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
It was set to open in late November, but due to unforeseen issues with electricity, Taco Bell's first NSW store was delayed. Now, it's finally here. From 11am today, Tuesday, December 3, you'll be able to waltz into Newcastle's Jesmond Central and grab a Cheesy Chipotle Burrito, Crunchy Taco or a big ol' frozen margarita. While it is Taco Bell's third attempted foray into the Australian market — the chain tried to launch here in 1981 (and was then taken to court by Sydney store Taco Bell's Casa) and again in 1997, but both attempts were unsuccessful and the brand withdrew — this time, the US chain seems to be doing things seriously. It's already opened seven Queensland locations in the past two years, is opening two in Victoria before the end of 2019 and a second NSW store in Blacktown is also set to open this summer. It doesn't stop there, either, with Taco Bell saying it'll open a minimum of 40 stores across NSW and the ACT in the next five years. We'll let you know when anymore locations are announced. For now, though, we've got Taco Bell Newcastle — and we know what's on its menu. Quesadillas, burritos, Crunchwraps, nachos, power bowls and, of course, tacos (including the Gordita Crunch with both a crunchy and soft tortilla) are all on the lineup. You can get a lot for pocket change, too, with $2.50 tacos, $3.50 mini quesadillas, $3 churros, $4 burritos and $3 cinnamon twists. And there's booze, including frozen margs and Coronas and a bit of local flavour thanks to Coopers Light and Young Henrys pale ale. If you manage to make it to Jesmond Central for opening day, you can snag yourself some limited-edition merch and one person will score free tacos for a year. Keep an eye on the Taco Bell Facebook page for upcoming freebies and limited-edition menus, too. Find Taco Bell at Jesmond Central, 28 Blue Gum Road, Jesmond from 11am today, Tuesday, December 3. It's open from 10am–10pm daily. Top image: Taco Bell Robina by Hugo Nobay
For a long time, it's felt like the city's nightlife has been in limbo. After stricter liquor and lockout laws were implemented by the State Government back in 2014, forcing a 1.30am lockout on venues in the CBD and its surrounds, many have felt the pumping soundtrack of the city dwindle — or at least heard it move out of areas like Kings Cross and the CBD and subsequently relegated to a few concentrated areas, like King Street in Newtown. But a new push to end the lockouts from the Shooters, Farmers and Fishers Party last month has reignited some hope that maybe the city won't be stuck in this limbo forever. And now, the City of Sydney has released an extensive new plan for Sydney's nightlife that will update and somewhat loosen the council's planning controls for the first time in ten years. Many of the proposed new changes would allow businesses in the CBD and surrounding villages — that includes bars, restaurants, shops, galleries and cultural institutions — to extend their opening hours through a process of application and proven good behaviour. These would be in line with how the city has grown and changed both geographically and culturally over the last decade. The plan is a result of feedback submitted by over 10,000 Sydneysiders the recommendations of the Nightlife and Creative Sector Advisory Panel, a 16-member panel that was put together by the city last year. Here are a few things Lord Mayor Clover Moore and the City of Sydney are proposing. Businesses in the CBD would be able to operate 24 hours a day (currently most can trade until 5am). This would ideally spread out the number of 24-hour businesses as, at the moment, they're all crowded around George Street and The Rocks. Outside of the CBD, small 'low impact' business along main drags — like Glebe Point Road, Crown Street and Redfern Street — would have their opening hours extended from midnight till 2am. Some live music venues and theatres would score an extra hour of trading on the nights they have a gig or performance on. Even non-licensed venues like shops and hairdressers would be encouraged to stay open later to create a more diverse late-night economy. Note that these proposals wouldn't change the venue's liquor licensing restrictions — bars that fall under the lockout laws will still have to abide by the State Government's licensing and lockout laws. In addition to this, the City is also hoping to establish a brand new 24-hour cultural precinct in the industrial part of Alexandria on the corner of McEvoy and Wyndham streets. This would house creatives and host exhibitions, parties and gigs, and service the growing population around Alexandria and Green Square. Of course, the City of Sydney can't change the lockout laws — that's the job of the NSW Government — but these proposed control changes will allow businesses to gain at least a few more freedoms within the state's restrictions. The city hopes that, with these proposals, it can safeguard Sydney's nightlife culture for the future, whether the lockout laws stay in place or not, but it's hard to see real change coming about without the State Government willing to step down on the lockouts or introduce other late-night infrastructure, like 24-hour transport on weekends. The proposals will go to council on Monday, November 19. If they're approved, they'll then go on public display until February where you can submit your thoughts and concerns. We'll let you know what happens next.
Back in the day Pearl Jam provided many a teenage angsty anthem, but time has mellowed front man Eddie Vedder. In the past few years, Vedder has struck out with some striking solo tunes, including the sublime soundtrack from Into the Wild as well as one of the tracks (and thus one of the few saving graces) from Eat, Pray, Love. Packing his iconic raspy tones and an acoustic guitar, Vedder is en route Sydney’s State Theatre for three nights of pared back music. For Pearl Jam diehards, the gilded stage and cushy red seats may prove too discombobulating, but Vedder’s voice is sure to lure you back into the heady days of your misspent youth.
It has been less than two years since Ridley Scott told the tale of Moses leading the Hebrews from Egypt using a cast of white actors. Controversy surrounded Exodus: Gods and Kings, yet that hasn't stopped the latest Hollywood effort to spin a mythical story set in the region from following in its footsteps. Gods of Egypt asks audiences to accept Game of Thrones actor Nikolaj Coster-Waldau and Olympus Has Fallen star Gerard Butler as a pair of Egyptian deities. Australians also feature, with ex-Home and Away star Brenton Thwaites as the human caught in the middle of their feud, and national treasure Geoffrey Rush also popping up, all under the guidance of local writer-director Alex Proyas. That a modicum of controversy has resulted from the casting could be a blessing in disguise, since the film offers little else to inspire much in the way of conversation. Aussie audiences might get a thrill out of spotting the likes of Bryan Brown and Tiriel Mora amidst the action, albeit only briefly. Video game fans might enjoy the movie's glossy, CGI-heavy visuals, which look as if they should be interacted with, rather than watched. Few will find much of interest in the overarching story, which sets Coster-Waldau's Horus against Butler's Set in a battle for the Egyptian throne. When the latter interrupts the former's coronation, he takes control of the nation, threatens his fellow gods into submission and enslaves his subjects. Enter Thwaites' Bek, a thief more interested in his girlfriend, Zaya (Courtney Eaton), than his divine overlords — but willing to help Horus regain his rightful place, initially simply to please the object of his affections. Gods of Egypt might sound like a sombre affair, but it soon proves anything but. Hammy performances and cheap looking special effects aren't the norm, though someone obviously forgot to tell that to the scenery-chewing Butler and whoever was responsible for the painfully unconvincing CGI flames. Elements like these are indicative of the film's cheesy, light-hearted tone. Trying to have fun with the material can't save or even significantly improve the film, but it does make it slightly easier to endure. If the feature isn't taking itself too seriously, audiences can follow suit. In fact, in making a pseudo swords-and-sandals adventure that's also an odd couple buddy comedy and a clichéd romance, perhaps Proyas isn't just fashioning a fantasy version of the past. Perhaps he's also dreaming of the future. After all, both The Crow and Dark City, the two features the filmmaker remains best known for, largely became cult hits through repeated home video viewing. Gods of Egypt is unlikely to join them, but years from now, viewers might be laughing, Flash Gordon-style, at the ungodly mess Proyas has made.
Thirty-four-metres long, more than twice as big as a regular hot air balloon and ripped straight from Patricia Piccinini's inimitable mind, Skywhale 2013 might just be one of Australia's most recognisable recent pieces of art. And, this morning at sunrise (Monday, March 9), Skywhale took flight once again as part of the Canberra Balloon Spectacular. She'll make her second (and final) solo flight this evening at 8pm from the North Lawns — so, if you happen to be in Canberra, keep an eye on the skies. Then, as of May, Skywhale will be joined by her new companion, Skywhalepapa. The new floating sculpture is designed to form a family with Skywhale, with the second bulbous sculpture commissioned as part of the gallery's Balnaves Contemporary Series. In total, the pair will take flight six times during the nearly three-month Skywhales: Every Heart Sings exhibition — with launch locations at Parliamentary Triangle and yet-to-be-confirmed sites in Woden and Tuggeranong. [caption id="attachment_751759" align="alignnone" width="1920"] Skywhalepapa, 2019/20 (artist's sketch), Patricia Piccinini. Courtesy of the artist.[/caption] The structures' first co-flight is set to take place on Saturday, May 2 from Parliamentary Triangle. As reported by The Guardian Australia, the new balloon will be around 30 metres tall, 37 metres wide and weigh a whopping 400 kilograms. While the two were meant to take to the sky together today, Piccinini told The Guardian that it was better to have a "staggered approach" and allow Skywhale to be reintroduced to Canberra before Skywhalepapa (and the duo's attached children) take to the skies together. If you can't make it to Canberra to see the growing Skywhale clan, they will also tour the country later in the year, with locations and dates still to be confirmed. https://www.instagram.com/p/B9fIa3xHmDu/ Apart from the Skywhales: Every Heart Sings installation, the NGA is offering up a whole heap of top-notch exhibitions in 2020. It'll welcome Botticelli to Van Gogh: Masterpieces from the National Gallery, London in November, boasting over 60 works from European masters — most of which have never before travelled to Australia. Art lovers can also look forward to Know My Name: Australian Women Artists 1900 to Now, which'll shine a spotlight on the nation's female creatives; Belonging: Stories of Australian Art, a major collection of 19th-century Aussie pieces; a six-month focus on Chinese artist and activist Xu Zhen; and The Body Electric, a showcase of works by female-identifying creatives that are all about sex, pleasure and desire. Skywhales: Every Heart Sings launched today, March 9 at the National Gallery of Australia, Parkes Place East, Parkes, ACT. Additional flight dates are planned for May 2 through July 25. For further information about the NGA's 2020 lineup, visit the gallery's website. Top image: Skywhale, 2013, Patricia Piccinini. National Gallery of Australia, Canberra. Gift of anonymous donor 2019, Australian Government's Cultural Gifts Program.
Indulging in Parisian-style cuisine is made easy in Milsons Point, with Loulou Bistro, Boulangerie & Traiteur serving up the full spectrum of honest French food. This month, the much-loved spot is gearing up to celebrate its fourth birthday — and, in what's become something of an annual tradition, is once again inviting pastry-lovers from near and far to bite into a $1 croissant with any coffee purchase. From 7am on Thursday, December 18, the Milsons Point venue will pump out 500 croissants, available for $1 each until they're all gone (with a maximum of two per person). Whether you're a longtime fan of the three-in-one restaurant, deli and cafe or you're just looking for an excuse to check it out, this is your chance to relish a simple but signature creation for nothing more than a gold coin. Crafted by head baker Brendon Woodward, these croissants aren't your everyday version. Made from a sourdough starter, these time-intensive pastries strike the perfect balance between buttery richness and subtle tang. Paired with a top-notch coffee, you may as well consider it an early Christmas present to yourself. While you're in the queue, a quick peek in the boulangerie cabinet will reveal Loulou's full range of baked goods, including artisanal baguettes and a myriad of sweet treats. There are even festive hampers crammed with French deli favourites, bringing another tasty element to your gifting or entertaining game this holiday season.
While Petersham stalwart The Oxford Tavern has long been able to pour pints for patrons till 3am, it hasn't, until now, been able to play live music after 11.30pm. In fact, a condition on its liquor licence prohibited it from having any form of entertainment after the time (which wouldn't have boded well back in the venue's strip club days). Thankfully, that has all changed, with the Tavern just receiving the go-ahead to have live music and DJs until 3am. It's a big win for the live music industry. And the second win in as many weeks, with Chippendale favourite Freda's just last week having its licence extended till 4am. While Newtown isn't in the lockout zone, its bars have still been impacted by the State Government's strict late-night and live music policies. In the four years since the lockout laws were introduced to curb alcohol-fuelled violence, a reported 176 venues across Sydney have closed. A year-long parliamentary inquiry into the state of the city's music and nightlife economy also found that the industry was in "peril" due to the NSW Government's history of neglect, and lack of funding. The two licence extensions were approved by the Liquor & Gaming NSW — which comes under State Government jurisdiction — so, hopefully, we're about to see some of this damage (slowly) reversed. Even with pro-lockout law NSW Premier Gladys Berejiklian in government. Canterbury Road's Oxford Tavern was once a den of debauchery — with topless barmaids, strippers and very cheap booze — but was taken over and given a new life by the Drink 'n' Dine Group (which, when it was still operational, was run by Jaime Wirth, who just re-did The Duke) back in 2013. Then, this January, it was taken over by brothers James and Josh Thorpe — who currently own Darlinghurst beer pub The Taphouse and, more recently, its sour ale and natural wine bar Odd Culture. They've filled it with heaps of craft beer, including its own craft beer bottle shop, a leafy courtyard and — now — late-night tunes. The Oxford Tavern is located at 1 New Canterbury Road, Petersham. Its live music licence has been extended until 3am on Fridays and Saturdays nights, effective immediately.
Amid an ongoing legal battle, Australia's answer to a certain cult American burger chain Down N' Out has put out a call for suggestions for a new name, after Federal Court Justice Anna Katzmann ruled Hashtag Burgers (the team behind Down N' Out) "sailed too close to the wind" when it came to appropriating the name, menu and design of the California-based In-N-Out. Down N' Out declared on Facebook that there was "nothing left to do except eat away our feelings", while sharing its latest weekly special — that surely no one could fit their mouth around — filled with double meat, triple cheese and beer-battered onion rings. The post asks for ideas on what the next iteration of the business should be called, saying the person behind the winning suggestion could "win free burgs for life". [embed]https://www.facebook.com/downnoutofficial/photos/a.1207446045955152/3095562290476842/?type=3&theater[/embed] Co-owner Ben Kagan told Concrete Playground that he and business partner Andrew "Archie" Saliba, "opened Down N' Out in 2016 with no hospitality background and very little experience". "We have always done our own thing and we are disappointed with the outcome," Kagan continued. "However we know that our fans will continue to support us regardless of what our name is. We may be down at the moment but we sure as sh#t aren't out." Since popping up at the Sir John Young Hotel on Liverpool Street in 2016, Down N' Out has spawned its own CBD restaurant and outposts in Ryde, Castle Hill and Crows Nest. The case between In-N-Out and Hashtag Burgers is set to continue in court next month, so we'll keep you updated as we learn more. You can suggest a new name for the burger shop on the Down N' Out Sydney Facebook page, and read Federal Court Justice Anna Katzmann's full ruling over here.
After throwing open the doors to its new development in Brisbane in 2018 and announcing it'll be laying foundations in Sydney as well, the next destination on the horizon for luxe hotel chain W Hotel will be Melbourne. W Melbourne is slated to open in December 2020 on Collins Street in the middle of Melbourne's shopping heartland. Following Brisbane's ten-gallon baths and Sydney's flashy pool deck overlooking the harbour, the Melbourne digs look to be no less indulgent. W Melbourne will encompass 294 rooms and 29 suites, including an 'Extreme Wow Suite', which has its own 40-square-metre balcony with views of the Yarra, a jukebox and cocktail bar. Designed by New York-based Shop Architects, global design firm Woods Bagot and interior designers Hachem, W Melbourne will also house a 14th-floor spa, gym and a heated indoor pool with a gold-adorned roof, as well as a poolside bar and DJ decks. And, for those needing function space, W will have more of it than you can physically fill (under current COVID-19 restrictions, at least) — a 830-square metre space for conferences, meetings or holding lush balls. [caption id="attachment_673553" align="alignnone" width="1920"] Collins Arch[/caption] On the food and drinks front, you'll have four in-house venues to choose from. The 30-seat Warabi will be your go-to for Japanese fine dining, while Lollo will be run by a "renowned local chef" — we'll let you know exactly who that is when it's announced. Curious bar promises an "all-night experience" like "falling down a rabbit hole" and Culprit will flip from a cafe during the day to a wine bar at night. Functioning, too, as the bottom 20-storeys of a towering new precinct called Collins Arch, W Melbourne will sit on Flinders Lane. The $1.3 billion new precinct will be comprised of two towers of commercial, residential and retail spaces, joined at the top by a dramatic sky bridge. With international travel looking like it'll be off the cards for Australians for a little while longer, the opening of the dramatic W Hotel may be a good excuse to plan a trip to Melbourne or staycation when the hotel opens. W Melbourne is slated to open on Flinders Lane in December 2020.
It's no surprise that the rainforests of Tropical North Queensland are among the most spectacular in the world. These ancient forests are the oldest of their kind, with some sections 80 million years older than the Amazon. They've even got the Galapagos Islands beat when it comes to biodiversity, with a staggering array of flora and fauna calling the Wet Tropics home. Don't just take our word for it, though — Sir David Attenborough famously dubbed the region "the most extraordinary place on earth". When you consider the environmental significance of this lush, green wonderland, it really makes you want to dig a little deeper — and there are plenty of ways to do so responsibly. Here are our top tips for your next travels to the tropics. [caption id="attachment_842262" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] EXPLORE A CASTLE IN THE RAINFOREST For a bit for fairytale magic, you can't forget a day discovering Paronella Park. José Paronella created this paradise when he moved, with his new bride, to Tropical North Queensland from Spain in the 1930s. The castle in the rainforest was built with a tennis court, movie theatre and a luxury ballroom — Paronella also planted over 7000 trees on his land and built a suspension bridge to sit above the park's own waterfall. Paronella was also an engineering pioneer, developing the region's first hydro electric system in 1933. This was restored by the park custodians just over a decade ago, and now powers the entire park. If you didn't think it could get any dreamier, today Paronella Park blends in beautifully with its environment, a soft layer of green moss glazing the castle walls. You can explore this parkland with a 30-minute guided tour where you will learn more about it's fascinating history and discover the wildlife that inhabits it. Your entry fee will help fund the restoration of this heritage-listed site — plus, it's valid for two years, meaning you can return to the magic again and again. [caption id="attachment_844234" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] STAY SOMEWHERE THAT'S ECO-CERTIFIED You don't have to skip out on luxury to do things sustainably — the rainforest is home to some amazing accommodation options that work with it's environment, not against it. Right in the heart of the Daintree, you will find an array of bayans (treehouses) amongst the lush rainforest. The Daintree Ecolodge is the perfect place for the environmentally conscious traveller — its many sustainable practices include funding native reforestation projects, recycling 100 percent of its water for irrigation and watering and donating $50 per guest stay to the Reef Keepers, an environmental fund that helps preserve the Great Barrier Reef. You can feel disconnected from the world without harming it — enjoy secluded walks to a private waterfall, relaxing at the wellness spa or pool and eating delicious fresh food (from the onsite veggie patch) at the restaurant overlooking the lagoon. Another option is the beautifully secluded Thala Beach Nature Reserve, a tropical oasis with its very own private beach located between Cairns and Port Douglas. Here, you can kick back and relax in a treetop villa and enjoy fresh local produce at Ospreys Restaurant. Also on offer are wildlife walks with flora and fauna experts, stargazing by the sea and Australia's only coconut tour. Plus, you know you can trust this eco-resort, with its having been awarded the Green Travel Leader with Ecotourism Australia after meeting a strict criteria for a decade — the owners of the lodge worked for over 30 years to re-establish the native forests on the land that had previously been degraded by farming. LEARN ABOUT RAINFOREST AND CASSOWARY CONSERVATION The cassowary is a fruit eating dinosaur-like bird that disperse big seeds, meaning it is crucial for the survival of many rainforests tree species. It is a fascinating creature that plays an important role in maintaining the diversity of the rainforest so it is important we conserve this species. The Community for Coastal and Cassowary Conservation (C4) in Mission Beach is dedicated to protecting the southern cassowary and the local coastal habitat through community activities and awareness. If you want to spot one of these beautiful birds in their natural habitat, then stop by the C4 Environmental Display Centre - here you will learn the best way to see a cassowary and discover more interesting facts. And, if you want to get more involved in the conservation process while on holiday, you can take part in C4 planting days and information sessions. Keep an eye on the organisation's website to see what's happening. [caption id="attachment_828486" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] TRAVERSE THE TREETOPS VIA SKYRAIL RAINFOREST CABLEWAY Located just 15 minutes north of Cairns you will find the spectacular Skyrail Rainforest Cableway, where you can explore the oldest continually surviving rainforest in the world from a new perspective. Enjoy the stunning panoramic vistas in a cableway that glides over the lush jungle canopies between Smithfield and Kuranda, or discover Red Peak Station with a complimentary ranger-guided walk and see the prehistoric Barron Falls. You can immerse yourself in stunning nature without worrying about your impact. Skyrail has cemented itself as a sustainable business after being one of the first tourism attractions in Australia to achieve the Ecotourism Australia Advanced certification, which they have maintained for 20 years. [caption id="attachment_845207" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] GET INVOLVED WITH WILDLIFE HABITAT Just a one-hour drive north of Cairns, this Port Douglas wildlife park provides an incredible way to connect with native fauna. The animals at Wildlife Habitat live in five carefully recreated natural environments, including wetlands, rainforest, savannah, nocturnal and woodlands, with each habitat offering guests a sneak peek into the interconnected lives of these beautiful creatures. Wildlife Habitat is guided by the ethos of 'observation, appreciation, conservation', which promises safe and sustainable interactions with animals. Guests are invited to swim with saltwater crocodiles, have breakfast with native birds, or cuddle a sweet koala. The park is also home to the Tropical Animal Rehabilitation Centre, which cares for sick, injured and orphaned animals. [caption id="attachment_844225" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] VISIT THE DAINTREE DISCOVERY CENTRE If you want a truly unforgettable view of the Daintree Rainforest, head to the Daintree Discovery Centre at Cow Bay. The famous aerial walkway has been standing for 30 years offering easily accessible stunning views without disrupting the precious root system below. There is also a Canopy Tower boasting 23 metres and boardwalks, offering multiple tours for those itching to discover. The centre is a leader in ecotourism, doing its bit to preserve the World Heritage area through waste management, recycling and water conservation initiatives, actively planting trees and exceeding its quota to maintain carbon-neutral status, sponsoring research programs, and more. Its Canopy Tower and Micrometeorological Weather Station and Centre also contributes to important Climate Change research. [caption id="attachment_844236" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] SEE THE DAINTREE WITH SOLAR WHISPER Solar Whisper is the only zero-emissions boat on the Daintree River (Julaymba) and is a small, family operated business - making it our top pick to explore the river. The solar electric vessel is whisper quiet, meaning you can soak in the sounds and smells of tropical wildlife without yucky fumes and disturbing noise. It is the perfect way to get closer to nature without impacting it. An experienced interpretive guide will take you through the river, rainforest and mangroves to spot a spectacular ecosystem of wild life including snakes, frogs, crabs, fish and birds. Plus, if you are lucky you might spot a crocodile above the water or with the croc cam fitted to show any creatures hiding away beneath the surface. With a 99% success rate for spotting crocs, Solar Whisper is a great way to see these impressive creatures in their natural habitat. NGADIKU DREAMTIME WALK For anyone visiting the incredible Mossman Gorge in the Daintree Rainforest, a Ngadiku Dreamtime Walk is definitely not one to miss. This is the perfect experience for those wanting to gain a deeper understanding of the Daintree land. The Dreamtime Walk commences with a welcoming smoking ceremony and then your guide will lead you on a gentle walk through the many sights of the lush rainforest. You will see traditional huts or humpies, learn about traditional plant use and bush foods and make bush soaps and ochre paint. Plus, your Indigenous guide will share Dreamtime stories that reveals their connection with the tropical environment. After you have worked up an appetite, you will end the tour with a bush tea and damper. [caption id="attachment_845848" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] GET INVOLVED IN RAINFOREST RESCUE To protect rainforests forever. This is the heartbreakingly simple vision of Rainforest Rescue, a not-for-profit conservation organisation that has been operating since 1999. Its team searches locally and internationally for sections of vulnerable rainforests that could benefit from conservation assistance. Once identified, these rainforests are purchased by Rainforest Rescue to ensure their future safety, and are maintained as conservation zones. Basically, these guys are the real-life version of Captain Planet, but luckily, you don't need superpowers to join the mission. Through its Buy Back & Protect Forever scheme, each $10 donation will protect two square metres of the Daintree. Rainforest Rescue also welcomes any green-thumbed volunteers to apply to become involved with its North Queensland plant nursery. Ready to plan a trip to the tropics? For more information, visit the Tropical North Queensland website. Top images: Tourism and Events Queensland, Tourism Tropical North Queensland
It was back in September 2022 that Weird: The Al Yankovic Story first hit screens, premiering at the Toronto International Film Festival with its happily ridiculous take on its namesake's life, and with Daniel Radcliffe (The Lost City) sporting a mop of curls to play the titular part. And, it was in November last year that the film became available to stream in the US, releasing via The Roku Channel. Since then, however, there has been no sign of the movie Down Under. That is, unless you took Weird Al's advice. The man himself noted on Twitter at the time that "Roku's working on it. In the meantime there's VPN (Very Probably No) way to watch it legally. I'm sure you have a TORRENT of other questions, but I have to move along, sorry." Roku's working on it. In the meantime there's VPN (Very Probably No) way to watch it legally. I'm sure you have a TORRENT of other questions, but I have to move along, sorry. — Al Yankovic (@alyankovic) November 5, 2022 Thankfully, come Thursday, March 2, Weird: The Al Yankovic Story will finally hit streaming in Australia thanks to Paramount+. When you're not getting yourself and egg and beating it, you might want to mark that date in your diary. This is the 100-percent Weird Al-authorised take on his own accordion-playing existence, so expect 'weird' to be the word in more ways than one. Indeed, in too many music biopics to count, a star is born — and also rises to fame after putting their talents towards a dream that's inspired them as long as they can remember. Weird: The Al Yankovic Story follows that same formula, but also parodies it. It wouldn't be a movie about Weird Al if it didn't take something that already works, then give it a satirical spin, now would it? "My whole life, all I wanted was to do... was make up new words to a song that already exists," Yankovic, as played by Daniel Radcliffe (The Lost City), says Weird's full trailer — which, yes, looks gloriously ridiculous. This line bookends glimpses of a childhood Al happily thumbing through accordion magazines and getting caught at a polka party. In other words, this humorous look at the man behind oh-so-many humorous songs takes the exact approach a film about Weird Al really has to. Viewers can also expect: accordions, obviously; recreations of Weird Al's film clips and live performances; oh-so-many Hawaiian shirts; chaotic meetings with Madonna, as played by Westworld's Evan Rachel Wood; and origin stories behind tracks like 'My Bologna' and 'Like a Surgeon'. Beneath wire-framed glasses, those shirts, that hair and Yankovic's instantly recognisable moustache — and in a piece of casting that seems like it jumped straight from the internet — Radcliffe looks to be having the time of his life as the musician behind 'Another One Rides the Bus', 'Smells Like Nirvana' and 'Amish Paradise', plus comedic riffs on pretty much every other big song of the past four-plus decades that you can think of. Yankovic is one of the screenwriters, alongside director Eric Appel (a TV sitcom veteran with Happy Endings, New Girl, Brooklyn Nine-Nine and top-notch cop-show parody NTSF:SD:SUV on this resume). If the man in the spotlight's career has taught us all anything apart from the wrong words to pop hits, it's that he doesn't take a single thing, including himself, seriously. Weird: The Al Yankovic Story will hit Paramount+ in Australia with perfect timing, because Yankovic is touring the country in March, playing Melbourne, Adelaide, Sydney, Perth and Brisbane. Check out the trailer for Weird: The Al Yankovic Story below: Weird: The Al Yankovic Story will stream in Australia from Thursday, March 2 via Paramount+.
The unofficial drink of last summer, frosé seems to be sticking around for another season — not that we're complaining, we love a glass of the frozen pink stuff as much as the next person. This year, though, it's getting a serious upgrade at Untied. The Barangaroo bar has launched a pour-your-own frosé bar, called Froze Your Way, with six different slushie flavours: peach riesling, kiwi melon blanc, watermelon, passion pineapple blanc, frozen Aperol and the good ol' standard frosé. As well as being able to pick your flavour, you also get to pick your own next-level garnishes. [caption id="attachment_753549" align="alignnone" width="1920"] Jasper Avenue[/caption] Think pick 'n' mix candy, but on top of your alcoholic slushie — a win for and your inner child alike. The toppings you can choose from include jelly beans, lolly bananas, gummy bears, rainbow straps and sour worms, as well as dried and fresh fruit A big glass of frosé (with add-your-own toppings) will set you back $12 — or $7 if you head by during happy hour, 4–6pm daily. Or, if you really want to go all out, you can enjoy two hours of bottomless glasses for $39 from Thursday to Sunday. Talk about a sugar high. Updated: January 28, 2020. Images: Jasper Avenue.
This month, Gallery 9 is welcoming back Israel-born artist Tonee Messiah for A New Famine, her ninth solo exhibition with the Darlinghurst gallery. A painter uniquely skilled in gentle observation, Messiah is known for her intuitive ability to aesthetically represent emotion, to mysteriously capture the fleeting, poetic and interior moments in life that are often challenging to pin down. Likening painting for her to another form of thinking, she describes her latest series in A New Famine as "landscapes of the mind". Building surfaces with both soft and hard forms that merge and overlap in an "archaeological drift", the paintings offer up soft, unfurling shapes and blooms alongside denser areas of pastel and crayon. Placing agitation alongside a floating weightlessness, the series conveys both a sense of movement and mystery. It's the type of show where you'll stare deeper and deeper into a painting until you feel at risk of falling in. Fun fact: Messiah has been described as one of the most collectible young artists in Sydney by industry folks. Why not go along and fantasise about where you'd hang your very own? Image: Tonee Messiah, Terrarium Ecology [cropped], 2017.
Nestled into the sleepy suburb of south Sydney's Grays Point, Jack Gray is a cafe by day and a wine bar by night. Open for coffee seven days a week and drinks on Fridays and Sundays, the venue is an exciting opening for The Shire, with top-notch eats, an exciting wine list and live music all in one place. Jack Gray is the passion project of owner Ben Coombes who wanted to turn his neighbourhood cafe into a community hub for Grays Point. "Our focus is to bring people together, whether it be with coffee or wine," says Coombes. Located on the edge of the Royal National Park, the cafe is an ideal stop for breakfast for anyone heading towards local parks, hikes or the nearby Pork Hacking River, as well as a reliable pitstop for locals on the hunt for their morning coffee. The all-day menu features breakfast classics done well. There are scrambled eggs with caramelised leek, vintage cheddar and sourdough; bacon and egg rolls made with Ironbark bacon and house-made apple and tomato relish; or banana crepes with vanilla bean ricotta, maple toasted almonds and dulce de leche. There's also a selection of loaded deli rolls that won't set you back CBD prices. Pick up a takeaway ricotta, caramelised onion, manchego cheese and mushroom breaky roll or a smoked salmon bagel. Come wine bar afternoons every Friday and Sunday, the baristas transform into bartenders and the focus becomes cocktails. There's, of course, a wine list that balances crowd-pleasers and interesting varieties including regional NSW pét-nats and "funky" South Australian reds. Accompanying the drinks are share plates of bar snacks like hummus or a peach and burrata salad, and soft-shell tacos. Crafted on locally made corn torillas, the tacos feature toppings like barbecue chorizo with tomatillo chimi churi, and irresistible vegetarian option that combines roast pumpkin, spiced cauliflower, avocado, salsa and pickles. Appears in: The Best Cafes in Sydney
Paula Scher has been painting maps since the 1990s. Using vibrant colours and stunning detail, some of these paintings have grown to stand at over 12 feet tall. 39 of her works of art have now been collected in her new book, aptly titled MAPS. The paintings actually house a remarkable amount of substantial information. In one painting, named 'International Air Routes', she has included flight paths and names of different airlines, while 'World Trade' has international currencies and trade routes. All of this information is crammed into an array of colours and geographical lines, which really have to be seen to be believed. Importantly, her book features close-up shots so the reader can truly appreciate every intricacy. Scher says "I began painting maps to invent my own complicated narrative about the way I see and feel about the world. I wanted to list what I know about the world from memory, from impressions, from media, and from general information overload. These are paintings of distortions.” In her book you will find maps of everywhere from China to New York City. Not only visually stimulating, Scher's pieces offer an individual distortion of the world and strong commentary about our society and often chaotic lifestyles. [via Cool Hunting]
An abandoned roller-door garage along Abercrombie Street isn't the most likely of places to have a bookshop. But then again, you wouldn't call Press Books an ordinary bookshop. Celebrating print in all its forms, Press Books stocks a wide variety of zines, small-print publications, photobooks, artist monographs and other little tidbits from the likes of independent publishers Perimeter Books, Rainoff, Gang Atelier and more. And for all you film photographers out there, they're also one of the only two Sydney locations home to a Hillvale drop-box.
You can forget about cramped seats and other people's heads obscuring your view of the big screen when you next catch a flick, because Sydney has scored a new next-level movie-going experience. And it's from the same minds behind Gold Class, V-Max and the multi-sensory 4DX cinema. The latest luxe additions to Event Cinemas George Street, the two boutique theatres each boast their own unique design, the 'Paparazzi' auditorium inspired by red carpet glamour and sibling space 'The Library' celebrating the art of storytelling. They're intimate cinemas, with room for just 46 and 28 guests, respectively. Dubbed Event Boutique cinemas, they're decked out with luxurious recliner chairs, state-of-the-art sound technology, in-seat waiter service and a not-boring menu of food and drinks. [caption id="attachment_725804" align="alignnone" width="1920"] The Library[/caption] Step inside and you're in for a premium experience, helped along by extra large screens featuring world-class laser projection. What's more, while you're kicking back watching a film, you'll also be tucking into a top-notch lineup of eats and drinks — delivered to your seat by a waiter, of course. Think platters of cheese and charcuterie courtesy of Vic's Meats, smashed avo, croissants and banana loaf from Sonoma Bakery, as well as wagyu beef burgers, braised brisket pies, reuben sandwiches and mini pizzas topped with the likes of mortadella and pumpkin and goat's cheese. For dessert, there are fried-to-order cinnamon doughnuts, pints of Magnum ice cream and popcorn-topped chocolate brownies, as well as all the candy bar classics. As an added bonus, each Event Boutique cinema is customisable, so they're primed for functions, special events and private screenings (if you wanna be that extra). It's just the latest luxe cinema experience to land in Aus, too, with Palace Cinemas also recently stepping things up a notch with its Palace Platinum offering, now available in Sydney, Brisbane, Perth and Melbourne.
Tasmania has firmly established itself as a go-to destination on Australia's culinary map. The island's verdant farmlands and inventive chefs produce some of the finest cuisine in the country. Plus, a budding collection of paddock-to-plate restaurants are helping visitors to better appreciate the island state's incredibly rich variety of produce. Here, we've teamed up with Tourism Tasmania to highlight a selection of incredible restaurants where almost everything you feast upon is locally grown and produced. Got a penchant for restaurants that champion sustainability and seasonality? It's time to push Tassie to the top of your travel list. [caption id="attachment_866855" align="alignnone" width="1920"] Van Bone[/caption] VAN BONE Set against the backdrop of Marion Bay's picturesque coastal landscape, Van Bone's eco-conscious philosophy ensures it stands out as a quintessentially Tasmanian fine dining experience. Led by chef Tim Hardy and his partner Laura Stucken, the venue offers seasonal and hyperlocal dishes with incredible vistas and refined architecture to match. Seating just 20 guests, the intimate venue sees diners gazing upon rolling green hills as the chefs prepare the daily degustation menu in an open kitchen. Much of the produce on offer here is grown in the kitchen garden and orchard, while nearby suppliers provide everything else. [caption id="attachment_865477" align="alignnone" width="1920"] Jarrad Seng[/caption] THE AGRARIAN KITCHEN EATERY Rodney Dunn and Séverine Demanet have long been fascinated by the relationship between everyday food and the earth that provides it. After opening in 2015, The Agrarian Kitchen Eatery has helped the couple explore this dynamic further, with their spacious venue in the rural community of New Norfolk serving local, seasonal cuisine that celebrates its origins. Many of the ingredients used across the restaurant's woodfired and hot-smoked dishes are grown on a nearby farm and showcase a relaxed expression of Tasmanian cuisine focused on local, small-batch makers and producers. Soon, the duo will share their skills via a new cooking school and kitchen garden which are set to open alongside the restaurant in October this year. [caption id="attachment_865491" align="alignnone" width="1920"] Nat Mendham[/caption] STILLWATER Set in a 19th-century flour mill overlooking a charming estuary in Launceston, Stillwater has been recognised as one of the country's top paddock-to-plate restaurants since its launch. Renowned for its casual fine dining, the venue boasts a highly seasonal menu with almost everything on it grown locally. Open for breakfast, lunch and dinner, Stillwater delivers a distinctly Tasmanian dining experience that's only made better by its picturesque setting. Plus, the knowledgeable staff will be more than happy to walk you through where each ingredient is sourced, from the meat to the herbs. [caption id="attachment_868520" align="alignnone" width="1920"] Jason Charles Hill[/caption] WATERLOO INN Overlooking the east coast of Tasmania about a 30-minute drive from Freycinet National Park, the Waterloo Inn offers simple, seasonal cuisine that reflects its stunning location in Swansea. Housed inside an unassuming hotel, Waterloo Point, the restaurant is guided by chef Zac Green's (ex-Movida) ode to cosy pubs that dot the island's often chilly coastline. Taking cues from the weather and the available local produce, the three-course Sunday set lunch changes by the week so it's best to keep an eye on the restaurant's socials for updates. Head along soon to experience this local favourite before it becomes a bona fide interstate icon. Booking are essential. [caption id="attachment_865478" align="alignnone" width="1920"] Liam Neal[/caption] FAT PIG FARM Matthew Evans and Sadie Chrestman (of Gourmet Farmer fame) have established Fat Pig Farm – a thriving working property that hosts a multi-course Friday Feast (as well as the occasional Thursday session) — on a 70-acre block in the Huon Valley. These long lunches almost exclusively showcase ingredients grown on the surrounding paddocks. Its heritage apple orchard, market garden, chooks, cows and namesake Wessex Saddleback pigs offer a communal experience for diners to explore the flavours of the Huon Valley. Matthew and Sadie even take guests on a guided tour of the farm between courses, bringing diners closer to the source of their food. [caption id="attachment_865479" align="alignnone" width="1920"] Kelly Slater[/caption] TIMBRE Just a short drive from Launceston in the Tamar Valley, Timbre offers an ever-changing seasonal menu that highlights the region's very best producers and growers. Plus, you can soak up the pastoral views and serene landscapes of the grounds of adjacent Vélo Wines as you enjoy a variety of woodfired dishes. You can choose from standard or deluxe banquets or opt for a selection of tasty shared plates. Although the offering is constantly changing, some recent highlights include pork rib with fermented manzano chilli and miso caramel mousse topped with honeycomb. With exceptional wine coming from the vines outside, Timbre is a must-visit dining destination to add to your Tasmanian food itinerary. Ready to plan a trip for your tastebuds around Tasmania? To discover more, visit the website. Top image: Tourism Tasmania and Peter Whyte
If you've ever wondered how variety can be the spice of life if simplicity is the ultimate in sophistication, it will do you good to head along to Sagra, one of Darlinghurst's most talked about Italian restaurants tucked inside a cute corner terrace on Stanley and Riley Street. With a juicy reputation in and around the eastern suburbs for unpretentious, humble Italian like Nonna used to make, on a menu that changes daily, you’ll soon understand how tasty this so-called paradox can be. Literally translating to 'festival' (of the small town variety), Sagra is owned and operated by head chef Nigel Ward (Lucio’s, Sean’s Panaroma and Trullo in London), and it’s safe to say the main attraction here, apart from the thoroughly inviting home-like and sparse-yet-still-cosy interior, is his philosophy of seasonally inspired food without the frills. Throw in traditional and cheeky Italian service with a genuine appreciation of the dishes in-hand, as well as knowledge of wines back home from The Boot, and you’ve got yourself plenty of reasons to nab a space at one of the 11 or 12 tables scattered inside. Luckily, you can book. When in Rome we began with a Negroni ($15) as we munched on the complimentary house-made bread and plump Sicilian green olives. Then one of the few long-term dishes made its way to our mouths: garlic soup (if, like on our visit, this isn’t displayed on the menu, definitely ask). Made from pureed Aussie cloves and olive oil, pepper, bread and cheese, this friendly little bowl packs a punch without any aftermath, smacking fellow diners in the face via your breath and their nostrils. The visible menu is divided between antipasti, primi (pasta) and secondi (main courses usually in the form of one meat and one fish). Skipping the antipasti in favour of the aforementioned favourite, we moved onto the pappardelle ($17) mingled with mascarpone, rocket and 'nduja (spreadable, spicy pork sausage) and some seriously good malfatti in sage butter (blob-like pasta balls literally meaning “badly formed”). Both dishes were perfectly proportioned, leaving plenty of room for the pork ($31), gemfish ($29) and rosemary potatoes ($7) that followed. The pig was tender and accompanied well with cabbage and verjuice salsa, while the thick white fish kept its natural flavour alongside cauliflower and heirloom carrots. Wine-wise our waiter helped us out with a powerful bottle of Italian Nebbiolo from the Piedmont region (also not on the menu). As we say here in Oz: too easy. At the end of the night and a little time poor, in search of something sweet we sadly had to substitute the house-made ice cream with a shot of thoroughly satisfying house-made lemoncello. But to be honest, after a couple of hours eating, drinking and generally being as merry as those fabulous Italians themselves, we’re not ashamed to admit “in search of something sweet” actually meant finding any excuse not to leave. Hey, simple variety. We love it.
The transformation of what was formerly The Bristol Arms Hotel — a classic CBD boozer on Sussex Street with traditional interiors and a bog-standard pub grub menu — into The Bristol — a five-level, multi-venue hospitality hotspot with a stunning rooftop bar, a celebrity chef overseeing the food offering and a no-expense-spared fitout — has captured the attention of Sydneysiders. While The Rooftop, with its colourful Mediterranean vibes and spacious terraces, is perfect for a sunset sip, The Bristol's sleek and sophisticated cocktail lounge, Midtown, is the place to be after dark. Its dark wood panelling, deep-pile carpets, velvet loungers and marble-topped bar set a luxuriant tone — a sultry, intimate space where Gatsby-coded art deco decor mingles with Vegas-esque levels of decadence and fun. Overseeing the all-important cocktail menu is Tom Opie, a finalist in the 2024 Bartender of the Year Awards and the recent National Winner of the Stauning Drinks Kollektive. Much like the decor, his approach fuses traditional concepts with contemporary flourishes, delivering riffs on the classics that also showcase a sense of play. Standouts include a singular take on the espresso martini featuring juiced sweet potato and sweet potato skin caramel and a dirty martini supercharged with absinthe, banana and olive brine. The infamous Sex On The Beach gets a classy makeover with the addition of acidified blood orange and okar amaro bitters, while more avant-garde libations for the true cocktail connoisseur include a signature champagne cocktail starring fermented calimansi, Armagnac and a calimansi reduction. Chef Peter Conistis (formerly of Alpha), who has delivered dining concepts for all five of The Bristol's venues, has created bar snacks that lean luxe while still being accessible. Think Thesauri Ossetra caviar served with blinis, crème fraîche, taramosalata and chives, and halloumi fries with mint and black olive crumble. For those with a sweet tooth, there are sharable treats like popcorn with dark chocolate and baklava. The entertainment offering will include live jazz performances, courtesy of a baby grand piano in the main bar area, while a striking, marble-clad fireplace adds a touch of cosiness when the colder months roll around. While Midtown is a nightlife destination in its own right, all the venues in The Bristol can work in concert to deliver an end-to-end solution for a complete night out all under one roof. Begin with drinks at The Rooftop or at the ground-floor casual bar before dinner at the soon-to-be-opened Greek diner, Ela Ela. After your meal, it's time for a few after-dinner drinks at Midtown before heading one floor down to the venue's nightclub Calypso, where you can dance into the small hours. Images: Steven Woodburn
The house where the Kerrigan family came to enjoy the serenity in the 1997 Australian film The Castle is now up for sale. While there's no pool room, the two-bedroom fibro shack boasts an open-plan kitchen, bathroom, laundry and combined dining and living area which opens onto the verandah, complete with original mozzie zapper. In recent years, the property has been used as a rental home, attracting city dwellers who want to reconnect with nature, family, and the vibe. Located 2.5 hours drive north-east of Melbourne on the banks of Lake Eildon, the beloved Bonnie Doon is a waterfront haven for those who love water sports, carp fishing and the smell of a two-stroke engine. https://youtube.com/watch?v=PmlMv5givwQ The property is enhanced by a magnificent set of power lines adjacent to the property, which stand as an important reminder of man's ability to generate electricity. It's also flanked by a vacant plot, so there's lots of spare ground if you want to dig a hole or practise kickboxing. As well as the property, the buyer will also be the proud owner of other pieces of memorabilia from the film, including Tracey Kerrigan's diploma of hairdressing from Sunshine TAFE, as well as a set of jousting sticks – a must-have for all family holidays. Sydneysider Richard Moseley first bought the property in 2006 for $170,000. It went on the market again in 2011 with an asking price of $195,000 but failed to sell and now it's set to hit the market again next week for $240,000. The last time it went to sale, the real estate agent was bombarded with calls from people who would ask the price — only to be followed with "You're dreamin!" and a dial tone. It apparently began to wear thin quite quickly. Via Domain.
Been spending the first half of 2021 pondering the future? Given how the past year has panned out, that's only natural. But in the early hours of Friday, June 25, you might want to look to the skies as well — and feast your eyes on this month's noteworthy lunar sight. For folks located Down Under, this is when you'll see this year's 'strawberry' full moon. According to NASA, it could also be considered a super full moons, with different publications split on the matter. If you choose to deem it a supermoon, you'll know that they aren't particularly rare — one occurred back in April, and then another took place in May — but there are still plenty of reasons to peer upwards this time around. 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. June's full moon is called a strawberry moon not because it's pink or red — it isn't — but because that's when strawberries traditionally ripen in the northern hemisphere. Of course, it's currently winter in the southern hemisphere, but the name still sticks. And, if you're going with the supermoon school of thought, that name applies to 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. Again, they're not all that uncommon — whether or not you want to claim this one as a supermoon. WHEN CAN I SEE IT? If you're keen to catch a glimpse, you'll want to peek outside on Friday, June 25. In Sydney, Melbourne and Brisbane, the moon will be full at 4.39am according to Timeanddate.com. In Adelaide, that time moves forward half an hour, so it'll take place at 4.09am — and in Perth, it'll be earlier still, at 2.39am. Those times refer to the exact full moon time. Of course, the moon will still be visible in the sky before then — and looking rather full, even if the exact minute hasn't arrived. So, if you'd prefer to take a gander at a more pleasant hour on Thursday, June 24 or even in the evening on Friday, June 25, that's understandable. WHERE CAN I SEE IT? 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 on Friday, June 25 . The 'strawberry' full moon occur at 4.39am AEST on Friday, June 25 along Australia's east coast — although the moon itself will be visible in the sky all evening before that. For further information, including about timing, head to Timeanddate.com.
UPDATE, Friday, February 7, 2025: Blur: To the End and Blur: Live From Wembley Stadium are both available to stream via DocPlay. In Blur: To the End, headlining London's famous Wembley Stadium is the pinnacle of Damon Albarn, Graham Coxon, Alex James and Dave Rowntree's careers so far. For two nights in July 2023, the Britpop band played their biggest-ever gigs to a crowd of 150,000 — shows that had been a dream not just since the group initially formed in 1988, but when high-school friends Albarn and Coxon watched 1985's iconic Live Aid concert on TV. Blur enjoyed no shortage of highlights in 35 years beforehand, of course; thinking about British music in the 90s means thinking about the foursome instantly. Still, in the latest documentary to turn the camera their way, which is playing big screens in Australia thanks to the 2024 British Film Festival, there's no doubting what standing on Wembley's stage at this point in their journeys, after reinventions, hiatuses, reunions, solo projects and more, means to the band. If the feeling that's written across Albarn, Coxon, James and Rowntree's faces when To the End finishes could be summed up by a snippet from one of their songs, the "woo hoo!" chorus from 1997 hit 'Song 2' would actually work nicely. That sensation — that immense emotional reaction, too — is evident not only in the intimate doco from Transgressive record label co-founder, filmmaker and lifelong Blur fan Toby L, however. It's also clear in accompanying concert film Blur: Live From Wembley Stadium, which captures the first night's show in like-you're-there detail (including largely sticking close to the band, so that viewers can truly witness what the gig means to them as they work through a two-hour set filled with everything from 'Popscene', 'Girls & Boys', 'Parklife' and 'Country House' to 'This Is a Low', 'To the End', 'Tender', 'The Universal' and 'The Narcissist'). Asked about what that pure joy was like to witness — Albarn comments in the film that the moment was as good as it gets — Toby L stresses how it genuinely did feel like the pinnacle for the band. "I can honestly say yes. And I know that if all four of them were asked that question, they would all agree. Which is amazing, because what must be it like to be at this point in your lives where you feel you've done one of your best albums, and you've done your best and biggest gigs?" he tells Concrete Playground. "I think just on a completely subconscious level for any performer, even if they pretend they don't want to get to that level, I think there's that sense of attainment and achievement that is the zenith of possibility. To not only play it, but to headline it and sell it out, I think it is the bucket list for every artist, potentially, that wants to get to a certain level." "And the feeling in the stadium both nights was so electric. I've been through a lot of big gigs and a lot of stadiums and a lot of festival shows, and they're always fun but, truthfully, sometimes the scale is just hard to make it feel personal and intimate. But somehow those gigs were. And anyone that was there — people that work in the music industry, everyone has recounted how something happened that was next-level in terms of the emotional connection," Toby L continues. "So yeah, it really was what the film portrays, that sense of it being a bit magic, and Damon being quite rarely open about the fact it's kind of the pinnacle, that was the truth. And I feel honoured and privileged to have been part of that in a small way." [caption id="attachment_980200" align="alignnone" width="1920"] Reuben Bastienne-Lewis[/caption] Toby L's own Blur journey also began decades back, as a fan since he was a kid. He has an early tie to Wembley, too, but at the indoor Wembley Arena, which sits next to the stadium. In the 90s, he saw his first-ever live gig at the venue — and yes, at that show when he was at age of ten, he was watching Blur. From his mid-teens, a career linked to music beckoned. He's blogged, founded music sites, organised live events, hosted TV, started his label 20 years back, and directed Olivia Rodrigo's Sour Prom, Rihanna's 777, Liam Gallagher: Knebworth 22 and more. Collaborations Albarn and Coxon first came through Transgressive, before he heard word about Blur's Wembley Stadium shows. That connection didn't mean that Toby L was a sure thing behind the camera when the idea of immortalising the gigs arose. His plan was always exactly what audiences can experience now, though: the full concert experience in one film — plus the path to it, through Blur reuniting in Albarn's country house in Devon to make their first album in eight years, then doing warm-up gigs, playing other festival sets and finally hitting Wembley, in another. The latter eschews the biodoc treatment for the here and now, for four men musing on their twists and turns together and apart, and for diving into friendship and mortality as well. Live From Wembley Stadium and To the End make a helluva pair, which Melburnians can see in a double feature at The Astor Theatre for one night only. How did the band respond to the two-movie plan? How did Toby L carve out a space for To the End when past documentaries such as No Distance Left to Run and Blur: New World Towers exist? How open were Albarn and company to such a close-up approach? We also chatted with the filmmaker about the above — as well as how being a fan shaped his role as a director, ensuring that the concert film felt equally intimate, and the longevity of both Blur and Oasis. ("Let's put it this way: I think Blur were my first band, and working with Liam was also a completely wonderful experience. Totally different. But a wonderful thing," he advises.) On the Pitch to Make Two Films About Blur's Wembley Gigs — and the Band's Reaction "It all stemmed back from me discovering about the gigs on the d-low, as it were. I was with Damon talking about a completely different project, and Wembley came up in discussion. I think he might have cheekily brought it up with that cheeky glint in his eye and his shining gold tooth, probably he was quite excited about the surprise element of it about to hit the newswires. I'd already done some filming with Damon around his second solo album, so he knew that I was in that world slightly. I think I probably quite embarrassingly and tritely said 'I'd love to throw my hat in', quite literally that basic. And I remember him just saying cryptically, both supportively but then also very vaguely, 'I would like that, too'. Then that was it. It wasn't spoken about for with him probably for another six months, during which time I felt that that was enough latitude for me to put a treatment together of what I would do with the documentary and the concert film. The original treatment and proposal that I put together, which was the written treatment, it was quite extensive, it was quite specific, and it stipulated that I felt there were two films. I felt that people would want to see a concert film, almost eternally as an evergreen Blur piece of memorabilia or document of that moment. But then I felt there was an opportunity for a wider story, hence the documentary, which was about getting older and growing up, and reconciling friendship, and mortality, and I guess some deeper human themes. And I just thought that'd be interesting to transpose into the situation Blur were finding themselves in, where they were getting back together for the first time in almost a decade, and they were that much older and about to undertake their biggest challenge yet, which was their biggest-ever gig. So it felt like to me there was a really cool story there that wasn't necessarily predicated on 'and then this album came out in this year, and then they had this fight with Oasis' and all the shit that most people can find on a Wikipedia page. So that was the premise of it, really. It was that — and then me waiting for months and hearing nothing. I thought I might have disgraced myself or embarrassed myself. Then suddenly, quite out of nowhere, I had a breakfast with the band's manager. I thought she was going to let me down because I hadn't heard anything. We're talking about other things and other projects, and then about an hour and a half into two-and-a-half hour breakfast, that's when she dropped the bombshell that they'd gone through the treatments and they thought mine was the strongest, regardless of relationships, which was really flattering. Then I had to have a meeting with all four of them the following week or so to convince them I could do it. Ten days later, we were filming in Devon." On Making To the End to Complement, Not Repeat, Past Documentaries About Blur "In a weird way, there was a relief that No Distance Left to Run had come out. Because that film did the job of 'if you don't know who Blur are or even if you do, here's their story'. It was the legacy story, if you will. It talks the viewer beautifully through how they came to be, and some career highs and lows, and key eras in their career, and the initial downfall. I thought that film did that job, so it was a relief that I didn't have to retread that old ground. But the one thing I felt that was completely up for opportunity was 'where are Blur at now?'. They're mid-to-late 50s, they're about to do, again, genuinely their biggest-ever gigs. There's nothing bigger than doing Wembley Stadium, in a way. So it just felt like this was a pivotal moment to reflect on their present state of being rather than reflecting on their career as a whole. Inevitably there are moments and flashbacks to their career, but really it's all in the context of the here and now. And I guess I wanted to do a bit more of a philosophical, emotional character portrait of the four of them, which I felt hadn't necessarily been done in the other documentaries. The other documentaries, even though this has a specific journey of sorts, they had more of a clear function than an emotional character study. Ultimately, I was lucky that the band were up for going there. Because I could have had this in my head and then, understandably, they might have been like 'fuck off, that's a bit personal'. Thankfully, they didn't respond that way. They understood what the essence of the project was — that my intent wasn't to expose them or show them up, it was to unveil a perspective that many people don't often see in a stadium band, which is the vulnerability and the drive and the motivation behind what it takes to be that kind of individual. And also what it takes to maintain a relationship after such a long time, which isn't easy. A lot of people have this entitlement that bands can and should live forever but, I don't know about you, how would you like it if you were stuffed in a tour bus for years on end even with your closest friends or family, and being forced to smile for the media and perform on no sleep? I think it's going to drive anyone a bit bananas. So I think that's kind of where I was coming from with the project. I was wanting to show something that could create a real bridge between the viewer and the subject, and hopefully a totem of empathy in this fractured age of ours." On the Band's Openness to To the End's Intimate Approach "We all agreed that was the way it was going to be best. That was the way I portrayed it in my treatment, and that was the way they were comfortable with it being captured. I think they had maybe moments before where they've been filmed for other projects and television, where they were just a bit — they're at this point in their career where they don't need to do this, right. It's like they don't need to do any of it. Their career is set. They don't necessarily need to reunite at all. They don't necessarily need to come back with a great album. They don't even necessarily need to make a documentary of any of that activity. But the reason they're doing it is because they want to, and they feel that there's a purpose to it. So equally the filmmaking had to have that element to it. It needed to not be interruptive to the point that the band couldn't do what they needed to do. And it needed to be an honest portrayal and a mirror to their activities. I actually think that's way more interesting than 'let's get the lighting up, let's sit them down, let's ask them the same questions — oh, retake that answer because we didn't get audio'. I just think it's so much more exciting to be in the present. It's technically quite a hard thing to do as a documentary crew because on the one hand, you're trying to be invisible and fly-on-the-wall — but then on the other, you need to also make sure you're guiding the viewer at points so it doesn't just feel like complete empty, vapid voyeurism with no purpose. So it's this tightrope you're walking between being sensitive to what's going on, but then also making sure that you're getting the insights that will contextualise the moment in real time. It's a tough thing to get right, and there are many famous examples of filmmakers being barked out by artists to 'get the eff out of the dressing room'. And that's always the risk, that you go too far or, equally the other way, you don't go far enough and then you haven't really got much to work with. Thankfully, the band were open to that way of working, and I think it's hopefully to the film's credit that the viewer gets that level of intimacy and access that is probably increasingly uncommon in these sorts of projects." On How Seeing Blur at Age Ten and Being a Fan Since Childhood Shaped Directing Two Films About the Band "I think being a fan is really useful, actually, because you just got that knowledge. It's quite an embarrassing, hilarious thing to say, but occasionally there'd be moments where they're trying to recount a song title from 1992 that was the B-side to a single — and being a massive nerd, you can go 'oh, was it this one?'. And then they all look at you and go 'yes, that's what it was'. And the irony is, apart from being vaguely helpful in moments like that, there's also just that sense of trust. You're not there to do a hatchet job. You're not there to trip them up. You're not there to be secretly a dissenting voice that's trying to throw them down. You are a fan. So you're coming at it from a pure place. So then the challenge becomes, in terms of credible filmmaking and documentary-making, how do you straddle that fandom with telling the truth and making sure you're being as objective as any one person can be objective? So that then is probably the other tightrope to walk, ensuring that your enthusiasm and your passion and your love for your subjects doesn't contaminate the need to extract truth, and to make sure that there's an honesty to the whole thing. Because otherwise it could just fall into being sycophancy or just a PR puff piece. And that was another thing we said when we all got together, that we hated documentaries that were too clean and too 'and isn't life perfect'. To that end, I think I really made sure that the enthusiasm of being a fan of the band didn't cloud my judgment. And hopefully anyone that watches it will agree that it's rare to see a band this vulnerable on-camera of their level, and so hopefully people will appreciate the fact that this is definitely a real account of who they are." On Finding Intimacy in Live From Wembley Stadium, Too, to Convey the Experience of Being There to Cinema Audiences "I love the way that you picked up on that approach because that was definitely, again, conscious. I just thought that the worst way to capture this gig was going to make it just be 'look, it's the Wembley Stadium gig, let's have fucking loads of wides and let's make it just look big, and yeah!'. It just felt naff. I also just feel that the art of Blur live is the emotion and the chaos, and then countered by the beauty and the ballads, so the only way to really portray that for me is to have cameras quite close to them. The idea of just dotting the cameras at some distance — obviously we've got lots of dynamic shots at various ranges in the stadium, but most of the cameras, over 50 percent of them, are just in and around the stage, and all on the audience, really close-up on the audience. Because I just thought the story is going to be on stage and the story's going to be in the moshpit. That's going to be where this magic happens. And yeah, we're going to have some big shots at the stadium, yada yada yada, but that stuff's fairly generic to me. You could put those in any concert film of any stadium shoot and it could just apply to stock footage for any artist. But the bit that was special for me was going to be the reactions of the band playing this environment and the excitement of it all — and, again, the audience and their adulation for the moment." On Where You Land on What Gives a Band Longevity When You've Made Films About Both Blur and Oasis "I think obviously it's the songs. I think songs have to permeate not just in the era in which they're conceived, but most truthfully resonate with periods beyond that. A great folk song that was written probably in the 1700s or whatever travels around the hills and finds its way to become a traditional song all around the world, and then eventually becomes blues music. Good songs travel and they last, and I think songwriting is at the core. I think then beyond that, obviously the performance of the song, the recording and the way in which it becomes indelibly linked to people's lives. If you capture the zeitgeist, which both Blur and Oasis did, as examples, it brings people back that were there first time round — or even people that weren't there, they feel that essence of connectivity and culture just resonate in the chords and in the performances and in the vocals. And that's what is effectively bottling magic. That's what music is, it's trying to find magic and it's bottling it, really, either in performance or in recording. Both bands just had that essence of reality. They came at writing and culture in completely different ways, but totally valid respective ways. And they just endured. I know for a fact that you could play most Blur songs to a small child and they're going to enjoy them because the melodies are good. And then most adults are going to connect to them because the themes lyrically still resonate to this day. The album Modern Life Is Rubbish by Blur, that could have been released last week, sadly. And that's ultimately what makes great art: stumbling across something that in the moment feels real, but then for decades onwards still manages to resonate. That's the art of it all, really: trying to find something eternal in the moment. " On What You Learn About Blur When You're Making Not Just One But Two Documentaries About Them "I think you learn that everyone, even if we've all got our own personalities, our own characteristics, we're all kind of the same person really. We all have our own needs and vulnerabilities, and strengths and weaknesses, and really that's what binds us all as a human race. And that's why I think it's so harrowing, the state of the world that we find ourselves in right now. Because I think that there are forces that are trying to falsely attribute disparity to our state of being, when actually we're all fucking similar and that's what we should be focusing on, our common ground, not our points of distinction. I think what I learned was that the fallibility and the brilliance in them is eminently what unites us all. It's kind of in all of us and in all of them. So in that way, it was very grounding. As the ten-year-old fan, what did I learn? I just learned that my favourite band were a great band to get behind. They were really complex in many ways, in terms of their unique quirks and things. They were very, very entertaining and very funny. They were very sweet and emotional people. And, ultimately, there's no other band like them to go on the stage. They really tear it up in a way that I don't think anyone before or since them has been able to do. And so for me, what I learned was, yeah, it was a great band to fall in love with at the age of eight years old or whatever it was." The 2024 British Film Festival tours Australia in November and December, wrapping up on Sunday, December 8. For more information and to buy tickets, visit the festival website. Both Blur: To the End and Blur: Live From Wembley Stadium are playing at the festival's stops across the country, with the Blur double feature showing at Melbourne's Astor Theatre on Saturday, November 16, 2024. Images: Altitude.
One of the newcomers on the Central Coast scene, Bay Rd Brewery came about after three mates — Grant Buckham, Darren Barber and Sam Kennis — got together, drank some craft brews in a boatshed and decided to turn their passion into a reality, taking on Australia's ever-expanding craft brewery scene. The microbrewery, located in the centre of Gosford, serves up beer "straight down the line" — no preservatives and no mucking around with anything other than great beer. The brewery is located in a no-fuss, warehouse-like space with communal tables, a bar and brewing vats along the side wall — where the magic happens. You'll find all Bay Rd's brews on tap, including a couple of limited editions like the Summertime Saison infused with dragon fruit, the bright ale Sun Chaser and the Tropical Rum porter. Bay Rd tried-and-true favourites are of course also pouring — Banana Bay wheat ale, Motor Boat pale ale, Bay Road lager, Super Cat IPA and Wave Runner XPA. Plus, there's a food truck in the parking lot, which rotates often, offering everything from satay chicken to oysters and burgers. Bay Rd has also launched its Brew Academy Class, where beer enthusiasts can learn about how its brews are made. It runs on the first Saturday of each month and tickets can be purchased here.
While not quite a true speakeasy (it's hard to claim secret status when there's a prominent sign pointing to your door), this secluded cocktail lounge behind the lobby of the Amora Hotel on Jamison Street still channels the Prohibition-era hedonism that made the 1920s roar. Parquet floors, marble countertops and deep-pile velvet upholstery. Chevrons, curves and polished wood finishes. A palette of corals, umbers, moss greens and midnight blues. Add them all together and Brooksy's opulent decor is a full-throated love song to the art deco and bauhaus movements, down to the last draped curtain and brushed-brass light fixture — a fitout so luxe, it could make a Gatsby blush. And yet, for all its OTT extravagance, this 70-seat venue is still compact enough to feel intimate. The cocktail list, designed by award-winning bartender Brendon Hill, is a tribute to the golden age of travel — when globetrotting socialites crossed continents in search of adventures. Each concoction marks a stop on a grand global tour, taking in Australia, Asia, Europe, North and South America, and even the Caribbean. Expect some theatrics too, when you order the Taishō, a Japanese-inspired mingle of yuzu sake, gin, strawberry, Calpico and miso served with a side of fruity bursting boba and a bubble of mist sitting on top, which pops to release a floral fragrance with your first sip. The Wilderness Symphony is inspired by the frozen tundras of Alaska, which blush pink at sunset when the sun's last rays dance across the fields of ice. Designed to share, this sparkling number sees vodka, elderflower liqueur, triple sec, prosecco and winter fruits added to a large glass bottle with an eerie skull design and flash-chilled with the addition of liquid nitrogen. A rush of mist erupts from the bottle, making it one of the biggest showstoppers on the menu. However, the top spot, as far as spectacle is concerned, goes to the Popcorn Blazer, a pyrotechnic fusion of Benriach 10-year-old whisky with a splash of Drambuie and a dash of walnut bitters, finished with popcorn-flavoured syrup before being ignited. Marvel as your bartender pours cascades of flaming liquid between copper cezve pots before serving your beverage in a brandy snifter, warm and steaming. If all that excitement has helped you work up an appetite, executive chef Hemant Dadlani's menu of bar snacks is at the ready. It also takes its cues from Hill's international concept, with yuzu scallops with zippy hits of ikura and wasabi, Glacier 51 toothfish served with shiro miso and cucumber salsa, and fiery Jamaican jerk chicken sliders among the dishes on offer.
When winter begins to thaw, with leaves growing back on trees and flowers coming into full bloom, we want to celebrate the warmer weather and the world's annual rebirth. And, come September, Australia's biggest festival of spring will roll around. Now in its 34th year, Floriade will once again fill Canberra's Commonwealth Park with more than one million blooms. But this month-long flower festival is more than just smelling the tulips. After a successful introduction last year which saw more than 80 community groups plant a stunning tulip trail through Canberra's suburbs, the Floriade Community initiative will return with an additional 300,000 bulbs and annuals available. While you're in town, you may as well take the time to check out Canberra's best microbreweries, cafes and cultural hotspots, too. Start looking at accomodation ASAP. [caption id="attachment_736041" align="alignnone" width="1920"] Martin Ollman Photography[/caption] Top image: VisitCanberra
"Eventually, I've come to realise that there are bad guys," says Julia Louis-Dreyfus (You Hurt My Feelings) as Valentina Allegra de Fontaine in the just-dropped teaser trailer for Thunderbolts*. "And there are worse guys," she continues, "and nothing else". So goes the setup for one of the Marvel Cinematic Universe's next big-screen releases — and it plays with a familiar template. Banding together a disparate group of characters is MCU 101. Teaming up antiheroes to take on worse folks as mandated by the government is also how Suicide Squad and The Suicide Squad from DC have played out. The Thunderbolts* version hits cinemas in May 2025 Down Under, also starring Florence Pugh (Dune: Part Two), David Harbour (Gran Turismo: Based on a True Story), Sebastian Stan (Dumb Money), Wyatt Russell (Night Swim), Olga Kurylenko (Paradox Effect) and Hannah John-Kamen (Breaking Point) in their Marvel returns. Pugh is back as Yelena Belova after Black Widow and Hawkeye, while Harbour again plays Red Guardian, Stan returns as Bucky Barnes and his The Falcon and the Winter Soldier co-star Russell is back as John Walker. Kurylenko played Taskmaster in Black Widow, too, while John-Kamen's Ghost was part of Ant-Man and the Wasp. This is a flick with a bit of homework, then, if you're keen to know the ins and outs of every character before they get thrust together in Thunderbolts*'s storyline, becoming a band of misfits and going on missions. The film marks the 36th in the MCU, and will follow fellow 2025 release Captain America: Brave New World into picture palaces. Behind the lens on Thunderbolts*: director Jake Schreier, who has helmed episodes of Beef, Minx, the Russell-starring Lodge 49 and more, plus films Paper Towns and Robot & Frank. Marvel has had a light year on the silver screen in 2024, with just Deadpool & Wolverine releasing. That definitely won't be the case in 2025, however, with not only Captain America: Brave New World and Thunderbolts* slated to drop, but also The Fantastic Four: First Steps. Check out the first teaser trailer for Thunderbolts* below: Thunderbolts* releases in cinemas Down Under on Thursday, May 1, 2025. Images: courtesy of Marvel Studios. © 2024 MARVEL.
A new walking track has opened in Sydney Harbour National Park, and in addition to incredible harbour views, it's shining a spotlight on the harbour's military significance. The three-kilometre track, which connects Middle Head–Gubbuh Gubbuh with Georges Head, is dotted with a fascinating array of historical defence artefacts, with some dating as far back as 1801. The opening of the track marks the first time that the two harbourside reserves — located in Mosman — have been formally linked to one another, and is the final piece of the proverbial puzzle on the Bondi-to-Manly walk. The $9.5 million project was implemented over six years, and can also be accessed via Chowder Bay. And while the postcard-perfect harbour views might be the initial drawcard for this new walking track, there's plenty more to see along the way. Walkers will be able to discover over 220 years of Sydney's defence history, with restored structures on the trail dating from 1801 to the Vietnam War. The trail has also been fitted with new signage and digital animations that tell the story of the area's historical significance. WWII military fortifications like the Inner and Outer Defensive Ditches — which were carved around the headland to protect against land-based attacks — and restored twin 6-pounder gun casemates are open to explore. Walkers can also take a look inside The Engine Room and its notorious 'tiger cages' at Middle Head's Outer Fort — this site was re-purposed in the 1950s and used for training soldiers to resist torture during the Malayan Emergency and, later, the Vietnam War. Other highlights include a number of new lookouts, as well as a new bridge across the Outer Defensive Ditch that offers front-row views across the foreshore and inner harbour. The restored 19th-century buildings of the former NSW School of Artillery are also open to visitors, showcasing their original appearance from 150 years ago. "Middle Head and Georges Head have been part of Sydney Harbour National Park since 1984, but until now, they have never been connected via walking tracks to other harbourside reserves," said Chad Weston, Manager of Sydney North Area NSW National Parks and Wildlife Service. "This major new infrastructure project has significantly improved visitor accessibility and safety, and those who appreciate history will be impressed with how some of Sydney's most significant historic fortifications have been conserved." The Middle Head–Gubbuh Gubbuh and Georges Head walking trail is now open in Sydney Harbour National Park. Find out more about the new trail at the NSW National Parks and Wildlife Service website.
