="alignnone" width="1920"] Seven Seeds[/caption] [caption id="attachment_992421" align="alignnone" width="1920"] Toby's Estate[/caption] For more details about the Top 100 Coffee Shops list, head to the ranking's website.
Whenever a beloved sitcom comes to an end — as Brooklyn Nine-Nine will when it finishes up this year — it leaves a hole in your viewing schedule, and in your TV-loving heart. You can keep binging your favourites all over again, of course, and as many times as you like. But, although one-off specials, starry reunions and movie spinoffs keep happening more and more, you'll always be sad that you can't just look forward to a big batch of new episodes. The one silver lining: when the likes of Parks and Recreation and 30 Rock finished up their runs, the creatives behind them stayed in the sitcom game. Indeed, that's why B99 exists, and how The Good Place and Unbreakable Kimmy Schmidt came to our screens, too. And, over the past month or so, new shows from the key folks behind all of these series have just reached Stan. When it comes to Girls5eva, a word of warning: the hit song that brought titular fictional late 90s/early 00s girl group to fame is such an earworm, you'll be singing it to yourself for weeks after you binge through the sitcom that bears their name. That's to be expected given that Jeff Richmond, the composer behind 30 Rock and Unbreakable Kimmy Schmidt's equally catchy and comedic tunes, is one of the talents behind it. Tina Fey and Robert Carlock produce the series, too, so you what type of humour you're in for. Starring Sara Bareilles (Broadway's Waitress), Busy Philipps (I Feel Pretty), Renée Elise Goldsberry (Hamilton) and the great Paula Pell (AP Bio), Girls5eva follows four of the band's members two decades after their heyday. Their initial success didn't last, and life has left the now-fortysomething women at different junctures. Then a rapper samples their hit, they're asked to reunite for a one-night backing spot on The Tonight Show — and they then contemplate getting back together to give music another shot. As well as being exceptionally well-cast and immensely funny, the series is also bitingly perceptive about stardom, the entertainment industry and the way that women beyond their twenties are treated. Also, when Fey inevitably pops up, she does so as a dream version of Dolly Parton — and it's as glorious as it sounds. Check out the Girls5eva trailer below: Also now streaming its first season in full on Stan: Rutherford Falls. Michael Schur co-wrote and produced The Office, then did the same on Parks and Recreation and Brooklyn Nine-Nine, both of which he co-created as well. And, he gave the world The Good Place — which makes him one of the best in the business when it comes to kind-hearted, smart and savvy small-screen laughs. His new show continues the streak. Co-created with star Ed Helms and showrunner Sierra Teller Ornelas (Superstore), it boasts his usual charm and intelligence, too. And, as with every program he's had a hand in, it also boasts a top-notch lineup of on-screen talent. Plus, Rutherford Falls is immensely easy to binge in just one sitting, because each one of its ten first-season episodes leave you wanting more. The setup: in the place that gives the sitcom its name, Nathan Rutherford (Helms, Aunty Donna's Big Ol' House of Fun) runs the local history museum. One of his descendants founded the town, and he couldn't be more proud of that fact. He's also very protective of the towering statue of said ancestor, even though it sits in the middle of a road and causes accidents. So, when the mayor (Dana L.Wilson, Perry Mason) decides to move the traffic hazard, Nathan and his overzealous intern Bobbie (Jesse Leigh, Heathers) spring into action. Nathan's best friend Reagan Wells (Jana Schmieding, Blast) helps; however, the Minishonka Nation woman begins to realise just how her pal's family have shaped the fate of her Native American community. Also featuring a scene-stealing Michael Greyeyes (I Know This Much Is True) as the enterprising head of the Minishonka Nation casino, Rutherford Falls pairs witty laughs with warmth and sincerity, especially when it comes to exploring the treatment of First Nations peoples in America today. Check out the Rutherford Falls trailer below: The first seasons of Girls5eva and Rutherford Falls are available to stream via Stan.
A well-made, well-fitting suit is an investment. If it's an outfit you're going to be wearing often — or for a special occasion — then it's worth dedicating the time and money to getting it right. And that's exactly what Mister Mister ensures. Based inside the Strand Arcade, Mister Mister is a menswear label where everything is made to measure. Every single garment is produced specifically for the buyer — from the ideal cut, fabric, measurements and even down to little bespoke touches like monogrammed cuffs. The primary goal is to get customers in clothing that they feel totally comfortable and confident in, and the by-product is less wastage.
Christopher Nolan's Oppenheimer keeps exploding through awards season, making a big impact at the 2024 Golden Globes and now leading the just-announced Oscar nominations. The Cillian Murphy-starring biopic of Robert Oppenheimer has picked up 13 nods from the Academy of Motion Picture Arts and Sciences, leading this year's contenders for Hollywood's night of nights. And yes, its Barbenheimer partner Barbie also earned a swag of recognition — but not in two pivotal categories. The Margot Robbie-led, Greta Gerwig-directed spin on the famous doll collected eight nominations; however, Robbie is absent in the Best Actress field, as is Gerwig among the helmers. As one of the movie's producers, Robbie is in the running for a Best Picture gong, though, while Gerwig and Noah Baumbach (Marriage Story) received a Best Adapted Screenplay nod. Barbie's other nominations include Best Supporting Actor for Ryan Gosling and Best Supporting Actress for America Ferrara, as well as two entries for Best Original Song. Falling in-between Oppenheimer and Barbie numbers-wise: Poor Things and Killers of the Flower Moon, the two films with the two most-likely Best Actress contenders. For the former, a glorious riff on Frankenstein that earned 11 nominations, Emma Stone could win her second Oscar after La La Land. For the latter, aka Martin Scorsese's latest masterpiece with ten nominations, Lily Gladstone is the first Indigenous American to be recognised in the field. Oppenheimer, Barbie, Poor Things and Killers of the Flower Moon are also among the ten movies competing for Best Motion Picture. Their company: American Fiction, Anatomy of a Fall, The Holdovers and Maestro, as well as Poor Things and The Zone of Interest. History was made in this category, too, with three female-directed films in contention for the first time ever. That said, only one woman is among the Best Director nominees, with Justine Triet following up her Cannes Film Festival Palme d'Or win with an Oscar nomination — competing against Nolan, Scorsese, Poor Things' Yorgos Lanthimos and The Zone of Interest's Jonathan Glazer. While deserving movies miss out among every list of awards nominations, 2024's Oscar highlights include both Anatomy of a Fall and The Zone of Interest earning so much attention beyond the Best International Feature Film field — which Anatomy of a Fall wasn't submitted for — complete with their shared star Sandra Hüller receiving a Best Actress nomination for the first. The Boy and the Heron's Best Animated Feature nod, El Conde's for Best Cinematography, Godzilla Minus One's for Best Visual Effects and The Wonderful Story of Henry Sugar in the Best Live-Action Short Film all also stand out. Among the notable omissions, Saltburn, Ferrari, Priscilla, All of Us Strangers and The Iron Claw didn't receive any love, May December missed all of the acting categories and Leonard DiCaprio wasn't included among Killers of the Flower Moon's picks. Who'll ultimately emerge victorious will be revealed on Monday, March 11, Australian and New Zealand time, with Jimmy Kimmel hosting. Here's the full list of nominations: Oscar Nominees 2024: Best Motion Picture American Fiction Anatomy of a Fall Barbie The Holdovers Killers of the Flower Moon Maestro Oppenheimer Past Lives Poor Things The Zone of Interest Best Director Anatomy of a Fall, Justine Triet Killers of the Flower Moon, Martin Scorsese Oppenheimer, Christopher Nolan Poor Things, Yorgos Lanthimos The Zone of Interest, Jonathan Glazer Performance by an Actress in a Leading Role Annette Bening, Nyad Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Carey Mulligan, Maestro Emma Stone, Poor Things Performance by an Actor in a Leading Role Bradley Cooper, Maestro Colman Domingo, Rustin Paul Giamatti, The Holdovers Cillian Murphy, Oppenheimer Jeffrey Wright, American Fiction Performance by an Actress in a Supporting Role Emily Blunt, Oppenheimer Danielle Brooks, The Color Purple America Ferrera, Barbie Jodie Foster, Nyad Da'Vine Joy Randolph, The Holdovers Performance by an Actor in a Supporting Role Sterling K Brown, American Fiction Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Ryan Gosling, Barbie Mark Ruffalo, Poor Things Best Original Screenplay Anatomy of a Fall, Justine Triet and Arthur Harari The Holdovers, David Hemingson Maestro, Bradley Cooper and Josh Singer May December, Samy Burch and Alex Mechanik Past Lives, Celine Song Best Adapted Screenplay American Fiction, Cord Jefferson Barbie, Greta Gerwig and Noah Baumbach Oppenheimer, Christopher Nolan Poor Things, Tony McNamara The Zone of Interest, Jonathan Glazer Best International Feature Film Io Capitano, Italy Perfect Days, Japan Society of the Snow, Spain The Teachers' Lounge, Germany The Zone of Interest, United Kingdom Best Animated Feature The Boy and the Heron Elemental Nimona Robot Dreams Spider-Man: Across the Spider-Verse Best Documentary Feature Bobi Wine: The People's President The Eternal Memory Four Daughters To Kill a Tiger 20 Days in Mariupol Best Original Score American Fiction, Laura Karpman Indiana Jones and the Dial of Destiny, John Williams Killers of the Flower Moon, Robbie Robertson Oppenheimer, Ludwig Göransson Poor Things, Jerskin Fendrix Best Original Song 'The Fire Inside', Flamin' Hot, Diane Warren 'I'm Just Ken', Barbie, Mark Ronson and Andrew Wyatt 'It Never Went Away', American Symphony, Jon Batiste and Dan Wilson 'Wahzhazhe (A Song For My People)', Killers of the Flower Moon, Scott George 'What Was I Made For?', Barbie, Billie Eilish and Finneas O'Connell Best Cinematography El Conde, Edward Lachman Killers of the Flower Moon, Rodrigo Prieto Maestro, Matthew Libatique Oppenheimer, Hoyte van Hoytema Poor Things, Robbie Ryan Best Film Editing Anatomy of a Fall, Laurent Sénéchal The Holdovers, Kevin Tent Killers of the Flower Moon, Thelma Schoonmaker Oppenheimer, Jennifer Lame Poor Things, Yorgos Mavropsaridis Best Production Design Barbie Killers of the Flower Moon Napoleon Oppenheimer Poor Things Best Visual Effects The Creator Godzilla Minus One Guardians of the Galaxy Vol. 3 Mission: Impossible — Dead Reckoning Part One Napoleon Best Costume Design Barbie, Jacqueline Durran Killers of the Flower Moon, Jacqueline West Napoleon, Janty Yates and Dave Crossman Oppenheimer, Ellen Mirojnick Poor Things, Holly Waddington Best Makeup and Hairstyling Golda Maestro Oppenheimer Poor Things Society of the Snow Best Sound The Creator Maestro Mission: Impossible — Dead Reckoning Part One Oppenheimer The Zone of Interest Best Documentary Short Subject The ABCs of Book Banning The Barber of Little Rock Island in Between The Last Repair Shop Nǎi Nai & Wài Pó Best Animated Short Film Letter to a Pig Ninety-Five Senses Our Uniform Pachyderme WAR IS OVER! Inspired by the Music of John & Yoko Best Live-Action Short Film The After Invincible Knight of Fortune Red, White and Blue The Wonderful Story of Henry Sugar The 2024 Oscars will be announced on Monday, March 11, Australian and New Zealand time. For further details, head to the awards' website.
Fans of weighty Australian fare that reckons with the country's past are fans of the Mystery Road franchise, spanning both the big and small screens. They're fans, then, of the way that the outback-set saga surveys the nation's distinctive ochre-hued landscape from above in picturesque drone shots, all while contemplating the racist ills waged to live and work upon it. Stan's new six-part series Black Snow borrows much that's made Mystery Road such a hit, including a shock murder in a small town, a cop riding in to solve the mystery it heralds, a grim look at Aussie history and a bird's-eye view of its setting. But when this instantly compelling show peers down, it spies fields of green sugar cane fields far and wide. And, when it explores the country's traumas, it focuses on the treatment of the Australian South Sea Islander community. Seventeen-year-old Isabel Baker (talented debutant Talijah Blackman-Corowa) is the first person seen in Black Snow's opening moments, riding her bike hurriedly through the cane in the thick of night, making a frantic call from a remote phone booth and getting spooked by a music-blaring car's sudden appearance. The year is 1994, and the evening is the high schooler's Year 12 formal, as well as her last alive. Black Snow's second face belongs to James Cormack (Travis Fimmel, Raised by Wolves), a Brisbane-based Cold Case Unit police officer trying his luck in 2019 at a claw machine in a pub. He's troubled in a different way, haunted by emotional pain he attempts to deaden by paying for a Fight Club-style beating in the bar's back alley, and he'll swiftly be on Isabel's trail. Flitting between the two timeframes — hopping back and forth so heartily that Isabel is as much Black Snow's protagonist as Cormack, meaningfully so — this series isn't short on 90s touchstones. VHS stores, mix tapes, camcorders, Smashing Pumpkins and You Am I on the soundtrack, a Thelma & Louise video, teen chat about piking and being cut, a mention of The Adventures of Priscilla, Queen of the Desert: they're all covered. The best TV show of that decade, Twin Peaks, doesn't get an overt shoutout; however, David Lynch's influential masterpiece springs to mind while watching as clearly as Mystery Road does. Ashford, Black Snow's setting, is indeed a quaint locale centred around a mill and populated by inhabitants who all know each other. And, due to the murder of its most promising daughter, the town's secrets start to spill. As simple maths makes plain, Ashford's 90s tragedy bubbles up again a quarter-century later, in one of creator Lucas Taylor (Harrow) and co-writers Beatrix Christian (Hearts and Bones) and Boyd Quakawoot's (Black Comedy) sharpest moves. In what's supposed to be a moment of celebration to mark the local school's centenary, the town gathers to unearth a time capsule buried by Isabel and her classmates, with the blasts from the pasts that result spanning far beyond nostalgia. In addition to providing the series with an immediate point of difference — outsider detectives dropping by to solve dead-girl crimes is a well-worn on-screen trope — the excavated box also signals Black Snow's devotion to looking backwards. Fields like the fictional Ashford's have been blighted by blackbirding, the exploitation of South Sea Islanders involving forced relocation, severe underpayment and brutal working conditions, a grim form of slavery that isn't forgotten here. In the show's 2019 timeline, Cormack heads north to sweaty heat, an unwelcoming Senior Sergeant Turner (Kim Gyngell, Wakefield) — who originally led the case, and is adamant a passerby was responsible — and a mixed reaction from Isabel's sister Hazel (potent first-timer Jemmason Power), mother Glenda (Seini Willett), aunt Rosa (Lisa Blackman) and pastor father Joe (Jimi Bani, Mabo). His job: to find the murderer by "finding out who people really were back then", he notes, with his enquiries also involving Isabel's boyfriend Anton Bianchi (Alexander England, How to Please a Woman) and best friend Chloe Walcott (Brooke Satchwell, The Twelve), the former a farmer's (Rob Carlton, Bali 2002) son and the latter gifted every advantage courtesy of her mill-owning father (Erik Thomson, Blueback). Back in 1994, Isabel wades through her own chaos, with the younger Hazel (Molly Fatnowna) watching on. Her parents are strict, so much so that she's scared to tell her dad about plans for a pre-university road trip to Sydney with Chloe (played by The Unlisted's Annabel Wolfe as a teen). Anton (Josh Macqueen, Significant Others) is hardly reliable, but he is jealous of the time she's spending with the picked-on Hector Ford (Fraser Anderson, Rock Island Mysteries). Plus, Isabel soon has her own investigation causing waves around town, tied to fresh-faced Vanuatu newcomer Ezekiel Iesul (musician Ziggy Ramo), absent visas, hellish abuse and missing people. Without its leaps backwards, Black Snow would still be gripping and well-acted, with Fimmel giving the series an expectedly dogged but quietly magnetic cop — one so breezily spoken that he stands out from every other detective that's ever chased comparable cases — and Power living up to her name as a woman that's spent more than half her life in a tragedy's shadow. Still, it can't be overstated how essential the 1994 segments prove. They gift Isabel a voice and presence past being a mere victim; showcase Blackman-Corowa's luminous performance in the process; and inescapably anchor Black Snow's narrative in colonial crimes, horrors waged for centuries since, the deep-seated intergenerational traumas they've caused, Australian South Sea Islander culture and telling class clashes. Come for Australia's latest must-stream crime drama, and the first of 2023, then, but stay for a show that embraces and interrogates much more than its recognisable basic setup typically indicates. Stay, too, for taught and tense direction from helmers Sian Davies (Spreadsheet) and Matthew Saville (A Month of Sundays), an emotive score by Ramo with Jed Palmer (Animals), and eye-catching cinematography from Eric Murray Lui (We Are Still Here) — scenic sights lush with greenery but as stained with hurt, woe and sorrow as Australia's reddest soil. Check out the trailer for Black Snow below: Black Snow streams via Stan.
Winter puts most of us in a slump but that doesn't mean your sense of style also has to fall behind. Rather than go out and buy a new wardrobe, give new life to your existing clothing with Philips' range of garment-care tools. Philips is giving away five prize packs (worth $164.85 each) that include a Philips Handheld Garment Steamer, Rechargeable Fabric Shaver and Sneaker Cleaner. The 3000 Series Steamer not only removes wrinkles on almost all iron-safe fabrics, including delicates but also reduces odours and bacteria so that you can prolong your wear between washes. The handy gadget is compact and foldable, meaning you can throw it in your bag on your way to the office or even bring it with you on any upcoming travels. If you've been living in your knitwear all winter, it's time to revive your sweaters. The 1000 Series Fabric Shaver removes unsightly pills on all garments and is conveniently rechargeable by USB. Don't overlook your footwear — your shabby sneakers can still be saved with the electric sneaker cleaner, which features three types of rotating brush heads to bring your shoes back to their original spotless glory. Enter below to be 'fit check-ready year-round. [competition]968206[/competition]
One of the best performances in the Marvel Cinematic Universe comes from the man who was first charged with getting villainous, but now leads his own spinoff series as a complex and playful hero. While Tom Hiddleston's acting talents are well-established far beyond playing the God of Mischief — see: The Deep Blue Sea, The Hollow Crown, Only Lovers Left Alive, High-Rise, Crimson Peak and The Night Manager, for instance — the MCU has been all the better for his involvement for more than a decade. A scene-stealer in 2011's Thor, his parts in film after film kept getting bigger until streaming series Loki arrived. Amid Disney's rush of greenlighting shows for Disney+, starting this one couldn't have been easier; as Thor: Ragnarok in particular demonstrated, adding more Hiddleston has always been a winning move. When it slid into queues in 2021 as just the third series in the MCU's small-screen realm, following WandaVision and The Falcon and the Winter Soldier, Loki proved that more Hiddleston in a six-part TV show was also a delight. Immediately one of Marvel's standout shows, it came as no surprise when this stint of time-hopping trickery confirmed that it was returning for a second season in that run's final episode. Now back for another half-dozen instalments from Friday, October 6, Loki becomes the first of Marvel's television entries to earn a second go-around. That isn't an achievement that it takes for granted. Picking up exactly where season one left off, Loki season two sticks to some familiar beats but also makes its own leaps, and remains fun, funny, lively and smart in the process. It feels more lived in, too, a description that rarely applies to any franchise about caped crusaders and their nemeses, gods, multiverses and temporal chaos, this one among them. Audiences may know and love Loki, including in his small-screen guise as an alternate version of the movies' scamp who turns time cop to save the world, but the figure himself isn't as swiftly recognised when Loki's second season kicks off. Although nothing has changed about him visually, the first season's climactic showdown with Time Variance Authority creator He Who Remains (Jonathon Majors, Creed III) has had repercussions. Now, the Norse rogue is glitching. With multiple timelines in play thanks to fellow Loki variant Sylvie (Sophia Di Martino, The Electrical Life of Louis Wain), the series' eponymous character is being pulled between different worlds. "It looks like you're being born, or dying, or both at the same time," observes Agent Mobius M Mobius (Owen Wilson, Haunted Mansion). He isn't wrong. Time is an inescapable concept in the MCU, especially as it keeps expanding and sprawling. 2023 marks 15 years since Iron Man started the franchise, with The Marvels set to notch up its 33rd film when it reaches cinemas in November. On streaming, five other Marvel shows have joined the fold since Loki's debut season, beginning with 2021's Hawkeye; then spanning 2022's Moon Knight, Ms Marvel and She-Hulk: Attorney at Law; and seeing Secret Invasion already drop in 2023. In the mechanics of the superhero saga, the MCU stresses the same message that Loki now is: as time keeps elongating, jumping here, there and everywhere is inevitable. Once Loki and Mobius are back in their entertaining old rhythm, they need help getting time under control. Hunter B-15 (Wunmi Mosaku, Black Mirror) takes up the battle to save timelines beyond the sacred timeline, plus the people living their lives within them, while Loki and Mobius seek help from TVA tech go-to Ouroboros aka OB (Ke Huy Quan, American Born Chinese). Bringing Everything Everywhere All At Once Oscar-winner Quan into another temporal jumble is as great on-screen as it sounds on paper, even as he's saddled with mentioning time, manuals, looms and pruning repeatedly. There's a weightier air to Loki season two as Loki, Mobius and Hunter B-15's arcs deepen, plus more meaningful emotional paths, but the boilersuit-clad OB is a gloriously energetic addition. Also fun: when Loki flits around, inserting its main duo into different places and times on various legs of their mission. The MCU's penchant for cycling through genres instalment by instalment pops up here in miniature; where the broader saga can be a thriller in one flick (Black Widow, for example), a comedy in others (the Thor, Guardians of the Galaxy and Ant-Man vibes), dive into horror elsewhere (Doctor Strange in the Multiverse of Madness) and spin coming-of-age stories as well (the Spider-Man movies), this series goes from 70s-set London spy antics to a 19th-century Chicago caper and an existential stop at McDonalds in the 80s. The bouncing around doesn't just serve the narrative or suit the tone, but also fits Hiddleston and Wilson's central pairing. Loki does the odd-couple buddy dynamic swimmingly no matter where Loki and Mobius are, and gains another of Marvel's most engaging performances from Wilson as a result. Getting Loki falling in love with himself, aka Sylvie, was as Loki a move as there ever was in season one. In the show's return, their relationship is still complicated. Also, Sylvie remains on a quest to vanquish the man who sparked the TVA, this time via his variant Victor Timely (also Majors). The season has everyone looking for Judge Renslayer (Gugu Mbatha-Raw, Summerland) and Miss Minutes (Tara Strong, Guardians of the Galaxy Vol. 3), too. And, it has a He Who Remains/Timely/Kang the Conqueror problem. As the big bad for the MCU's phase five and beyond — the next Avengers movie due in 2026 is called Avengers: The Kang Dynasty — the latter as pivotal in Ant-Man and the Wasp: Quantumania. The domestic violence allegations against Majors since that film now cast a shadow, unsurprisingly, as does knowing that recasting could happen. There's no doubting Loki's look, though; it's up there with the Hiddleston-and-Wilson banter and Quan's verve as one of the season's highlights. The colour palette, the technology, the outfits, the retro sheen: it all works a charm. Marvel is obsessed with linking its array of on-screen chapters as it constantly grows and stretches its cinematic universe, which isn't about to change from here. With its aesthetics, plus Hiddleston and Wilson's excellent work — and Quan's, Martino and Mosaku's as well — Loki keeps making the opposite argument, however. If ever there's a segment of the MCU that could happily stand alone and thrive, it's this one. Of course, that isn't the show's route, but leaving viewers wanting more isn't the given that it once was for this franchise as time has passed. Check out the trailer for Loki season two below: Loki season two streams via Disney+ from Friday, October 6. Images: © Marvel Studios 2023. All Rights Reserved.
If you're a Lorde fan, there's no better news than this: in February 2026, the 'Royals', 'Green Light', 'Solar Power' and 'What Was That' singer-songwriter will hit the stage in both Australia and New Zealand. The Aotearoan star's Ultrasound world tour has just locked in gigs Down Under, heading to six cities across the two countries, making dates with arenas at every stop. Ella Yelich-O'Connor last took her Solar Power tour to both nations in 2023. This time, as part of a run of concerts that begins in September 2025 in the US — and also includes gigs in Canada, the UK and across Europe before this year is out — she has levelled up venue-wise. First up on Wednesday, February 11, 2026 is Spark Arena in Lorde's native Auckland, then Wolfbrook Arena in Christchurch on Friday, February 13, 2026. After that, she's hopping across the ditch to play Brisbane Entertainment Centre on Monday, February 16, 2026; Qudos Bank Arena in Sydney on Wednesday, February 18, 2026; Melbourne's Rod Laver Arena on Saturday, February 21; and finally Perth Arena on Wednesday, February 25. [caption id="attachment_1012900" align="alignnone" width="1920"] Thistle Brown[/caption] The tour dates come fresh from Yelich-O'Connor's surprise 2025 Glastonbury set, as well as her fourth album Virgin releasing at the end of June, with the latter debuting at number one in Australia and New Zealand alike. This is her biggest tour of her career in general, too, with nights at the likes of Madison Square Garden in New York City and O2 Arena in London already sold out. Featuring the aforementioned 'What Was That' — her first original new track in four years — alongside 'Man of the Year', 'Hammer', 'Favourite Daughter' and 'Shapeshifter', Virgin also hit number one in the UK and number two on the Billboard 200 chart in the US. [caption id="attachment_1012904" align="alignnone" width="1920"] Joseph Okpako/WireImage[/caption] There might be a three-year gap between Lorde's last Down Under shows and her upcoming Ultrasound tour concerts; however, in addition to writing and recording Virgin, she's been busy making a surprise Sydney club appearance back in May 2025 at a Lorde-themed night. Since 2013, when her debut record Pure Heroine arrived, Yelich-O'Connor has also released 2017's Melodrama and 2021's Solar Power, won two Grammys, picked up a Golden Globe nomination for 'Yellow Flicker Beat' from the soundtrack for The Hunger Games: Mockingjay — Part 1 and notched up over 18 billion streams worldwide. Lorde Ultrasound World Tour 2026 Australian and New Zealand Dates Wednesday, February 11 — Spark Arena, Auckland Friday, February 13 — Wolfbrook Arena, Christchurch Monday, February 16 — Brisbane Entertainment Centre, Brisbane Wednesday, February 18 — Qudos Bank Arena, Sydney Saturday, February 21 — Rod Laver Arena, Melbourne Wednesday, February 25 — Perth Arena, Perth [caption id="attachment_1012901" align="alignnone" width="1920"] Thistle Brown[/caption] Lorde is touring Australia and New Zealand in February 2026, with ticket presales from 1pm local time on Tuesday, July 15, 2025 and general sales from 2pm on Friday, July 18, 2025 — head to the tour website for more details. Top image: Joseph Okpako/WireImage.
This part of the multiverse mightn't boast chefs controlled by raccoons, talking rocks and hot dog fingers, but it has turned a mind-bending movie spanning all of the above into one of the year's big awards contenders. Everything Everywhere All At Once is one 2022's very best movies, too, and it might soon have some shining trophies for its troubles from the 2023 Golden Globes. Awards season is upon us again, because the end of the year doesn't just mean all things jolly and merry — and the beginning of the new year isn't just about fresh starts and resolutions you likely won't keep, either. The Golden Globes will unveil its latest batch of winners on Wednesday, January 11 Australian and New Zealand time, but its just-announced list of nominees features plenty to get excited about, including a heap of 2022's must-see movies and TV shows. While the Oscars cover films and the Emmys focus on television, the Golden Globes spread its gongs across both formats, meaning that big-screen hits like Elvis and Top Gun: Maverick have scored some love, and so have small-screen favourites such as Severance and Wednesday. Topping the nominations on the movie side is standout Irish comedy The Banshees of Inisherin, including nods for stars Colin Farrell and Brendan Gleeson. School-set sitcom Abbott Elementary — think Parks and Recreation, but in a Philadelphia public school — leads the TV contenders. Reuniting Farrell, Gleeson and their In Bruges director Martin McDonagh, The Banshees of Inisherin nabbed eight noms, with Everything Everywhere All at Once picking up five, including for actors Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis. Next on the list, Damien Chazelle's Babylon and Steven Spielberg's The Fabelmans each turned their love letters to cinema into five nominations. On the small screen, Abbott Elementary picked up five nods, followed by The White Lotus, DAHMER — Monster: The Jeffrey Dahmer Story, The Crown, Pam & Tommy and Only Murders in the Building with four each. Other highlights include Glass Onion: A Knives Out Mystery scoring a nomination for Best Motion Picture – Musical or Comedy, and Daniel Craig for Best Actor in the same category; Emma Thompson's Best Actress nod in the same genre for Good Luck to You, Leo Grande; both Decision to Leave and RRR among the non-English language picks; and Angela Bassett receiving some Best Supporting Actress love for Black Panther: Wakanda Forever. And, there's The Bear picking up two noms (including for lead Jeremy Allen White) in the TV fields, Diego Luna's Andor nomination, Zendaya's Euphoria nod and Better Call Saul's final season being recognised, too. Although there's plenty to celebrate among this year's contenders — including a hefty showing for Australians, including Baz Luhrmann's Best Director nom for Elvis, and Cate Blanchett, Margot Robbie, Hugh Jackman and Elizabeth Debicki all picking up acting nominations (for Tár, Bablyon, The Son and The Crown, respectively) — the Globes are sadly back to ignoring women directors. If you're wondering what else is in the running, here's the full list of nominations: GOLDEN GLOBE NOMINEES: BEST MOTION PICTURE — DRAMA Avatar: The Way of Water Elvis The Fabelmans Tár Top Gun: Maverick BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — DRAMA Cate Blanchett, Tár Olivia Colman, Empire of Light Viola Davis, The Woman King Ana de Armas, Blonde Michelle Williams, The Fabelmans BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — DRAMA Austin Butler, Elvis Brendan Fraser, The Whale Hugh Jackman, The Son Bill Nighy, Living Jeremy Pope, The Inspection BEST MOTION PICTURE — MUSICAL OR COMEDY Babylon The Banshees of Inisherin Everything Everywhere All at Once Glass Onion: A Knives Out Mystery Triangle of Sadness BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — MUSICAL OR COMEDY Lesley Manville, Mrs. Harris Goes to Paris Margot Robbie, Babylon Anya Taylor-Joy, The Menu Emma Thompson, Good Luck to You, Leo Grande Michelle Yeoh, Everything Everywhere All at Once BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Diego Calva, Babylon Daniel Craig, Glass Onion: A Knives Out Mystery Adam Driver, White Noise Colin Farrell, The Banshees of Inisherin Ralph Fiennes, The Menu BEST MOTION PICTURE — ANIMATED Guillermo del Toro's Pinocchio Inu-Oh Marcel the Shell With Shoes On Puss in Boots: The Last Wish Turning Red BEST MOTION PICTURE — NON-ENGLISH LANGUAGE All Quiet on the Western Front Argentina, 1985 Close Decision to Leave RRR BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE Angela Bassett, Black Panther: Wakanda Forever Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All at Once Dolly De Leon, Triangle of Sadness Carey Mulligan, She Said BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Brendan Gleeson, The Banshees of Inisherin Barry Keoghan, The Banshees of Inisherin Brad Pitt, Babylon Ke Huy Quan, Everything Everywhere All at Once Eddie Redmayne, The Good Nurse BEST DIRECTOR — MOTION PICTURE James Cameron, Avatar: The Way of Water Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once Baz Luhrmann, Elvis Martin McDonagh, The Banshees of Inisherin Steven Spielberg, The Fabelmans BEST SCREENPLAY — MOTION PICTURE Todd Field, Tár Daniel Kwan, Daniel Scheinert, Everything Everywhere All at Once Martin McDonagh, The Banshees of Inisherin Sarah Polley, Women Talking Steven Spielberg, Tony Kushner, The Fabelmans BEST ORIGINAL SCORE — MOTION PICTURE Carter Burwell, The Banshees of Inisherin Alexandre Desplat, Guillermo del Toro's Pinocchio Hildur Guðnadóttir, Women Talking Justin Hurwitz, Babylon John Williams, The Fabelmans BEST ORIGINAL SONG — MOTION PICTURE 'Carolina' by Taylor Swift, Where the Crawdads Sing 'Ciao Papa' by Alexandre Desplat, Guillermo del Toro, Roeban Katz, Guillermo del Toro's Pinocchio 'Hold My Hand' by Lady Gaga, BloodPop, Benjamin Rice, Top Gun: Maverick 'Lift Me Up' by Tems, Rihanna, Ryan Coogler, Ludwig Göransson, Black Panther: Wakanda Forever 'Naatu Naatu' by Kala Bhairava, M.M. Keeravani, Kala Bhairava, Rahul Sipligunj, RRR BEST TELEVISION SERIES — DRAMA Better Call Saul The Crown House of the Dragon Ozark Severance BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES — DRAMA Emma D'Arcy, House of the Dragon Laura Linney, Ozark Imelda Staunton, The Crown Hilary Swank, Alaska Daily Zendaya, Euphoria BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES — DRAMA Jeff Bridges, The Old Man Kevin Costner, Yellowstone Diego Luna, Andor Bob Odenkirk, Better Call Saul Adam Scott, Severance BEST TELEVISION SERIES — MUSICAL OR COMEDY Abbott Elementary The Bear Hacks Only Murders in the Building Wednesday BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES — MUSICAL OR COMEDY Quinta Brunson, Abbott Elementary Kaley Cuoco, The Flight Attendant Selena Gomez, Only Murders in the Building Jenna Ortega, Wednesday Jean Smart, Hacks BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Donald Glover, Atlanta Bill Hader, Barry Steve Martin, Only Murders in the Building Martin Short, Only Murders in the Building Jeremy Allen White, The Bear BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION Black Bird DAHMER — Monster: The Jeffrey Dahmer Story The Dropout Pam & Tommy The White Lotus BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Jessica Chastain, George and Tammy Julia Garner, Inventing Anna Lily James, Pam & Tommy Julia Roberts, Gaslit Amanda Seyfried, The Dropout BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Taron Egerton, Black Bird Colin Firth, The Staircase Andrew Garfield, Under the Banner of Heaven Evan Peters, Dahmer — Monster: The Jeffrey Dahmer Story Sebastian Stan, Pam & Tommy BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION Jennifer Coolidge, The White Lotus Claire Danes, Fleishman Is in Trouble Daisy Edgar-Jones, Under the Banner of Heaven Niecy Nash, Dahmer — Monster: The Jeffrey Dahmer Story Aubrey Plaza, The White Lotus BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION F. Murray Abraham, The White Lotus Domhnall Gleeson, The Patient Paul Walter Hauser, Black Bird Richard Jenkins, Dahmer — Monster: The Jeffrey Dahmer Story Seth Rogen, Pam & Tommy BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MUSICAL-COMEDY OR DRAMA TELEVISION SERIES Elizabeth Debicki, The Crown Hannah Einbinder, Hacks Julia Garner, Ozark Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MUSICAL-COMEDY OR DRAMA TELEVISION SERIES John Lithgow, The Old Man Jonathan Pryce, The Crown John Turturro, Severance Tyler James Williams, Abbott Elementary Henry Winkler, Barry The 2023 Golden Globes will be announced on Wednesday, January 11 Australian and New Zealand time. For further details, head to the awards' website.
Sometimes, when you're having an average day, you're caught up in your usual daily dramas or you're simply tired, it can be easy to forget that we're all just zooming around the universe on a floating blue ball. It can escape your mind that our pale blue dot is a mere tiny speck in the heavens, too — but, today, Tuesday, July 12 Down Under, in comes NASA with a massive reminder. The James Webb Space Telescope, the space science observatory charged with peering deeply into our solar system and well beyond, has been taking images of what it sees — and the first such picture has just been revealed. The telescope is an international program led by NASA with the European Space Agency and Canadian Space Agency, with US President Joe Biden doing the honours in unveiling the deepest and sharpest view of the universe that's ever been captured. It's here–the deepest, sharpest infrared view of the universe to date: Webb's First Deep Field. Previewed by @POTUS on July 11, it shows galaxies once invisible to us. The full set of @NASAWebb's first full-color images & data will be revealed July 12: https://t.co/63zxpNDi4I pic.twitter.com/zAr7YoFZ8C — NASA (@NASA) July 11, 2022 How deep is deep? NASA Administrator Bill Nelson describes the snapshot of the cosmos seen in Webb's first image — taken by its near-infrared camera (NIRCam) — as covering "a patch of sky approximately the size of a grain of sand held at arm's length. It's just a tiny sliver of the vast universe". Known as Webb's First Deep Field, the image shows the galaxy cluster SMACS 0723 as it appeared a whopping 4.6 billion years ago, and covers thousands of galaxies, including the faintest objects ever observed in the infrared. NASA explains that "the combined mass of this galaxy cluster acts as a gravitational lens, magnifying much more distant galaxies behind it". The NIRCam has then brought those galaxies into sharp focus, revealing faint structures that've never been seen before, such as star clusters. It's a detailed snap, unsurprisingly. It's also awe-inspiring and more than a little mind-blowing. The NIRCam shot is a composite, compiled from images at different wavelengths over 12.5 hours — at depths at infrared wavelengths even beyond the Hubble Space Telescope's deepest fields, which took weeks. This image is part of the Webb telescope's effort to unfold the infrared universe — and it's just the first of many. The full set will be revealed on 12.30am AEST on Wednesday, July 13 Australian time (2.30am in New Zealand), complete with spectroscopic data. If you're keen to watch, it'll be livestreamed via NASA, although expect the results to be all over the internet tomorrow morning anyway if you'll still be asleep. For more information about the James Webb Space Telescope, head to the NASA and James Web Space Telescope websites. Top image: NASA, ESA, CSA, and STScI.
With two decades of experience under his tool belt and a portfolio of clients from the Australian Ballet to Paddington restaurant Saint Peter, florist Sean Cook is at the top of the floristry game in Sydney. His work is often focused on large-scale events, such as weddings, fashion shoots and corporate luncheons — and Cook can certainly impress with a suspended garland of vibrant pinks and purples. Sourcing flowers from preferred growers at the markets in Flemington, Mr Cook works with a team of professionals to pull off epic showcases of floral design. He says his style is raw, rather than prim, and you can gauge more of the jaw-dropping table arrangements on his Instagram page. Though rare, Mr Cook does create flowers for delivery, too; for Mother's Day this year, Cook collaborated with Pepe Saya and Crumpets by Merna to create beautiful bouquets to deliver alongside the cultured butter and fermented sourdough crumpets.
For some reason, food just tastes better served from a truck. These delicious, roving bites generally cost about a tenner and add a little bit of the thrill of the chase to your taco/burger/jaffle consumption. Sydney is continually amping up its street food scene — we've even got a dedicated food truck app, just so you know where to find you favourite at every turn. Whether it's a quick CBD lunch, a break from beer tasting at the local craft breweries, or roaming the markets and festivals, there's bound to be a food truck somewhere nearby dishing up something delicious from their window. So here are Sydney's best food trucks and where to find them. MAMA LINH'S The Vietnamese know their street food, and Mama Linh's is a wonderful homage to the tradition. The food truck is hailed for its 'pho-style' beef roll ($10), which slow cooks brisket in Mama's 18-hour pho master stock before being hand-pulled and soaked in the master stock gravy. Served on a signature crispy baguette with an array of pickled veggies and special 'pho' mayo, this combination is just genius. The banh mi menu is really a winner across the board though, from the crispy chicken thigh marinated in a secret, quarter century-old blend of spices to the 12-hour slow-cooked pulled pork. In additional to their usual Tuesday to Friday spots at Wynyard and Metcalfe Parks, on weekends you'll find the truck across the inner-west brewery circuit, including Wayward, Batch, Willie the Boatman and Young Henrys. Best for: Vietnamese street food. What to order: Beef 'pho' banh mi. Where to find it: Mama Linh's have usual Tuesday to Friday spots at Wynyard Park in the CBD and Metcalfe Park in Pyrmont, and on weekends you'll find the truck across the inner-west brewery circuit, including Wayward, Batch, Willie the Boatman and Young Henrys. To find out where they'll be next, check their Facebook page. mamalinhs.com.au CAMINITO If you haven't had Caminito's choripan ($7) yet, you better start running after their truck. The name means 'chorizo in fresh baked bread', and their version is topped with a traditional chimichurri sauce and is a quintessential South American street food. The choripan rojo gourmet ($10) is a paprika-infused sausage served with Spanish onion, sliced tomatoes and fresh rocket — and we suggest you go gourmet or go home. Best for: South American street food. What to order: Choripan rojo gourmet. Where to find it: Caminito is always rolling around to festivals, and can also be caught regularly at Peakhurst's Foodies Organic Market. Watch their whereabouts on their Facebook page. caminito.com.au BUSBOY Okay, it might not exactly be a truck, but Busboy deserves honourable mention on any roving snacks best of. The 'mobile cargo-bike' is turning out self-proclaimed 'fat boy food'. The menu is down-home country cooking, like the Redneck fried chicken sandwich, served on a southern-style biscuit. Owner Ben Ogden takes chicken and biscuits to the next level with The Trucker: buttermilk fried chicken, streaky bacon, cheese and fresh onion rings all topped with white sausage gravy. Best for: 'Fat boy' food. What to order: The Trucker fried chicken sandwich. Where to find it: Busboy is regularly hanging around the local craft beer favourites of Batch and Wayward, and has a regular spot at Young Henrys every third Saturday of the month. For other appearances, keep an eye on their Facebook page. busboy.com.au AGAPE Sydney's food truck scene wouldn't be complete without an organic option in the mix. Chef Simon Lawson uses all organic, seasonal produce, and their rotating menu is full of street food goodness. The must-have on the menu right now is their spelt rollers — and for good reason. With options like the 14-hour slow-braised, grass-fed wagyu and pasture-raised pork ($13 each) to the sustainably-sourced, golden crispy fish ($15), you really can't go wrong. Each of the spelt buns incudes coleslaw and chimichurri, with the special house-made barbecue sauce slathered on the red meat options. You can find this fire engine red truck parked all around town, from Sydney Olympic Park and Zetland to Surry Hills and a few CBD locations. Best for: Organic. What to order: One of their spelt rollers. Where to find it: The truck can commonly be found at Joynton Park in Zetland, and Customs House and Wynyard Park in the CBD. Find their full schedule on Sydney Food Trucks. facebook.com/AgapeOrganicFoodTruck EAT ART TRUCK Since winning Good Food's best new food truck award back in 2012, Eat Art Truck has continued to rev its engines all around Sydney. The truck combines a love for American street food and local street art, even being repainted by a different street artist each month. On their menu sits all the usual suspects — like nachos and crispy fries (both $5) — but the must-try is the eight-hour hot-smoked pulled pork bun ($12). This best-seller and crowd favourite comes with tangy mustard cabbage and bourbon barbecue sauce — a gorgeous excuse for a chow down. If you want to rent the truck out for a more intimate gathering, they've got you covered with a new cart, which is perfect for summertime rooftop parties. Best for: American street food and local street art. What to order: Pulled pork bun. Where to find it: The Eat Art Truck roams the city, and is a fixture at many big events around town. Follow their Facebook page to find out where to catch them next. eatarttruck.com VEGGIE PATCH VAN The Veggie Patch is devoted to providing high quality vegetarian food using seasonal produce sourced from local growers. The truck itself was a combined effort from TMOD Design and Yulli's, and is as environmentally friendly as the food — running on recycled vegetable oil, solar powered equipment, and composted rubbish. With herb boxes hanging from the facade, you know you're getting a fresh meal here. The mushroom and kale salad ($8) is worth a mention, however the star here is easily the haloumi burger ($10). The cheese is perfectly grilled and topped with passionfruit ketchup and an herby dill mayo, and the crunchy lettuce and sweet Spanish onions come together to make this dish a masterpiece. With all meals $10 or under, the Veggie Patch Van is a good choice for your tummy and your wallet. Best for: Vegetarian and vegan enthusiasts. What to order: Haloumi burger. Where to find it: The van can be found at various events around the city. Watch their Facebook page for their whereabouts. veggiepatchvan.com.au NEW YORK PASTRAMI DELI NYPDeli — or, the New York Pastrami Deli — has become a staple in Sydney, which had previously been sorely lacking in the food truck delicatessen department. The award-winning meat is made at the family factory Pastoral Small Goods, and the menu, from hot dogs ($8) to rare roast beef on a bagel ($10), is as New York as it gets. First timers cannot miss the Reuben ($10): the hot corned beef is topped with impossibly melty Swiss cheese, crispy sauerkraut and heaps of Russian dressing on fresh rye. Best for: Deli lovers. What to order: The Reuben. Where to find it: You can catch the NYPDeli for lunch every Wednesday in Millers Point (12-3pm) and every Friday in Metcalfe Park (12-3pm), as well as other various spots during the week. Find their upcoming locations on their Facebook page. facebook.com/nypdeli URBAN PASTA Pasta may not seem like typical food truck takeaway, but this cart is bringing Nonna's cooking to the streets — and we are ever so grateful. Serving up fresh pasta with homemade sauces, the process here is simple: choose your pasta, then your sauce, and add extra parmesan or chilli flakes at your discretion. Our favourite is the gnocchi arrabbiata ($11.50) — the pillowy gnocchi is well coated in a light, spicy tomato sauce, giving a slight kick whilst also fulfilling that carb craving. And the best part? It's one of the few food trucks that stays open late in the CBD. Best for: Carb-full dinner on the go. What to order: Gnocchi arrabbiata. Where to find it: You'll find Urban Pasta in a few locations a day, from Joynton Park in Zetland to Circular Quay's Customs House. For a full list of locations, visit Sydney Food Trucks. facebook.com/UrbanPasta JAFE JAFFLES This food truck is as much loved for its pimped Kombi van and hilarious sandwich names as it is for its righteous jaffles. The jaffle — a pressed version of its cousin grilled cheese — is an Aussie staple and breeds nostalgia among patrons. The fan favourite is by far the Jean Claude Van-Ham, a succulent combination of leg ham, oozy cheese and tomato. Other celeb jaffles that sit on the menu include David Jafflehoff — spaghetti Bolognese in a pocket — and the Goldie Corn ($6 each). Best for: The Australian nostalgic classic: jaffles. What to order: The Jean Claude Van-Ham jaffle. Where to find it: While they may not be taking regular spots around town, Jafe Jaffles is chilling at all of the local festivals, as well as corporate and private functions. Keep up with their location on their Facebook page. facebook.com/JafeJaffles CHERRY HWY Cherry Hwy brings patrons back to the days when the ice cream man circled the block. Housed in two retired Bedfords, owner Rode Vella transformed the 'twins' into a traditional ice cream and sorbet shop on wheels. The flavours span from classic vanilla to salted caramel and blood orange sorbet. Our go-to though is the peanut butter fudge (one scoop $4.50, two scoops $7). Creamy, chocolatey and nutty, this is the perfect icing on the cake to any trip down memory lane. Best for: Dessert. What to order: Peanut butter fudge ice cream. Where to find it: You can catch the truck regularly at Barangaroo's Headland Park. Keep an eye on their Facebook page for other locations. cherryhwy.com.au
Say hello to one of the newest kids on the burgeoning Redfern coffee scene: Bean & Berry. Despite only being open for three months, their following is growing quickly, which is impressive when you think about how notoriously loyal coffee drinkers are to their favourite shop. With beans provided by Marrickville's Leftfield Coffee, you'll have the chance to try a blend you probably haven't before. Bean & Berry wants you to "come and visit the family", and there's no doubt about how homey it all feels. Black piping runs across the walls and holds up shelves containing an eclectic collection of old books and flowers. Carefully arranged bags of coffee frame the huge vintage Peters ice cream logo that hangs behind the counter. Bare light globes hang from ropes from the ceiling, all of it adding to the rustic vibe. Take a seat by the huge bay windows and watch the people of Redfern stroll by as you sip on a fragrant flat white. If the warm tones of all the wood isn't enough for you, order a bowl of Mum's Winter Stew ($16.90). The slow-cooked scotch fillet in red wine and tomato sauce is like a rich, warm hug for your soul. Another staple of the current menu is the soup of the day ($8.90), which is scrawled on a small chalkboard on the counter. Expect the likes of ham and lentil or meatball and yoghurt soup with mint. For those who want at least one meat-free meal today, Chicks on Toast (slow cooked chickpeas in tomato sauce, served on toast, $12.90) is an excellent start to a cold morning. Then there's the bircher muesli ($9.90). Slivers of tart apple are a great contrast to the overall creaminess and sweetness. The sprinkling of crushed pistachios and almonds on top add a welcome crunch. It's filling and definitely won't weigh you down. If, for some unknown reason, you don't feel like a coffee, Bean & Berry have an assortment of teas, milkshakes and smoothies on offer. The Snickers milkshake ($6.90) is the star attraction here. Locals know all about this little cafe on the corner of Pitt and Redfern Streets, and it's time that you do too. With its friendly staff, good coffee and simple, delicious fare, Bean & Berry may even end up as your second home. Images: Bodhi Liggett.
Are Nick Offerman and Megan Mullally comedy's funniest couple? Both together and apart, their resumes make a strong case for it. Here's another way to make that call: catching them live onstage together in Australia in their first-ever shared in-conversation session. It's a one-night-only date for the Parks and Recreation co-stars, happening to close out Vivid Sydney 2025. If you're as obsessed with one of the best American sitcoms of the 21st century as everyone should be, you will have spotted a trend at Vivid in the past two years. At 2024's festival, Amy Poehler was on the lineup, also getting chatting. Fingers crossed for Adam Scott or Rob Lowe in 2026. Yes, you should get the bacon and whisky ready for Offerman and Mullally. You should also prepare your ears for some high-pitched laughter. Making your own canoe? If you can, that's an appropriate way to celebrate, too. Taking place on Saturday, June 14, 2025 at the International Convention Centre Sydney, Offerman and Mullally's exclusive Vivid show is called Unscripted & Unfiltered with Nick Offerman & Megan Mullally, and falls into the Harbour City event's Global Storyteller series — which is also bringing Martha Stewart to the New South Wales capital in 2025, was why Poehler was on 2024's lineup, and has also seen The White Lotus' Jennifer Coolidge and Mike White, filmmakers Baz Luhrmann (Elvis) and Spike Lee (Da 5 Bloods), and Australia singer Troye Sivan get talking in past years. Parks and Recreation's on-screen Ron and Tammy Swanson were meant to tour to Australia together in 2016, but Mullally had to drop out due to a scheduling conflict, so Offerman came solo. When they finally make the trip by each other's side, the husband-and-wife duo have everything from their multi-hyphenate individual careers to collaborating as creative and real-life partners to dig into, alongside their LGBTQIA+ and environmental activism. "Megan and I are powerfully chuffed to get back to town for Vivid Sydney, but also to reprise our lovemaking session atop the Sydney Harbour Bridge. Once we have recharged those particular batteries, we'll be thrilled to transfer our slatternly energies to the Vivid Sydney audience," said Offerman, announcing Unscripted & Unfiltered with Nick Offerman & Megan Mullally. "Come for the anecdotes and the burlesque lust in our every turn of phrase, then get stretched out before you get home, because there's gonna be some canoodlin'." "We couldn't let Vivid Sydney take place this year without treating visitors to a masterclass in comedy. Nick and Megan are one of the funniest couples alive, and this conversation is set to be equal parts unpredictable and hilarious. Bolstering Vivid Sydney 2025's lineup alongside lifestyle icon Martha Stewart and the formidable Nigella Lawson, there really is something for everyone," added Vivid Sydney Festival Director Gill Minervini. Offerman and Mullally have also appeared on Will & Grace, Childrens Hospital, Smashed, Somebody Up There Likes Me, The Kings of Summer, Bob's Burgers, The Great North and Party Down together, to name just a few of their shared credits. The Last of Us, Civil War and the upcoming Mission: Impossible — The Final Reckoning are some of Offerman's recent other projects, while Dicks: The Musical, The Righteous Gemstones and Reservation Dogs are among Mullally's. Unscripted & Unfiltered with Nick Offerman & Megan Mullally takes place on Saturday, June 14, 2025 at the International Convention Centre Sydney, with tickets on sale on sale at 9am on Friday, May 9 via the festival website — and presales from 9am on Thursday, May 8 for Stan subscribers Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information. Top image: Emily Schur.
Sydney's Gay and Lesbian Mardi Gras celebrations are coming back in force, but past the parade, fair day and special events popping up over town, there's a special celebration of LGBTQI+ filmmaking that's also making its return: the 33rd Mardi Gras Film Festival, which returns to Event Cinemas George Street and Dendy Newtown from Thursday, February 12 to Thursday, February 26. Queer Screen has announced the full program for this year's festival, packed with 139 outstanding feature films, documentaries and short films sourced from 38 countries — including six world premieres, five international premieres and 64 Australian premieres. [caption id="attachment_1065285" align="aligncenter" width="1920"] 'She's the He', directed by Siobhan McCarthy[/caption] Highlight entries in the program include an opening night screening of Jimpa, directed by Australian filmmaker Sophie Hyde and starring Olivia Colman (The Roses), John Lithgow (The Old Man) and Aud Mason-Hyde (Fucking Adelaide). There's also the steamy, leather-clad Pillion, starring Alexander Skarsgård (Murderbot) opposite Harry Melling (The Queen's Gambit) and closing night film She's the He starring Misha Osherovich (Freaky), Malia Pyles (Pretty Little Liars: Original Sin) and Nico Carney. Also featuring in the program is The Chronology of Water, the directorial debut of Kristen Stewart, starring Imogen Poots (28 Weeks Later) as a young woman who escapes a toxic childhood through competitive swimming and sexual experimentation; Love Me Tender, starring Vicky Krieps (Phantom Thread) and Antoine Reinartz (Anatomy of a Fall) in a story about a woman maintaining a maternal bond in the midst of a divorce and A Deeper Love: The Story of Miss Peppermint, a look behind the scenes of the RuPaul's Drag Race star's rise to fame. [caption id="attachment_1065286" align="aligncenter" width="1920"] 'The Chronology of Water', directed by Kristen Stewart[/caption] In terms of returning classics, attendees can look forward to a 4k restoration of Lisa Cholodenko's High Art, a 30th anniversary screening of the Australian classic Love and Other Catastrophes, the 50th anniversary of the John Hurt-starring The Naked Civil Servant and a showcase of Castration Movie Anthology II: The Best of Both Worlds, presented in partnership with Pink Flamingo and with director Louise Weard in attendance. "This festival would not be possible without our generous partners, donors, members, community supporters, as well as the festival team and volunteers who have put in countless hours to make it happen. It's an honour to be able to lead the team and carry forward Queer Screen's legacy after 32 years. I warmly welcome you back to the cinema to experience the magic with us," said Queer Screen CEO Benson Wu. [caption id="attachment_1065283" align="aligncenter" width="1920"] 'Love and Other Catastrophes', directed by Emma Kate-Croghan[/caption] Queer Screen Programming and Industry Manager Andrew Wilkie added, "At a time when our community is facing increased persecution both here and abroad – particularly our trans siblings – seeing authentic LGBTIQ+ stories on our screens is more important than ever. Our continued visibility in the face of bigotry sends a clear message: we refuse to hide or be silenced. And that's the theme that permeates this entire program, films all about being unapologetically queer and finding community." Mardi Gras Film Festival will run at Event Cinemas George Street and Dendy Newtown from Thursday, February 12 to Thursday, February 26. For the full program or for more information, visit the website. Lead image: 'Pillion', directed by Harry Lighton. Images courtesy of Queer Screen.
Your phone rings unexpectedly. A gravelly voice asks "do you like scary movies?". If you live in Sydney right now, it's a great time to answer in the affirmative. Horror film buffs know that the above is a scene straight out of the Scream franchise, which kicked off in 1996 and just keeps having another stab at cinemas — including 2023's Scream VI, which is showing now. Scary movie fans also need to know that eerie event fiends Haus of Horror are playing the OG Scream at Parramatta Gaol for one night only. This event collective just loves showing classic horror movies in spectacular locations, with its Scream session following a past The Exorcist night in the same spot — and also Beetlejuice in Camperdown Cemetery, too. Unsurprisingly, all these movie events are proving popular. And what better film to show next to Sydney's horror aficionados than one that screams "Sidney" (Prescott, Neve Campbell's character, that is) over and over? Once again, the idea is for the night — which has been dubbed 'Scream in a Haunted Gaol' — is to be as immersive as possible. Parramatta Gaol already hosts ghost tours, and is reportedly haunted by its former inmates if you believe in that kind of thing. It's certainly a site with history; constructed from sandstone and slate, it was built in the 19th century and operated until 2011. It followed Parramatta's first jail in 1796, which was damaged in a fire before the 1800s hit, rebuilt, and then had its prisoners transferred to the new facility in 1842. So, if you dare, that's where you'll be watching Scream — aka the story of a town and its teenagers terrorised by a mask-wearing psychopath who really does adore scary movies. Directed by late, great horror director Wes Craven, it became an instant classic by smartly blending slasher scares and self-aware laughs. And, from Campbell (Scream, the 2022 version), Drew Barrymore (Santa Clarita Diet) and Rose McGowan (The Sound) to Courteney Cox (Shining Vale), David Arquette (Quantum Cowboys), Matthew Lillard (Good Girls) and Skeet Ulrich (Riverdale), it boasts one helluva cast. Haus of Horror's Scream screening takes place at 6pm on Saturday, April 15, and includes two hours for attendees to explore Parramatta Gaol's morgue, cell blocks and showers. Whether or not you'll see Ghostface slinking around is yet to be revealed. Also on the agenda: a bar serving beer and wine, vegan and non-vegan bites to eat, a live DJ spinning tunes while the sun sets. The movie will play at 8pm on a grassy field inside the site, showing outdoors under the stars — and picnics are welcome. Tickets cost $39, or $59 if you'd like to book a large bean bag to sit on. Check out the trailer for Scream below: Scream in a Haunted Gaol takes place at Parramatta Gaol, corner O'Connell and Dunlop streets, North Parramatta from 6pm on Saturday, April 15 — head to the Haus of Horror website for tickets and further details.
In a genre often constructed around male anxieties and fantasies, Carrie is perhaps the ultimate girl-horror film. All the things that have at some point terrified us — pregnancy, periods, prom — are there, as is the ultimate fantasy: a secret power that gives you real, total control over the world. So it was pretty exciting to hear that the Stephen King novel and iconic 1976 Brian De Palma film were to be remade, with three very kick-arse women at the helm — Chloe Grace Moretz as Carrie, Julianne Moore as her scary fanatical mother and Boys Don't Cry's Kimberly Pierce directing. Unfortunately, the completed film not only doesn't add anything particularly new to the mix, it fails to stand on its own feet and cohere its somewhat disparate components. The splatterfest comes late in any version of Carrie; for the most part the story is a different kind of unsettling. Having grown up in the hermitic and abusive care of her mother, a religious zealot, Carrie is a true misfit at school. Excruciatingly, it means she has no way of knowing, when she begins bleeding in the locker room showers, what menstruation is. Her classmates' shock and disbelief turns them into an animalistic pack, who descend upon her jeering, pelting her with tampons and, of course, recording the whole ordeal on their smartphones. It's a gut-turning scene — if only it set the mood for the whole movie. The episode affects the students involved in different ways. That's one of the most effective parts of Carrie; its nuanced depiction of schoolyard morality brings a lot of humanity to the usual portrayal of bullies versus victims, cool kids versus losers and even good teachers versus naughty kids. So a remorseless Chris (Portia Doubleday) refuses to cop the punishment from tough-but-fair gym teacher Miss Desjardin (Judy Greer) and gets suspended. Prom-Queen-in-waiting Sue (Gabriella Wilde), meanwhile, will not only run Miss Desjardin's mandated 'suicides', she'll convince her egotistic but basically nice boyfriend, Billy (Alex Russell), to take Carrie to prom instead of her, determined to give the besieged kid a nice experience of high school and assuage her guilt. Unbeknown to anyone, Carrie is starting to realise she has telekinetic powers and is giving them a work out. She has no reason to think she'll need them at prom, but at the same time, she's a little bomb waiting to go off — and brutal Chris will be providing the trigger, with a bloody prank she's masterminded to crown the evening. It's here, in Carrie's climactic revenge rampage, that the film comes most unstuck. It goes really schlock, which degrades the more earnest and intense mood of so much of the lead-up. It's also not the finest schlock available, as Carrie racks up deaths that are unoriginal (or were original, 40 years ago) and comical. Laughter is not the best release valve to have pulled at this point in the film. While Moretz is good as Carrie (there's just enough alien about her that she can pull off the outsider role), she adopts a mentally vacant robot face for this portion of the proceedings that jars. Moore is exceptional as the true villain of the piece, ultimately vulnerable but probably irredeemable. The whole thing is watchable, but for a story that actually contains multitudes of messages about girlhood, bullying and adolescent violence all while combining revenge fantasy and tragedy, it doesn't rise to the occasion. Sadly, Carrie is set to go down as another example of a film whose ingenious viral marketing stunt will outshine its cinematic impact. https://youtube.com/watch?v=j-VcPDkTySQ
One great thing about street art and public art is the way they make you see your surroundings in a different way, and draw your attention to spaces you might not have noticed otherwise. French artist Julien Coquentin has captured this in Please Draw Me a Wall, a photo series that playfully blends fantasy with reality. The photos include things like a man with a fishing rod in front of a wall of painted fish, or a little girl in a red coat staring at what appears to be a wolf. Coquentin hasn't revealed the location of the images, but Paris would probably be the most likely — the city is known for its vibrant street art scene and Coquentin is currently living in France. See more of Coquentin's images on his website or on his Behance page. Via Flavorwire
