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 just 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). The luxe new experience is expected to be rolled out at Event Cinemas across Australia and NZ, too. We'll let you know when more launch. 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. Event Boutique launches on Friday, June 14 with tickets costing between $39–42.
When an arts festival gifts its chosen city with shows, it also brightens up the darkness whenever its program spills into venues and spaces around town after night falls. Many such fests like taking that idea literally. At Brisbane Festival, for example, after-dark light event Lightscape was on the lineup in 2023 and 2024, getting the Brisbane City Botanic Gardens glowing. The same fest is heading to the same place in 2025, but with something different: the fiery Afterglow. Brisbane is hosting the world-premiere run of this luminous experience, which is part of the 2025 Brisbane Festival program. Across Friday, September 5–Saturday, September 27, Afterglow will fill one of the River City CBD's leafiest parts with fire sculptures and candlelit installations, and also live performances. If you want to be among the first on the planet to enjoy it, you'll need to be in the Queensland capital. At Afterglow, you'll wander. You'll follow the flame-lined 1.4-kilometre path through an inner-city patch of greenery. You'll soak in the work of fire artists, too, and you'll watch the evening blaze away in the process. "Across time and cultures, people have always felt a connection to fire — as an element of nature, a force of renewal, or a symbol of ceremony and ritual," said Brisbane Festival Artistic Director Louise Bezzina, announcing Afterglow as part of 2025's lineup. "Afterglow is a slow-burn experience, an invitation to deliberately and respectfully engage with the artistry and power of fire." [caption id="attachment_1008781" align="alignnone" width="1920"] Markus Ravik[/caption] If this sounds familiar, that might be because you're thinking of Fire Gardens, another installation event with flames at its centre. It was last in Australia in 2024 for Illuminate Adelaide — and back in 2019, it was meant to also be part of the Brisbane Festival program. A hit everywhere from Stonehenge to the Pont du Gard before it began making stops Down Under, Fire Gardens hails from French art collective Compagnie Carabosse, a group that has been starting fires professionally for more than two decades. Its planned Brisbane trip six years ago didn't eventuate, however, due to devastating bushfires carving a destructive path across the Gold Coast and the Sunshine Coast at the time, plus a total fire ban that was put in place across southeast Queensland as a result. Afterglow is completely separate to Fire Gardens, though — and will run every 15 minutes each evening across its dates from 5.45pm. The trail is family friendly, and also accessible. The event falls within the jam-packed 2025 Brisbane Festival program, which also includes a Gatsby-themed show and pop-up club, turning some of the city's pedestrian bridges into an art trail, a tribute to beloved restaurant Sultan's Kitchen, and a world-premiere dance work by acclaimed choreographer Benjamin Millepied and LA Dance Project, to name just a few of its 106 productions and 1069 performances. [caption id="attachment_1008784" align="alignnone" width="1920"] Andrew Ogilvy[/caption] Afterglow will take over the Brisbane City Botanic Gardens, Alice Street, Brisbane between Friday, September 5–Saturday, September 27, 2025 during Brisbane Festival. For more information and tickets, head to the fest's website. Brisbane Festival 2025 runs from Friday, September 5–Saturday, September 27 at various venues around Brisbane. Head to the fest's website for tickets and further details. Top image: Mellumae and Sean Dowling. All images: Sony Music Entertainment.
May has the Eta Aquarid meteor shower, June boasts the Delta Aquariids and December welcomes the Geminids. In November, however, it's Leonids time. Arriving at the end of spring in Australia and New Zealand, the Leonids may not be quite as well known as some of its counterparts, but it's still a shower worth looking up for. And it's famous for one impressive reason: its spectacular meteor storms. It can feature more than 1000 meteors per hour, but that only occurs around every 33 years — and, sadly, the most recent occurred in 2001. Still, while you won't spy that kind of intense onslaught in 2021, you will still see meteors. The Bureau of Meteorology predicts there'll be around five per hour hurtling across the heavens on average. At its peak, timeanddate.com predicts ten per hour. In good news for those Down Under, the Leonids can be seen in the Southern Hemisphere. Although it runs from Saturday, November 6 until Tuesday, November 30, this year it'll be best detected between Wednesday, November 17 and Thursday, November 18. Like many astronomical shows, catching an eyeful after midnight is recommended (aka when the moon has set and its light will not interfere). Specifically, for the best view, mark the early hours of Thursday, November 18 in your calendar. Named for the constellation of Leo, which is where it appears to radiate from in the sky, the Leonids aren't just renowned for its huge showers approximately three times each century, but also for its place in history. During the storm of 1833, it has been estimated that more than 100,000 meteors streamed across the sky per hour — and, as a result, the Leonids helped play a part in the formulation of the first theory about the origin of meteors, NASA notes. The Leonids stem from the Comet Tempel–Tuttle, which was actually first officially recognised after the famous meteor shower of 1833 — in 1866, in fact. And, if you're wondering why the Leonids' storms only hit every 33 years or so, that's because that's how long it takes for the comet to orbit around the sun. [caption id="attachment_751114" align="aligncenter" width="1920"] The peak of the 2009 Leonids meteor shower. Image: Navicore via Wikicommons.[/caption] For your best chances of getting a glimpse, the usual advice applies. Get as far away from bright lights as possible — this could be a good excuse to head out of the city to a clear-skied camping spot — and pray for no clouds. And, given that the Leonids originate from the Leo constellation, that's what you'll be looking for in the sky. To locate Leo, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). The Leonids meteor shower runs between Saturday, November 6 until Tuesday, November 30. Top image: Mike Lewinski via Flickr.
At the south end of Mann Street in Gosford, you'll find a beautifully designed cafe with Mediterranean dishes and elegant cocktails. It's a popular brunch spot; the sunny eatery is open from breakfast till 3pm daily, and when the menu clocks over from brekkie bowls to long lunch territory you'll want to order a souvlaki pita. It comes with a choice of three fillings: slow roasted lamb shoulder, house-made falafel or grilled chicken with garlic aioli, tzatziki and eggplant dip. Not your vibe? The brisket cheeseburger has a reputation all its own. But what you're really here for is a leisurely catch up with friends over a boozy lunch. The wine list features natural drops like From Sunday's chardonnay and Lucky's syrah/pinot noir, both from Orange. There's also Lost Buoy sauvignon blanc from Adelaide Hills, pale ales from local brewery Six Strings, and yuzu vodka spritzes and salted white grapefruit mojitos. Take yours to the terrace, or linger in one of the cosy booths.
This year Kendrick Lamar, Doechii, Sara Landry and Dominic Fike are headlining a nearly sold out Spilt Milk alongside a roster of insane acts like ScHoolboy Q, Sombr, Nessa Barrett and more. Of course, Jim Beam are back at Spilt Milk again helping to deliver on one of the year's best festival experiences to bring you and your mates together. If you missed out on tickets when they dropped in May, Jim Beam have got you covered. [caption id="attachment_1040567" align="alignnone" width="1920"] Supplied[/caption] We have four sets of two VIP tickets up for grabs (for your nearest Spilt Milk location) with a Top Shelf upgrade, plus a money can't buy side of stage experience*. You can use the tickets at your closest Spilt Milk stop and even bring your mate along. To enter, just complete the form below. And, the good times keep rolling. If you've got tickets to Canberra and Ballarat, you can also crash the Jim Beam Mates Confessional and score a whole host of prizes. To free you from the guilt for past flaky friend discretions, simply step into the confession booth hosted by Will Gibb and drop the lore of the most diabolical reason you have ever flaked on your mates. Will will hear you out and determine what prize you're up for. You could be looking at VIP upgrades, merch and more. To get involved, look out for the Jim Beam Mates Confessional and bar at Spilt Milk Ballarat or Canberra from 2 - 5pm. Don't worry, that leaves you plenty of time to confess your flakiest excuses, score a prize, and catch the headliners. [competition]1040682[/competition] *Side of stage access is dependent on availability. Best enjoyed together, visit Jim Beam's website for more information.
The highly anticipated FIFA Women's World Cup 2023™ is making its way to Australia and New Zealand, heralding a new era for the beloved game. This occasion signifies the first time the two countries have hosted the World Cup, reflecting the sport's growing popularity and the increasing appreciation for our remarkable female athletes. Sydney will be buzzing during this monumental event, offering numerous ways to participate. While we celebrate the trials and triumphs of our favourite teams, why not indulge in some international cuisine to commemorate the occasion? Whether you're a Sydney local or visiting for the FIFA Women's World Cup 2023™️, be sure to explore our top picks for delightful bites that perfectly complement the exhilaration of football fever.
Visit Alice Springs at any time of year and you'll find plenty to see and do in Australia's Red Centre, including making the trip to Uluru, marvelling at Bruce Munro's Field of Light, and checking out the Tjoritja gorges and Kings Canyon. Here's a spectacular reason to head by every April, including from now until Sunday, April 16 in 2023: Parrtjima — A Festival In Light. The region's luminous Indigenous arts festival is back for another year and, set against the 300-million-year-old MacDonnell Ranges, it looks stunning as always. This event celebrates First Nations arts, culture and storytelling, and just might be Australia's most luminous event — with installations in breathtaking surroundings leading the show alongside music, talks, films, workshops and more. [caption id="attachment_896332" align="alignnone" width="1920"] Sisters at Watarru by Noreen Dixon, Grounded.[/caption] 2023's focus: 'Listening with Heart'. That's what this year's light-heavy installations, which were announced late in 2022, are focusing on. Parrtjima's theme is inspired by the artwork surrounding the Statement from the Heart, with that piece depicting Uluru-Ku Tjukurrpa, the Uluru story of connection, as created by a group of artists from Multijulu as led by Maruku artist Rene Kulitja. So, Kulitja has worked with other of artists for Parrtjima to turn the Statement from the Heart artwork into a large-scale immersive light and sound installation. Accordingly, Parrtjima attendees are currently getting plunged in the world of the Aṉangu people of the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands surrounding Uluru. This year's festival installations feature ancient songlines, plus Indigenous viewpoints on Country, as well as connecting to First Peoples' strong links with the land, water and sky. Two things that are also on the bill: two of the festival's regular annual attractions, aka a huge artwork that transforms a 2.5-kilometre stretch of the majestic ranges, showering it with light each night of the festival; and Grounded, the installation projected over the red dirt at tourism and conservation facility Alice Springs Desert Park. As for the music program, it is overflowing with First Nations talent, including Docker River Band, Eastern Reggae Band, Emily Wurramara, JK-47, KAIIT, Karnage and Paul Ah Chee. They're joined by Radical Son, Richard J Frankland, Discovering Leerpeen Mara, Rowdy Birds, The Andrew Gurruwiwi Band and The Merindas across the ten days — and with a range of dazzling backdrops. The talks lineup features actor Steven Oliver, marathon hero Charlie Maher, media identity Naomi Moran, scientist Corey Tutt, Olympian Nova Peris and more, such as musicians Richard Frankland, KAIIT and Paul Ah Chee — doing double duty on stage and having a chat. Movie-wise, attendees can look forward to Westwind: Djalu's Legacy, Looky Looky Here Comes Cooky, Araatika: Rise Up and The Australian Wars. And, the workshops schedule includes dance, art and pottery. Parrtjima – A Festival in Light runs until Sunday, April 16, 2023 around Alice Springs in the Northern Territory. For more information, visit the festival website. Images: Parrtjima – A Festival in Light. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Keeping your coffee at a drinkable temperature — in between keeping your boss off your back, doing chores and checking Facebook — can be a challenge. One minute, the stuff's suitably hot, straight out of the office coffee machine or your barista's hands; the next, it's a lukewarm milky soup. You're not the the only person in the world who experiences this problem. That's why Ember, which describes itself as a "design-led temperature control brand", has come up with a mug that keeps your beverage at the optimum temperature (70 degrees celsius) from first sip to last. Simply called the Ember Ceramic Mug, the vessel achieves this morning miracle via a convection current. Within the mug are elements with the power to both heat and cool. When hot liquid rises to the top, it is cooled until it starts to fall, causing warmer liquid to then rise and be cooled in turn. Once the tech was worked out, Ember joined forces with Ammunition, a design company based in San Francisco, to make sure the result looked good. Together, they came up with a classic-looking white mug — the only visibly techy thing about it is a small LED light. A charging coaster and an app are included. The latter allows you set the temperature remotely, preset temperatures for various drinks and swap between celsius and fahrenheit. At the moment Ember isn't shipping to Australia, although we have seen a few floating around on eBay.
Astral People's Summer Dance series is taking place once again within the sandstone walls of the National Art School. Like previous years, big names in EDM will descend upon the Darlinghurst courtyard over several weekends. Expect international and local record spinners providing the perfect backdrop to your summer Sunday. For the first one, Astral People has secured British-born Detroit-signed producer Dan Shake to headline, along with Project Pablo from Canada and two Sydney natives: FBi Radio's Saturday evening host Adi Toohey and Fortune Taylor, who specialises in deep dance and 'obscure boogie'. All this in the historic location, surrounded by lush gardens, electronic beats and plenty of people on the same mission: to spend a Sunday letting loose on the dance floor.
There's a bit of an exodus at the Art Gallery of NSW at the moment. The Archibalds have left the building and Frida Kahlo and Diego Rivera are shipping out in a few days. But the walls won't be bare for long. Actually, perhaps that's a poor choice of words. From November 5, the Art Gallery of NSW bares all for the 2016 Sydney International Art Series, hosting a collection of art's most famous birthday suits from the Tate, London for Nude: art from the Tate collection. The exhibition features paintings, photos and sculpture from names like Picasso, Freud, Matisse and Rodin. Thought Turner just painted ships? Think again. Louise Bourgeois just made that giant creepy spider, right? Not even close. If you're keen to see what a human torso looks like next to a bunch of bananas, you're in luck. Brett Whiteley said, "Most men, and certainly all artists… carry in their heads the great nude." For the next few months, you'll have the chance to see a few that escaped from the minds of the biggest wigs in art. Nude: art from the Tate collection is part of the Sydney International Art Series and is showing at the same time as the Museum of Contemporary Art's Tatsuo Miyajima: Connect with Everything. If you're planning on seeing the two exhibitions, you can purchase an Art Pass and get 20 percent off both.
Situated on the 'Little Vietnam' end of Illawarra Road, Eat Fuh has been in the game for many years. But you don't have to go to Marrickville to try some of the best Vietnamese in Sydney. The team dishes up noodle soups, vermicelli and rice dishes in shopfronts and pop-up market stalls all over the city. The service here is what you might expect considering the line on the street — it's fast and without frills since the team knows you're here for the food and not any kind of fine dining. The signature Fuh Noodle Soup (pho) is the obvious order. The meat options include rare beef, flank and chicken.Vegan? No worries, opt for the meat-free pho that uses a totally vegetable-based broth. And if you're not looking for pho, there's a killer chicken laksa with king prawns, chicken, tofu, fried onions, coriander and a divine laksa broth. Other options include a lean beef stir-fry with rice, eggplant and tomato relish or rice with garlic and pepper chicken and seasonal vegetables. For an entree try the shrimp and pork dumplings. If you order your pho in-store, it comes in a giant, seemingly bottomless bowl. And when you get it delivered, everything is packaged separately. You just need to combine the steaming and surprisingly complex bone broth — layered with star anise, cardamom, cloves, cinnamon, ginger and onions — with the noodles, garnishes and your chosen meat (we recommend the rare beef and flank). Hot tip: if you like to plan ahead, Eat Fuh has an option to order the broth early. Chuck it in the fridge and reheat it when you're ready to eat. There's no need to test your luck with delivery riders who might get lost or be in short supply when you're hungry. Images: Cassandra Hannagan
City of Sydney's public libraries are some of the many venues temporarily closed in a bid to contain COVID-19. That doesn't mean that you can't spend your time at home reading as many books as possible, however, with Sydneysiders able access the libraries' hefty collection of digital items — not only including books, but music, magazines and movies as well. As part of that collection, more than 11,000 ebooks are on offer. You'll find contemporary fiction titles such as Murakami's Norwegian Wood and True Grit by Charles Portis; a bunch of Australian ones, including Christos Tsiolkas's The Slap, Tim Winton's Cloudstreet, Benjamin Law's memoir The Family Law and The Rosie Project by Graeme Simsion's; and over 200 classics such as The Great Gatsby, Heart of Darkness, On the Road and To Kill a Mockingbird — all of which are available to read online or download for a limited period for free. The list goes on, of course, and to start digitally skimming through their pages, all you need to do is sign up for a free digital library membership on the City of Sydney Library website, or use your existing library membership and head here. Not enough? City of Sydney Library has recently added the State Library of NSW's online resource Indyreads, too, which will give you access to more than 9000 ebooks from major and independent publishers, self-published authors and local writers. Once you've got your library membership sorted, you can log into Indyreads here. For those who prefer to have a good book read to them, rather than flick through it themselves, library members can also access more than 2300 audiobooks, including The Godfather by Mario Puzo, Ian McEwan's The Children Act and Saroo Brierley's Lion, which you can either listen to online or download to your own device. Elsewhere on the library's website, you'll find music, magazines, ecomics and newspapers, as well more than hundreds of free movies via streaming service Beamafilm. And, if you're still looking for something to do, you can also learn a language, with your library card getting you free access to Mango Languages. Sign up to become a City of Sydney Library member online and explore its digital collection.
It's been 75 years since the curtain first went up on playwright Arthur Miller's Pulitzer-winning masterwork Death of a Salesman. And yet, while this tragic story is rooted in 1940s America, it has an uncanny prescience, eerily reflecting the cost-of-living pressures and influencer anxieties of today. Not that the production that plays at Sydney's Theatre Royal until Sunday, June 23 — following a critically acclaimed season in Melbourne — draws these contemporary parallels heavy-handedly. Created by Neil Armfield, one of Australian theatre's most visionary directors, this understated staging of the "great American play" lets a virtuosic cast bring its tale of financial struggle and generational trauma into guttingly relevant focus. And in doing so, it delivers some of the most powerful performances seen on a Sydney stage in years. Willy Loman — who is portrayed with masterful nuance by Anthony LaPaglia (Boy Swallows Universe) — has spent his life being an obedient disciple to the cult of American exceptionalism. A middle-class travelling salesman who has carted his wares up and down New England for decades, Loman is propelled by a belief that greatness awaits those who work hard enough for it. He has a quintessentially nuclear family raised in the same apple-pie mould: boisterous and athletic boys Biff (Josh Helman, Furiosa: A Mad Max Story) and Happy (Ben O'Toole, C*A*U*G*H*T), who were the envy of their classmates growing up; and dutiful wife Linda (Alison Whyte, Groundhog Day The Musical), who lives to maintain the domestic bliss of a mortgaged home filled with rented appliances. However, now in his mid-60s, Willy has found himself in a twilight realm of nostalgia and regret as he discovers the capitalist doctrine he once worshipped has betrayed him. Far from being captains of industry, his now-grown sons are lost souls desperately grasping to meet expectations far beyond their reach, while Willy's wife has become trapped by the horror of watching her husband's mind fracturing as it tries to deny an increasingly bleak reality. Dale Ferguson's minimalist set is a rusted flight of high school bleachers where the various supporting characters sit and watch the unravelling of the Lomans. It's an apt backdrop, as there is a voyeuristic, almost transgressive quality to spectating a disaster as intimate as the implosion of a family. And yet, the gut-punching emotional truth of these performances make it impossible to look away — "attention must be paid," Linda pleads, and this production demands it. LaPaglia weaves astonishing subtlety into the peaks and troughs of Willy's undoing, while Helman unleashes every ounce of desperate rage that his body can summon to express the depth of Biff's need to be released from the capitalist propaganda that his father has smothered him with all his life. It's Whyte, however, who provides the greatest revelation. While Willy has committed his life to chasing a false prophet, his wife Linda has committed hers to simply loving him, supporting him and championing him beyond success or failure. And it's in this act of simple devotion that she emerges not merely as the collateral damage to her husband's tragedy, but as the play's heroine. Images: Brett Broadman.
In 2019, a horrible goose wandered around a quiet village, then chaos ensued — and instigating it became one of the most-entertaining ways to mash buttons. Untitled Goose Game first released in September that year. By the time 2020 hit, more than a million copies had been sold, getting folks controlling a pesky waterfowl with a penchant for trouble. That's honking phenomenal for an indie game out of Melbourne, and it's a feat that the city's Australian Centre for the Moving Image keeps celebrating. After giving Untitled Goose Game the live orchestral treatment back in 2022, the Aussie screen museum is now hosting a world-premiere exhibition dedicated to the title. Honk! Untitled Goose Exhibition features different versions of the game from its various development stages that you can play, plus sketches, concept art and design material for attendees to check out. It's going to be a lovely five months in Federation Square from Tuesday, September 17, 2024–Sunday, February 16, 2025, and you'll be an adoring Untitled Goose Game fan. Sorry Mario Kart. Move over Tetris. Forget Wii Sports, Pokémon Go, Street Fighter or whatever other title first springs to mind whenever you think about video games. They're all well and good, but they aren't taking over ACMI like this homegrown hit from House House. If you're new to Untitled Goose Game, it's a puzzle game — and, yes, it's about a goose. You play as the bird, and your aim is to move objects and other characters, and just generally cause mayhem in a small village. No description can really do it justice, though; you just need to play it. While the game has filled oh-so-many hours over the past few years, and gotten its ARIA-nominated original soundtrack by Dan Golding stuck in everyone's heads, Honk! Untitled Goose Exhibition isn't just for diehard gamers. No matter if you know every inch of the game or you're only hearing about it now, you'll be plunged into its world in an interactive showcase that's designed to get you playing. How slapstick factors in, plus the form of comedy's history, is also a big feature. We don't expect that running off with keys, socks, glasses, radios and the like will be a part of it, however.
If you can't remember the last time you used a payphone, kudos to you. It means you haven't lost your phone, keys and wallet and had to call your mum with 50 cents you wrangled from some guy on the street. There aren't too many around these days, with Telstra either taking them down or (supposedly) converting them into Wi-Fi hotspots. But in Berlin, they've got a better idea — they're turning disused telephone booths into tiny rave caves. It's called Teledisko, and it's probably the smallest party you'll find in Berlin. At one square metre, the booth can only fit two or three people at one time.It's coin operated, but once you've paid your 'entrance fee', you'll be able to select your tunes from the touchscreen in the booth. You may find it a bit hard to throw shapes, but what it lacks in space it more than makes up for with special effects, including a smoke machine, strobe lights and a disco ball. There's even a photobooth inside that will print your photos or email you a video of your debauchery the next day. At the moment there are only three Telediskos — a pink one at Kater Blau nightclub, a gold one at RAW Flohmarkt (both in the Friedrichshain district) and a silver edition available for hire. However, high demand (and long lines) looks set to see more come into being. Image: Teledisko
It's been one of those weeks. You've been racing across the city (or tapping between Zoom calls) for back-to-back meetings and fielding urgent calls, all while your unread email count continues to climb. Oh, and you still have to nab a gift for your mum's birthday before the weekend. We've all been there. Life can be hectic, as we all know. If your nine-to-five has you feeling like a sea change but you can't escape the desk, we've got a way to make you feel like you're holidaying by the Mediterranean coastline — and it won't cost you a cent. In the spirit of turning off and seeking out some wholesome nature, we tracked down some top-notch seaside walks to freshen up your routine. From the shores of the northern beaches to the bush tracks of the Royal National Park, recharge this weekend by embarking on one of Sydney's best coastal walks. [caption id="attachment_719993" align="alignnone" width="1920"] jipe7 via Flickr[/caption] BONDI TO BRONTE No guide to Sydney's walks would be complete without a mention of the iconic Bondi to Bronte coastal track. With panoramic Pacific Ocean vistas, magnificent cave-like cliffs and a stack of delicious brunch spots to help you refuel, this is definitely one for the local bucket list. Grab a coffee and bagel from Lox in a Box and kick off this three-and-a-half-kilometre walk at Bondi Icebergs, weaving your way along the rocky foreshore and finishing up at Bronte's lush park. If you're not too tired, keep the endorphins going by following the track all the way to Coogee (with a spritz and pizza from Coogee Pavilion to finish, of course). [caption id="" align="alignnone" width="1920"] Martin7d2 via Flickr.[/caption] GLEBE FORESHORE The inner west might be best-known for its pubs, bars and live music, but there's much more to this eclectic part of town. Head to Bicentennial Park near Rozelle Bay for a leisurely four-kilometre stroll along the Glebe foreshore. Here, you'll enjoy a slice of bayside paradise as you make your way along the picturesque track, which is perfectly accessible by the nearby light rail and bus stop. Pup parents can also let their pooch run free at the off-leash end of Bicentennial Park before heading to the historic cricket ground of Jubilee Park. Take a break once you reach Blackwattle Bay Park or continue along to the end and you'll hit the Sydney Fish Markets, the perfect spot to finish with a hot box of fish and chips for lunch. [caption id="" align="alignnone" width="1920"] NSW Parks.[/caption] PALM BEACH TO BARRENJOEY LIGHTHOUSE Perched at the top of Sydney's northern beaches, just 90 minutes from the CBD, Palm Beach is the ultimate spot for a staycation. It boasts the laidback vibes you'd expect from a tropical escape, minus the airfare. So, it's the ideal spot for an easy day-trip from the big smoke. While you're there, head to the top of the peninsula for the Barrenjoey Lighthouse walk. This cruisey three-kilometre trail takes you through the bush to the lighthouse, with sweeping views of Palm Beach and beyond. Tip: take the short but steep Smugglers Track route for the best views (and photos). Feeling peckish? Swing by The Boathouse Palm Beach for a bucket of prawns and a Murray's Whale Ale. CHOWDER BAY TO BALMORAL BEACH For those who rarely venture across the bridge, there's a well-kept secret that you mightn't know about. Tucked away on Sydney's lower north shore, you'll find a walk with some of the best vantage points across sparkling Sydney Harbour. Starting in Chowder Bay, this short one-and-a-half-kilometre track is bursting with stories from Sydney's history. You'll pass Gunners Barracks, an old military point that's been converted into a high-tea destination, soak in the city skyline from Georges Heights Lookout (dotted with military cannons aplenty) and emerge at Balmoral Beach. Dive in for a dip or head straight to the cafe to cap off this leisurely weekend stroll. [caption id="attachment_703777" align="alignnone" width="1920"] Scott Brown via Flickr[/caption] THE ROYAL NATIONAL PARK COAST TRACK Looking for a spot of adventure? Grab your swag and backpack, and gear up for this spectacular two-day, 26-kilometre coastal hike through one of the oldest national parks in the world — Royal National Park. This one's a serious beauty and a must for experienced hikers. You'll forget all about your inbox while you're getting off the grid, spending a weekend in the bush and reconnecting with nature. The first day will see you exploring through the rugged wilderness from Bundeena southwards, with sandstone and sandy beaches at every turn. Set up camp for the night at North Era (just make sure you book this one in advance) before tackling the final three-hour stint to the top of Otford the next day. We suggest you check for closures on the NSW National Parks website before you head off on this multi-day adventure, too. Time your trip right (between May and October) and you might even spot a migrating humpback whale during your walk.
Winter is when Aotearoa really turns it on. There's snow on the mountains, clear skies over Lake Tekapo and hot pools to warm you up on freezing days. Whether you're hitting the slopes, exploring the wine regions, or just settling in somewhere cosy, New Zealand is all about slowing down, clearing your head and enjoying every moment. To help you plan the perfect escape, we've rounded up eight of the best winter stays across the North and South Island – and every one of them is ten percent off when you book via our dedicated travel platform, Concrete Playground Trips using your Visa card. From boutique gems to lakeside luxury, these are the hotels worth checking into this season.
The first day of spring is always a welcome affair, and what better way to celebrate than heading to the Museum of Contemporary Art's Artbar for an after-hours party at one of the city's most iconic buildings? Making its long-awaited return after a two-year hiatus, this year's first Artbar will be curated by Primavera alumni and Quandamooka multidisciplinary artist Elisa Jane Carmichael, in what promises to be a spectacular celebration of First Nation artists and our shared connection with nature. The evening will feature live music, DJs, roaming performances, multi-sensory installations and workshops across all levels of the museum. Oh, and you'll want to leave the kids at home for this one, as it's an 18+ event (hell yeah). Guests will also have the opportunity to access MCA's galleries after dark, including entry to the museum's major winter exhibition: Zoe Leonard's Al río / To the River. The work, created over six years, is an epic photographic series made up of a collection of more than 400 black and white silver gelatin prints documenting the Rio Grande river that divides the United States and Mexico. The chance to see such a work in the calm of night alone is worth the price of admission. So what are you waiting for? Grab yourself some tickets and welcome the first day of spring in style. Images: MCA, supplied.
Big pop-culture titles, big stunts: from a Stranger Things rift and Squid Game's creepy Red Light, Green Light doll to an Everything Everywhere All At Once-style multidimensional laundromat and a massive Timothée Chalamet mural for Dune, new TV shows and movies sure do love launching with a pop-up in Australia. The latest doing just that: Aquaman and the Lost Kingdom, the sequel to 2018's Aquaman. For four days, the film is making its presence known in Sydney with a huge seven-metre gold trident. To see the towering, gleaming object, you'll need to head to Watermans Cove in Barangaroo from Thursday, December 14–Sunday, December 17. On display: the Trident of Neptune that gives Aquaman's namesake the power to rule the sea. It's being used to break ground of the boardwalk, and will be paired with a giant wall of water measuring nine metres high and 12 metres wide on the Friday night only. Seeing the trident is free, and you can just head along whenever suits you across the four days. If you want to catch a glimpse of the wall of water as well — which will have footage from the film projected onto it — you'll need to drop by from 7.45–10pm on Friday, December 15. As for the movie itself, it features Jason Momoa swapping the Fast and Furious franchise's roads for the ocean in that other big-budget saga he's been known to glisten through: DC's flicks. It's been five years since the first solo cinema swim for Arthur Curry arrived, with Aquaman marking just the sixth entry in the DC Extended Universe. Now the series hits 15 instalments with sequel Aquaman and the Lost Kingdom, bringing back DC's wettest superhero — plus Yahya Abdul-Mateen II (Ambulance) as Black Manta as well. Hitting cinemas on Boxing Day as the fourth DC feature of 2023 after Shazam! Fury of the Gods, The Flash and Blue Beetle, Aquaman and the Lost Kingdom also hails from Australian director James Wan (Malignant), as the first film did — and sees Patrick Wilson (Insidious: The Red Door), Amber Heard (The Stand), Nicole Kidman (Special Ops: Lioness) and Temuera Morrison (The Book of Boba Fett) return alongside Momoa and Abdul-Mateen II. Dolph Lundgren (Minions: The Rise of Gru) and Randall Park (Strays) are back as well, all in another movie that dives into the sea, heads down to Atlantis and paddles about trying to save the world. The story this time: Black Manta is still after vengeance, but now has the Black Trident and its powers to help. So, as well as being a father and the new King of Atlantis, Aquaman has to seek his own assistance. That's how Wilson's Orm, Curry's half brother, ends up fighting by his side instead of being his imprisoned enemy. Check out the trailer for Aquaman and the Lost Kingdom below: The Aquaman and the Lost Kingdom trident will be on display at Watermans Cove, Barangaroo, Sydney from Thursday, December 14–Sunday, December 17. Aquaman and the Lost Kingdom opens in Australian cinemas on Tuesday, December 26.
You could be forgiven for initially thinking that Chris Jordan's collections of digital photographs were nothing more than faded photos of iconic pieces of art. But on closer inspection, Jordan's photo of Botticelli's The Birth of Venus is actually made up of very small images. On even closer inspection, those very small images are actually plastic bags. The work is accompanied with this description: 'Depicts 240,000 plastic bags, equal to the estimated number of plastic bags consumed around the world every ten seconds'. Jordan's photos are made up of images of everyday items we consume everyday. Or, rather, we overconsume everyday. Some pretty scary statistics about consumption become the starting point for both his idea and the composition of the photo. And so it follows that Jordan's photo of Seurat's Sunday Afternoon on the Island of La Grande Tatte is actually made up of images of 400,000 plastic bottle caps. His take on Van Gogh is made up of images of plastic lighters. Jordon also also creates his own images; a bust made up of 32,000 images of Barbie dolls - equal to the number of elective breast augmentation surgeries performed monthly in the US in 2006 - and a moon made up of 29,000 credit cards - the amount of personal bankruptcy filings every week in the US in 2010 - also feature in the collection. https://youtube.com/watch?v=f09lQ8Q1iKE
Since opening back in 2011, Freda's has been Chippendale's go-to watering hole for Sydney's creative community. It's also been instrumental in the neighbourhood's music and arts scene. So, it's no wonder that the bar, a bit further down the track, went on to open its own basement gallery: Down / Under Space. Down / Under is the kind of lo-fi, multi-disciplinary and (literally) underground space you would expect from Freda's, too. Run by artists, curators and filmmakers, the space hosts everything from exhibitions and openings, performance art, film, live music, group shows, solo shows and everything in between. It's a space that fosters emerging artists and Sydney's creative community — something that can be hard to find in this city. Here, you'll find boundary-pushing works, a buzzing atmosphere and plenty of experimentation at this multi-arts space. Plus, after you get your art-fix, you can head up to the bar for a drink and some live tunes. Image: Kitti Gould.
Following the world-altering whirlwind that was 2020, award-winning Eau-de-Vie closed down, promising to return in the near future. While it's taken a little longer than expected, the sleek cocktail bar that was once 13th on the World's 50 Best Bars list has officially reopened to the public in Sydney's CBD. The Speakeasy Group (Mjølner, Nick & Nora's) and its directors Sven Almenning and Greg Sanderson have revived Eau-de-Vie at the Brookfield Place development inside the Beneficial House site at 285 George Street. It will be joined by its lavish new sibling venue The Sanderson on Thursday, May 25, an equally flashy restaurant with a focus on steak, Australian seafood and wine. "Eau-de-Vie is like our first child, we just have so much love for it! We looked long and hard to secure the new location, but the wait will be worth it," says Sanderson. "We really do see Beneficial House becoming a destination that our guests can spend an entire evening within. Aperitif cocktails at Eau-de-Vie, upstairs to The Sanderson for an amazing dinner, and then back downstairs for a whisky nightcap." All of the class of the original Eau-de-Vie is on show at the new opening with moody lighting, a smooth jazz soundtrack, the signature Whisky Room and private whisky lockers within the building's basement. The cocktails are built to impress, starting with the Hall of Fame section of the menu featuring Almenning's signature Smoley Rob Roy which combines two types of whisky, Diplomatico Mantuan rum, sweet vermouth and orange bitters before being served under a cloud of smoke. There's also a tangy take on the Moscow mule made with yuzu curd and your choice of rare aged spirit, Eau-de-Vie's famous old fashioned served hot or ice cold, and the Espresso Zabaione which reinvents the espresso martini with cold drip coffee, maple syrup, saffron and vanilla mouse and a touch of liquid nitrogen. All of this is on just page one of the ten pages of cocktails on the menu. A considered list of snacks, both raw (oysters, tuna tartare) and cooked (lamb croquettes, wagyu beef cheek pastry) are available at Eau-de-Vie, but if you find yourself hungry, you should head upstairs to The Sanderson. The restaurant will both aesthetically and conceptually complement Eau-de-Vie, centring its menu around Australian produce from the land and sea. The menu is kept simple, only just spreading to a second page, but there are plenty of options available, from Fraser Island spanner crab salad and heirloom zucchini served with cashew labneh to a selection of six different steaks headlined by a 700-gram MBS4 sirloin on the bone. "The Sanderson will bring together the many elements of 'celebration' that we ourselves love to enjoy with our friends and family," says Sanderson. The Speakeasy Group joins the likes of Shell House, Romeo's, Edition Coffee, Gojima, NeNe Chicken and PappaRich in Brookfield Place. Eau-de-Vie is now open 4pm–2am Tuesday–Saturday at 285 George Street, Sydney. The Sanderson will join it on Thursday, May 25, opening midday–late Tuesday–Saturday.
First came Bar Nina, the laidback Italian joint on the corner of Stanley Street and Crown with a relaxed vibe and a winning formula. Seamlessly morphing from a bright and breezy brunch spot by day into a buzzy neighbourhood diner and bar in the evening, Bar Nina remains proof positive that some venues can be all things to all people. Duplicating this strategy, the sister duo behind that Darlinghurst success are hoping a similar duel identity will be just as popular up the road in Potts Point. Rosie O'Shea and her sister Rebecca, who was formerly the Director of the Rockpool Dining Group, have taken over the grand mansion Dean's Lounge once called home to launch Arms Length, another day-to-night venue offering breakfast classics from 8am before transitioning into a chic yet relaxed cocktail lounge and late-night eatery after dark. At the helm in the kitchen is Head Chef Keno Perlas, who boasts stints at Bentley Group's Monopole and Neil Perry's Margaret on his resumé, alongside Executive Chef Jeffrey Sue, formerly of Rockpool, Ormeggio and China Doll. This seasoned pair has created an Italian-leaning, crowd-pleasing menu that is not unlike Arms Length's sister venue in Darlinghurst. Both the breakfast and evening offerings have been cleverly conceived, marrying broad appeal with affordability. In the morning, easy-to-like options include brekkie buns and french toast loaded with mascarpone and drizzled with a tart berry compote. Upping the ante is one of the most affordable bottomless brunch offers in town: 90 minutes of free-flowing cocktails, including espresso martinis, bloody marys, mimosas or the house speciality, garibaldis made with Australian-made aperitif Rhubi, for just an additional $29 on top of your food order. In the evening, the menu offers a mixture of cocktail sidekicks — think dressed oysters, anchovy brioche, chicken liver parfait — and a considered selection of mains, including steak frites, beef ragu rigatoni, casarecce with Skull Island prawns and an ever-faithful tiramisu for dessert. Evening diners can also enjoy a steal of a deal: the Supper Soirée. This candlelit dinner package includes a cocktail on arrival and a set menu of chef's favourites paired with wines for just $95. One of the most distinctive items on the evening menu pays homage to the heritage of Arms Length's Kellet Street address. Jaffles were a fixture of both Dean's Lounge and its forbear, Dean's Cafe, so it's fitting that late night revellers will still be able to enjoy the ooey-gooey delights of these cheese toastie triangles at the venue's latest incarnation. Available from 8am until late (through to 2am on Fridays and Saturday), you can get them filled with ham and mozzarella, four cheeses, or beef brisket and caramelised onions. To wash them down, Nick Tesar — 2022 Australian Bartender of the Year, Diageo World Class competition — has curated a seasonal signature cocktail list. For those drinking on a shoestring, the Arms Length bar has a cozzie-livs-friendly happy hour, during which house red and white wines will set you back just $8 a glass while select cocktails are a bargain at just $12. Open seven days a week for breakfast, lunch, dinner and late-night bites, Arms Length is a good bet — for you, and your wallet — no matter what time of day you visit.
Supermarkets sell them. Almost every bakery does, too. But there's a difference between most croissants and Lune's croissants. The latter have been described as "the finest you will find anywhere in the world" by The New York Times, are made and baked inside a climate-controlled glass cube, and are the result of a time-consuming process overseen by the Melbourne-born croissant haven's founder Kate Reid, an ex-Formula 1 aerodynamicist who brings scientific precision to her craft. For a full decade now, Lune Croissanterie has been earning praise and fans — and sparking hefty lines — for its signature item. The many different playful variations it offers up each month, such as finger bun croissants, birthday cake croissants and lamington cruffins, have scored the same adoration. But from Wednesday, November 2, those baked goods aren't just available at Lune's multiple Melbourne and Brisbane outposts (with a debut Sydney store slated to open in 2023). Now, thanks to the brand's first-ever cookbook, you can also whip them up at home. Clear your kitchen bench, switch on the oven, and stock up on flour and butter — in a variety forms — plus eggs and milk: you have some baking to do. Penned by Reid, LUNE: Croissants All Day, All Night's title says everything it needs to, and fills 272 pages with all your new favourite snacks. Unsurprisingly, the tome is thorough, stepping through how to make the perfect dough, the layers and lamination process, and getting the right shapes, including for danishes and pain au chocolat. From there, the range of recipes includes croissants, obviously, but also a hefty lineup of other edible delights. Think: lemon curd cruffins, pecan sticky buns, reuben croissants, croissant 'bread and butter' pudding, chocolate-dipped croissant 'biscotti' and croissant croutons, for starters. Other highlights span ham and gruyère croissants, cheese and vegemite escargots, chocolate plum sake danishes, pepperoni pizza escargots, those aforementioned lamington cruffins, four-cheese tousades, fish pies, pulled-pork croissants and lobster rolls. Amid all of the above, and more, the book is filled with food porn-style shots of plenty of dishes, images of Lune's stores and tidbits of history from the company's decade of operations so far — since setting up shop back in 2012 as a pint-sized store in Elwood. Your new problems: picking which of Lune's treats to make yourself, and somehow not devoting every waking hour to cooking your way through the new tome. If you want to set yourself a Julie & Julia-style challenge to work through them all, however, we're sure that your tastebuds will approve. LUNE: Croissants All Day, All Night also covers what to do with leftovers, stale croissants and how to freeze your dough and pastries — and all of the classic recipes, of course. Happy baking — and yes, if one of your nearest and dearest loves making pastries, you might've just found their Christmas present. LUNE: Croissants All Day, All Night hits Australian bookstores on Wednesday, November 2, with the hardback edition retailing for $55.
When Sony phoned the Narrabri Council to ask if Daft Punk could launch their latest album at the Wee Waa Showground, Mayor Conrad Bolton assumed the proposition was a hoax. "I thought a mate was pulling my leg," he told the Narrabri Courier. But the call was very much for real. A fortnight ago, a group of Sony's hard-hitters jetted to the 2000-person town to determine its suitability for a serious party. They liked what they saw, so May 17 will see the launch of Random Access Memories alongside the region's finest livestock at the Wee Waa Annual Show. Only 4000 tickets are going on sale. Several will be reserved exclusively for members of the Show Society and the remainder will be up for grabs from this Friday at Narrabri's Crossing Theatre. The rest of the French electro band's fans, which number in the millions, will be able to attend the celebration remotely, via live stream. Daft Punk will not be appearing live at the show; the launch of Random Access Memories will take place via playback. Last night, Wee Waa Show president Brett Dickinson told triple j, "We're still pinching ourselves. We don't know why, but why not?" According to Bolton, the tiny town's quintessentially Australian ambiance appeals to Daft Punk's maverick tendencies. "We think Wee Waa is so uniquely Australian, so the folks at Sony Music along with Daft Punk thought it fitted the bill perfectly," he explained to the Courier. "Daft Punk is known for breaking down barriers and coming up with new creative, innovative ideas to launch their albums."
Right now, the culinary name on everyone's lips in Melbourne is Rosheen Kaul. The chef made a name for herself when turning Brunswick East's Etta into one of the city's best restaurants and publishing her hugely successful cookbook Chinese-ish: Home cooking, not quite authentic, 100% delicious. Kaul has made it to the big leagues, but still doesn't feel like she's fully cooked — "I will not say I've reached my final form as yet," she shares with Concrete Playground. To get closer to that final form, Kaul decided to leave Etta and throw herself back into the wild. She's now writing a new cookbook, collaborating with chefs all over Australia and judging the upcoming S.Pellegrino Young Chef Academy Competition — alongside the likes of Josh Niland, Jake Kellie, Brigitte Hafner and Brent Savage. Kaul has already played a great part in helping develop what contemporary Australian cuisine is and can be, but she has plenty more to give. We also spoke with her about her future plans — both for herself and the country's culinary landscape — as well as the best advice that she has ever received and how it helped her become so successful. On Joining the Big Leagues in Melbourne's Food Scene "There is an incredible responsibility that comes with being a more-prominent face in the Melbourne food scene. I am acutely aware that I represent a demographic that is only now seeing representation in food media, and I am both honoured and empowered to have a platform to share my experiences as a female chef and as an Asian Australian." On What Kaul Has Been Up to Since Leaving Etta "I had planned to take a break when I left Etta, but I definitely underestimated how bored I'd be without the high energy and stimulation of kitchen life. I'm nearly at the finish line with the manuscript for my next cookbook, and I'm spending the rest of the year travelling around Australia cooking with some of my amazing friends and peers in their venues interstate. It's a brilliant way to keep myself in the kitchen, and frequently put myself well out of my comfort zone. Cooking my food in different spaces and running different types of services is really helping me zone in on the core of my style of cooking. Beyond the woodfire, beyond a specific style of service, I've had to figure out precisely what makes my food 'me' — that can be applied to say a breakfast pop-up, a charcuterie pop-up, a rural pub takeover or a completely lo-fi open fire in the bush. I'm excited to see all of the different forms my food takes around Australia." [caption id="attachment_962874" align="alignnone" width="1920"] Annika Kafcaloudis[/caption] On Kaul's Upcoming Cookbook "I'm incredibly excited about this next book. I can't reveal the title as yet, and it will be published with the same publisher as Chinese-ish — so it will be fantastic. After the international success of Chinese-ish, I didn't think I would write another one as I felt like I couldn't possibly top the first, but inspiration comes from all sorts of places, and I was hit with an absolute bullet train of inspiration one day and I knew I had to get it all out in a book. See, the thing is I wrote Chinese-ish before Etta, and still didn't quite know who I was as a chef, nor had I really zoned in on my style of cooking as yet. Writing Chinese-ish gave me an incredible insight to my own identity as a person straddling multiple worlds and cultures, and my time at Etta gave me the platform to put that on a plate and the time to refine my ideas. I will not say I've reached my final form as yet, but I am miles away from the chef I was when I wrote my first book. There was no need for me to reach into my past for recipes this time — rather, each of the 160-odd recipes are Rosheen originals born from the confidence and self-awareness I've gained over the past few years. Vibrant, colourful, delicious and bold — it's a book of sauces, condiments and dressings as wildly cross-cultural as I am. I can't wait to share it with you all next year." On Judging at the S.Pellegrino Young Chef of the Year Academy Competition with Some Huge Names in Food "Big names indeed, and I'm honoured to be counted among them. Josh Niland, particularly, is a chef whose work I've followed for many years, and learned so many techniques from that I've applied in my own kitchens and taught my own chefs. Brigitte curates one of the most incredible, immersive dining experiences in the country with such a generous style of cooking and I've had the privilege of dining at Tedesca Osteria twice. Brent Savage's restaurants are legendary, and some of the most pitch-perfect dining experiences I've had in Sydney were at Bentley and Cirrus. And Jake Kellie, I've admired for many years during his time at Burnt Ends, and I'm thrilled to be cooking with him at Arkhe in August." On the Importance of Celebrating and Supporting Young Chefs "Australia doesn't share the same long history of haute cuisine as other countries, and it is only now that we are beginning to articulate what 'Australian cuisine' is, was and can be — encompassing native and traditional ingredients and influence from waves of immigration, and reflective of where we are as a nation. It's hugely important to support our young chefs in Australia on that journey to define who we are, and to have more chefs that thrive on the world stage. For Australia, we're at the precipice of our culinary journey, and we have to see the ideas of the current industry taken to the next level by the next generation of chefs." [caption id="attachment_962876" align="alignnone" width="1920"] Etta by Annika Kafcaloudis.[/caption] On How Melbourne's Food Scene Stacks Up Against Other World-Leading Culinary Cities "I'm originally from Singapore, and I can say with certainty that the dining scene in Melbourne is well up there with cities like London and Paris. Not as saturated, sure, but the fresh ideas, breadth of styles and respect for ingredients coupled with incredibly strong skills puts this city firmly in the same calibre. Melbourne did host the World's 50 Best a few years ago for a reason, so I certainly am not biased in this opinion. What I do love about cooking in Melbourne is the freedom. We have sensational produce, young farmers serious about healing our topsoil — growing truly delicious ingredients — and such a wealth of cultures and histories to be inspired by. It's an incredible time to be a chef in Melbourne." On the Best Advice That Kaul Has Ever Received "I've been told a few things in my life that have focused and sharpened my trajectory, the major one being to be a sponge: learn anything and everything from the people around you. Everyone is good at something, and whether it be a Demi-Chef or a Head Chef training you, there is always something to learn, whether you agree with them or not. The more talking you're doing, the less you're learning. When I was working at Dinner by Heston Blumenthal, Chef Ashley Palmer-Watts once said 'the moment you lose your temper, you've lost control of the situation'. I held that statement close when I started running my first kitchen. If you stay calm, calculated, and ready for any and all possibilities, you'll never be taken by surprise. Three steps ahead, always." And Some Advice for Young Chefs Looking to Succeed in the Industry "Leave your ego at the door. You also have to continually challenge yourself — don't ever be the smartest person in the room — because complacency is akin to failure, and there were times when I was feeling a little too comfortable at Etta. The best thing I could do for myself as a 31-year-old chef was to throw myself out into the world again and seek new challenges. It's a scary thing, defending your credibility, but I know I can be more, and it is worth every bit of fear and discomfort." Top image: Kristoffer Paulsen.
Stirring up the streets of Surry Hills is the original venue from the SOUL dining team. Head over to Devonshire Street and you'll find SOUL Dining nestled into its inner-city digs. The brainchild of husband and wife team Daero Lee and Illa Kim heroes traditional Korean dishes with a contemporary flare, using elements of modern Australian dining to create an exciting take on these Korean favourites. The duo's first venture into Sydney's dining scene — a sleek 40-seat space with dark, dramatic interiors and an unassuming exterior — champions local Australian produce, celebrating an incredible range of Asian flavours. Drawing on their wealth of worldly experience, the co-owners pull inspiration from Korean, Australian, Italian, French, German and Japanese techniques in crafting the menu. Cast your eyes over the menu of SOUL Dining and you'll find varied selection of seasonal dishes, ranging from kingfish in kimchi water to Korean escargot. Standout starting dishes include the prawn tteokbokki and the Korean chilli poppers, with the triple-cooked octopus, pork jowl and spicy charcoal chicken leading the must-try mains. And if you're feeling a little extravagant, you can opt to order a full south coast rock lobster with Korean fish sauce, yuza burre blanc, trout roe, chervil and chilli. For those with a sweet tooth, there are three dessert options to pick from. Try the soft and chewy rice flour doughnut, the yagwa — a traditional Korean pastry — or opt for the Korean sweet rice punch, for dessert and a drink in one. Pair your meal with a tasteful sip — the cocktails on offer take inspiration from childhood snacks, putting a modern spin on the nostalgic treats. You'll find a sweet treat galore from the ice cream-inspired Melona and citrusy Vita C 500 to the creative French Pie cocktail. And worry not if this range is not up your alley, there are a variety of Korean beers, ciders, wines, soju and spirits selected to pair perfectly with the venue's menu items. Plus, you have the option to enjoy a meal that encompasses the SOUL Dining experience by opting for the tasting menu. You'll be able to experience the restaurant's best for $99 per person. After comfortably setting up shop, the SOUL group have also descended upon two other Surry Hills locations to expand the SOUL group empire. The sibling venues, SOUL Deli — a cosy cafe-deli — and Bar SOUL — a gorgeous neighbourhood bar and diner— feature revamped menus with their roots grounded in the Korean sensibilities of the OG restaurant.
Art/Work is a new Concrete Playground series where we take some time to chat with our local creatives in an attempt to unravel the daily grind behind being an artist. First cab off the rank is Mitch Cairns, a Sydney-based artist represented by BREENSPACE. He is also one quarter of the now defunct collaborative group, Cosmic Battle for Your Heart. He can also play the drums. Most days you'll find me in a bit of a jam, I'd very much like to be in the studio, but being an adult is difficult and most days lately I'm either at accruing pennies or… When I am not there I am working on the next batch of paintings. Painting, for me, is a tricky problem and generally involves 'filling in' the frame with an image of some sort. In order to keep painting, I set up a few hooks to work out from. Currently I've been looking a lot at cartooning, straight up and down visual gags that generally involve the tragedy of going bald. After combing over this material I then go through a process which includes a night of heavy carbs, waking, stretching, keeping up fluids and eventually setting off on a light jog. My day job is at Oxford Arts Supplies, I work with good people, I get to peruse the store, at times, like a guest.... It's great, I could be digging holes right now. Like all job you've got to turn up to be paid.... this isn't a problem for me really, but I am seeking a double, anybody that fits the type of 'chubby greyhound' should apply here. Working in an art supply house is fine, the discounts aren't wild but they're helpful. In fact I work with some really awesome artists.... so yes it is quite a stimulating place to work. If money wasn't an issue I'd have a beer in the fridge. Being an artist/musician in Sydney is very tight right now. But I would never leave for any great deal of time. I have entertained moving to New Zealand, I mean our house is being bent over soon, we gotta live somewhere. My neighbourhood is currently in Rozelle, I am peninsulated. There is in fact a whole bunch of really excellent artists that live on the peninsular, its a very nice neighbourhood. Best kept Sydney secret Balmain Star. It's a pho joint in the Balmain Plaza, very simple, cheap, delicious food. I'm not sure why you'd ask me about hip Sydney secrets thou? Isn't that your job to tell us? I'm a mild mannered and sometimes awkward guy, I got no secrets..... good afternoon.
Before 2025 is out, BENEE will release her second album. Before that, she's supporting Tate McRae's UK and Europe gigs, and already has a tune on the soundtrack for A Minecraft Movie. That's a huge year for any musician, especially after touring with Wallows in North America and Olivia Rodrigo in Australia in 2024, as well as making her Coachella debut in 2023 and singing the official song of the same year's Women's World Cup with Mallrat. But something else that's massive has been happening for Stella Bennett around the above achievements and highlights, plus her own first world tour in 20222: Head South, her debut film. Written and directed by fellow Aotearoan Jonathan Ogilvie (The Tender Hook, Lone Wolf), Head South is based on his own experiences. The filmmaker calls it "an almost-true story"; "everything in it happened, and mainly to me", he also notes. Given that the movie shot in 2022, then premiered at International Film Festival Rotterdam in 2024, then played New Zealand International Film Festival and hit cinemas in NZ that year, Head South has been a part of Bennett's life for a few years ahead of opening in Australia on Thursday, April 3, 2205. And while she can't wait for what's ahead for her musically in 2025 — "I'm so excited. I love touring. It's pretty fun being on a bus. That makes it weirdly easier, because you're not checking into hotels or being in a sprinter van, but you get rocked to sleep in the bus. It's quite strange. It doesn't sound fun, but it is fun," she tells Concrete Playground — she's always wanted to be in a film. Indeed, she hopes that more will follow. BENEE wasn't actively looking for the project that'd take her to the big screen when Head South crossed her path. "It was just an opportunity that came up," she advises. That said, "I'd definitely been saying that I want to do acting", she also reflects. "I grew up doing auditions and voiceovers, so it was definitely, when it came up, I was like 'heck yeah, definitely, I'm down'." The bug has firmly struck, though, including genuinely seeking out new parts moving forward. "I am. I've just got a new agent in America, so there are hopefully going to be some opportunities. And I want to be in a horror movie. I would love to be in a scary movie." With Head South mining Ogilvie's teenage life for inspiration, Australian talent Ed Oxenbould (Nugget Is Dead?: A Christmas Story) is the picture's lead — and the lone Aussie among the NZ cast and crew, he tells us. As Angus, it's the Puberty Blues, Paper Planes, Alexander and the Terrible, Horrible, No Good, Very Bad Day, The Visit, Better Watch Out, Wildlife and Irreverent star's task to virtually play his director, and to find himself thrust into Christchurch's post-punk music scene in 1979. Always trying to seem cool, the character swaps his blonde surfer-style locks and trying to pass off parsley as marijuana with his schoolmates for a cropped cut, a bass and the world revolving around Middle Earth Records. Listening to Public Image Ltd, John Lydon's band post-Sex Pistols, is one of those life-changing music moments that every teen has. Attempting to put together the band that Angus claims that he already fronts — endeavouring to impress Malcolm (Demos Murphy, The Gulf), the singer from local favourites The Cursed — isn't as straightforward as he expects, however. Angus' made-up group has a name: The Daleks. It soon has a gig as well, opening for The Cursed. BENEE plays Kirsten, who works the counter at a pharmacy, is a wiz on the guitar and is Angus' only hope for making good on his music claims. That Ogilvie's narrative focuses on a journey sparked by exaggerating to fit in, then scrambling to back it up, is indicative of its warts-and-all honesty. There's warmth to Head South, yet it's also deeply bittersweet as it balances Angus and Kirsten's growing connection, and the former's quest to truly find himself amid his self-doubts — plus "all these cute characters vibing around Christchurch", as BENEE puts it — with more than a few people taking advantage of Angus, the awkwardness with his father (Marton Csokas, Cuckoo) at home after his mother has moved out and navigating a tragedy. In Head South's performances, emotions, personal ties, portrait of a moment in music history in a specific city, soundtrack and aesthetic — scratches and splices among the visuals included — Ogilvie pushes authenticity to the fore. Much about that commitment appealed to both Bennett and Oxenbould; this isn't the kind of project that comes either of their ways often. "You don't see these type of things every day, and that's what immediately jumped out about it, was the quality of it, how unique it was. It was something that I knew nothing about, which is always exciting as an actor, to dive into a different world. And the fact that it was personal and true adds a whole new gravity and weight to it, which makes it really exciting. There was so much about it that was so interesting and tantalising as an idea," Oxenbould says. Among the pair, Oxenbould was the veteran on-screen, but Bennett had the music experience. Drawing upon each other's expertise was a key part of the production for both. We also chatted with the duo about being about to lean on each other, the weight of making a film that's so personal for its guiding force — and, as Oxenbould characterises it, "such a unique mix of genres" — as well as music research and more. On How BENEE Knew That Head South Was the Right Film for Her Movie Debut Stella: "I think when I initially got sent the script and story, I was obviously like 'okay, this is sick'. This is set in Christchurch, in the post-punk scene, which I honestly didn't know a lot about when I first got sent it. And then I read the script and I learned about Kirsten, and I was pretty attached to her quite early on — because I was like 'oh, there's something so vulnerable and sweet and kind of damaged and quirky about this character'. And I just instantly fell in love with the whole story. It just felt right. And also Jonathan was so nice. He was so enthusiastic from the get-go. And I was like 'he believes in me, and I'm so down to be a part of this'. I've always wanted to be in a film. And I love acting. It's a lot of fun. And it's fun to just be a different character, because I feel like my whole thing is BENEE and it's more myself — but performing, but myself. So it was cool to just completely take a different role. I want to be in a horror movie next. I want to be every different kind of character." On Whether It's Daunting Making a Project That's So Personal for Its Director — Including, for Oxenbould, Playing a Version of Ogilvie Ed: "100 percent. It's very daunting. Look, it's good. Thankfully, it was really good that Jonathan wasn't like 'you have to get me word-perfect'. It was so relaxed, and he knew that it was just a basis. And there were things that he changed and stretched in his story, so we found a really good middle ground of character and real life. But it is always daunting, knowing that these things happened to him. It adds to it — it's not just like 'ooh, how would I react?'. There was a lot of me asking him 'how did you react? How did you feel here? How can I try to bring some of that authenticity and truthfulness to that?'. But it is definitely daunting." Stella: "It definitely was. And even I remember that last scene, I feel like I got — as you got — pretty emotional, because I was like 'damn, he went through this and we're just acting this out right now in front of him', and 'what a crazy thing to experience in life' and to do it justice, basically." Ed: "Yeah, that's it. But it is surreal. Like you're saying, Stella, it's kind of weird to think 'ohh, we're acting out this crazy pivotal moment in Jonathan's life'." Stella: "Yeah." Ed: "And he's watching, and there's a whole crew watching." Stella: "You did a great job, mate. You did a great job." Ed: "Thank you. You too." On the Balancing Act of Navigating the Movie's Mix of Comedy, Darkness, Coming-of-Age Antics, Awkwardness and Heartbreak Ed: "It definitely is, but I think it comes down to Jonathan's great sense of direction — that he knew when to reel it in, he knew when to accentuate it. But I think that's also what read in the script, is the sense of humour, and all these gags that were in it that made it really fun and light. And it's also that really nice, quirky, very Kiwi sense of humour, which also just sets it apart from so many other things. But I think he just did such a good job with, on the day and in editing, just really finding that balance of heart and extremities of both sides." Stella: "Definitely. There's so much depth. And like, yeah, you were laughing — like I was hysterically laughing at times —and then other times I'm like 'well, this is dark and kind of twisted' or 'this is really sad'. I feel like that's what I want out of every movie. I want it to make me feel a bunch of things — and then I come out of it, and I feel a little bit hurt, but I also feel kind of hopeful." On the Research Required for a Film Set in the Late 70s, in the Post-Punk Music Scene, Telling a Very Specific Slice of Christchurch Life Ed: "For me, so much of the film is about these experiences that Angus goes through and he's extremely unprepared for them, and he kind of gets taken off his feet. So I had an element of that, of wanting to be a little bit carried away and swept up by the music and by everything. But I think in basic preparation, it was just a lot of looking at a lot of reference material; listening to the music; listening to what came before, what came after, what came during; and just to try to build the scene in your head — so that we were really well-versed in just that world, so that we could do our jobs truthfully and as close as possible to how these people lived and sounded and acted." Stella: "Yeah, totally. And for me, I think what was really helpful was just sitting down with Jonathan and hearing everything that he has to say about that era, and what it was like for him being in a band — because it is so different to how it is now, and making music and releasing and recording music. And he's so passionate about it because he's not only a director but also musician. So just learning from him, and then feeling prepared by that. He was like an encyclopaedia, for real — a thesis." On How BENEE's Music Experience Helped Her Make the Leap to Her First Movie Stella: "Maybe for the performance at the end. That was really fun. But also, I feel like music is my life, so it felt quite comfortable just doing this film because it was all about the music. And yeah, I think that in maybe some subtle ways that it did help me, maybe. I don't know how, but I think it did." On What Oxenbould Makes of His Journey of an Actor, From Starting Out as a Child to the Path That's Brought Him to Head South Ed: "That journey is bizarre. I've been so, so lucky, and I wouldn't change anything. I've met incredible people. I've made my strongest friends by doing it. It's given me access to a whole host of opportunities that are very, very fortunate. So I feel so lucky. But I don't know — I don't really know where it goes from here. I don't know if I hit my peak and now I've plateaued." Stella: "No, you have not." Ed: "Or I'm on a downward spiral. But it's good. It means everything to me. I'm so lucky, and I hope I can continue to do it for the rest of my life. And I'm excited to explore other areas of the industry. It was a fantastic way to learn and to grow up. I've picked up all these great things and it's made me who I am as a person. I'm very, very fortunate to the people who let me get away with all things I get away with." On What It Means to BENEE to Make Her Movie Debut in a Homegrown Film That's So Proud of Being From NZ, and with Such a Strong Connection to Music Stella: "It feels really special and authentic, and just like it was meant to be. It was just the universe being like 'girl, you're going to do this right now and it's going to be really cool'. And it feels really special that it is my home, and I am part of the music, and the music that shapes the music from Christchurch. That made no sense." Ed: "I got it." Stella: "Did you get that? But it does feel pretty special. I wouldn't have wanted it to be any other role. And also just the people, it was so nice. I don't have any other experience of working with actors or directors from America or anything, so it was pretty special that it was on this Kiwi-Aussie bus. Everyone just gets it and is super down to earth and very chill. So it was a great environment to be in, especially as a first-timer, I would say." On Being Able to Lean on Each Other While Making the Film Ed: "100 percent. It's that beautiful acting thing where you just bounce off each other, and you don't realise it but you learn so much from other people. And then by the end you're like 'ohh, thank you'. And it's not this explicit 'let me help you, ;et me sit you down, Buster'." Stella: "No, no." Ed: "You just absorb." Stella: "Yeah." Ed: "It was great." Stella: "It was a lot of fun. It makes it easier, I guess, just being able to vibe with who you're working with in any field — but especially because Ed is so good. I was like 'okay, I'm taking notes and I'm learning, and I'm going to get better at this'. So it was a pretty awesome experience." Ed: "Watching you just perform and on stage — okay, that's how you do it." Stella: "No! I was literally faking the guitar. It was insane. I was learning how to play bass — oh wait, no I wasn't, I was actually playing guitar." On What Oxenbould Looks for in an Australian or New Zealand Project — and What's Special About Working Down Under After His Success Overseas Ed: "It just means a lot more. It's a lot nicer to be talking in your own accent, and talking to people that you know. and you're in a familiar land. It just feels better. It feels nice. It means you can stay and you can work and still live with family. When you work over there, you have to kind of give up — at least I have to give up everything to go over there. But working in Australia, I love. And then working in New Zealand was an honour. I love, love, love, love New Zealand. I love Kiwis. And I was the only Aussie." Stella: "You were." Ed: "I was only one in the cast. I think the only one on the crew. So I was very intimidated." Stella: "New Zealand loves you." Ed: "But you felt very welcomed, and I was very happy. And it meant a lot that that Jonathan trusted me to be the lead of this very distinctly Kiwi film — to get a traitor in the mix." Stella: "No! No. You made peace, bro." On What BENEE and Oxenbould Learned From Making Head South Ed: "You learn so much from every project and every film, which is the best part about it — you just pick up so much from the people, from around you. But I think the main thing that I learned was just about the punk scene. It's just awesome to dive into a whole new topic. And it's not something that I ever would have probably researched or probably would have sought out a lot of information, but then having Jonathan, having this crazy, knowledgeable guy who's just always there and able to fill us in on the gaps of history, it was just great. You walk away learning a lot more about these real institutions that have shaped the music industry here and in New Zealand." Stella: "Totally." Head South opened in Australian cinemas on Thursday, April 3, 2025 — and is available to stream in New Zealand via Arovision.
If you're vegan, or just generally into vegan-friendly things, then the Vegan Grocery Store is your one-stop-shop for food, beauty, fashion and home goods. Starting off as an online-only business, this brick-and-mortar store on Glebe Point Road has been serving animal-loving and sustainability-minded Sydneysiders since it opened back in 2012. To give everyone the chance to sample a whole heap of dairy-free cheeses, the inner-city grocer is hosting a one-day cheese festival. Popping up on Saturday, July 23, the Vegan Grocery Store invite patrons to head down between 11am and 4pm in order to try over 50 different types of vegan cheese from a variety of cheesemakers. Tickets are just $5 which allows you to sample all of the non-dairy cheese you could ever want. Plus, the entry fees are being donated directly to Moo To Ewe Farmed Animal Sanctuary, an organisation that finds homes for orphaned farm animals. There are sessions every 30 minutes on the day which you can book via the Vegan Grocery Store websites. Top image: Trent Van der Jagt
When your Thursday is dragging a little, perk yourself right back up with a lunchtime excursion to cutting-edge gallery Firstdraft. One of our favourite galleries in the city, this democratic and daring artist-led initiative is all about experimental, ambitious and challenging art. The constantly rotating series of exhibitions includes works in a wide-variety of media, ranging from contemporary sculpture to video installations and everything in between. Spend 45 minutes here during your lunch hour discovering the December exhibitions, and you'll leave feeling all inspired, energised and ready to breeze through the rest of the afternoon at work.
A pure slice of classic sci-fi, S-27 could easily be a reworking of George Orwell's Nineteen Eighty-Four. Instead of Hitler, this particular version of dystopia employs a more contemporary phantom, referencing the Khmer Rouge's S-21 prison. Here the civil servant protagonist is female, chosen to work as a prison photographer for an outfit known only as 'the Organisation'. Sarah Grochala's script deserves its accolades as winner of Amnesty International's Protect The Human Playwriting Award. Less concerned with obvious evils than the fine line between good and bad, Grochala hones in on what people are forced to do in atrocious situations, to what degree they have a choice and what it means if they do decide to choose. This script would not be easy to stage, and for more reasons than its emotional depth. Set only in a single room, the play relies largely on what can be created in the imagination of the audience. Caroline Craig (in her debut directorial role) pulls the strings with a deft touch: the characters sit firmly within the action but are never allowed to dominate the tension which holds the key to the play's climax. The acting ensemble, Two Birds One Stone, is clearly doing its work as well. May channels the school girl mystery of Picnic at Hanging Rock twisted into Lord of the Flies, while her subordinate, June, is pure Chiaki Kuriyama. Image by Alex Vaughan.
There's some hurtful stuff delved into in Posts in the Paddock, some things that are hard to talk about. Jimmy Governor is not a person on whose history it is comfortable for Australians to dwell (it's not one in which anyone really ends up looking great) and ancestral involvement cannot make it much easier. So it's admirable and brave, as well as interesting , that My Darling Patricia and Moogahlin Performing Arts have brought this story to life. But it's not quite right to call it a story; this is not the story of Jimmy Governor or of him and his wife, or of the white and black communities in which they lived, or of the current inhabitants of the region from whom the creators of this work have sourced their history. Posts in the Paddock is not a story but a series of stories, a collection of perspectives on events leading up to the murders and the hanging that are at the centre of the story. The production, accompanied by an installation in which oral histories are projected from totems, moves between abstract and choreographed sequences and direct address to the audience. The performers negotiate and modify a fairly sparse but texturally rich set against a recorded backdrop of dialogue, song and sound, progressing from the dreamlike to the matter-of-fact in an attempt to come to terms with a past that's been mythologised.
It's not often that you're holding out hope that the temperature drops even further in winter. But a bunch of Sydney pubs are encouraging you to do just that this chilly season. As the temperature drops, beer lovers turn to their go-to winter stout, Guinness, and the iconic brewery has enlisted the help of a group of beloved Sydney stalwarts to give away free pints as the mercury falls. The concept is simple. If the temperature drops below nine degrees during the month of June, there are free pints of Guinness on offer. To claim your complimentary beer, head to one of the participating venues and show the bartender Guinness' Brewery of Meteorology site which will display the temperature. Some of the pubs taking part in the promotion include The Carrington and Keg & Brew in Surry Hills; The Dog Hotel, Jimmy's Bar and Horses Hotel in Randwick; The Village Inn in Paddington; Woollahra Hotel and Lord Dudley Hotel in Woollhara; Grand Hotel, Tea Gardens Hoel and Beach Road Hotel in Bondi; Charing Cross Hotel in Waverley; Clovelly Hotel; Coogee Beach Club; and Woolloomoolloo's East Sydney Hotel. [caption id="attachment_681981" align="alignnone" width="1920"] Beach Road Hotel[/caption] Adding to this celebration of the colder months, Guinness has also created a set of merino-wool thermals covered in the iconic Guinness harp. If your passion for the historic beer extends far enough that you want to represent it on your body, you can win a pair of the limited-edition thermals via the Brewery of Meteorology website. "As the weather gets cooler, there's nothing better than rugging up and enjoying a Guinness," said Guinness' appointed meteorologist, beloved celebrity chef Colin Fassnidge. "I'll be keeping an eye on the temperature this winter, and when it drops I hope to see plenty of Guinness fans donning their Guinness thermals and heading to a cosy pub to enjoy a pint." For more information on the Guinness giveaway and to enter to win the Guinness-branded thermals, head to the Brewery of Meteorology website. Top image: Cassandra Hannagan
Regina George and the Plastics told us that Wednesdays are for wearing pink. In fact, they've advised us of that more than once. But on Wednesday, February 7, the middle of the week is for eating doughnuts without spending a cent, too, to promote the latest Mean Girls film. All day, Donut King is handing out freebies — and keeping Australians happy with their eponymous blend of sweets and carbs. The chain is known for its hot cinnamon doughnuts, and that's exactly what it'll be giving away at participating stores across Australia. Donut King hasn't advised exactly how many doughnuts are up for grabs, and it is a while-stocks-last affair. The big caveat, other than the first-in-best-dressed rule: there's a limit of one free hot cinnamon doughnut per person. Also, you do have to hit up a Donut King shop in-person, with the giveaway not available for deliveries. The brand's locations include everywhere from Chatswood and Top Ryde to Leichhardt and Hurstville in Sydney; Northcote, Sunshine, The Pines and Southland Westfield in Melbourne; Brisbane's Indooroopilly, Carindale, Chermside and Mt Gravatt; Perth's Ocean Keys and Midland Gate; and Adelaide's Glenelg, Tea Tree Plaza and more. But, you will need to check if your local Donut King outpost is taking part. View this post on Instagram A post shared by Donut King (@donutking_au) The new Mean Girls movie adapts the stage musical based on the OG 2004 movie, stars Australian actor Angourie Rice as Cady Heron and hit cinemas in January. Check out the trailer below — before, during or after tucking into a free doughnut: Donut King is giving away free doughnuts on Wednesday, February 7 at the chain's participating stores around the country. To find your closest shop and check its opening hours, head to the Donut King website.
When Ryan Gosling and Emily Blunt got bantering while presenting a tribute to stunt performers at the 2024 Oscars, they weren't just there to playfully riff on the Barbenheimer phenomenon, or ignite a Barbie versus Oppenheimer rivalry. They had a film to spruik, aka the Sydney-shot The Fall Guy — and while that Academy Awards stint might've been the best promotion any movie needs, a new trailer has dropped for the flick anyway. For much of his career, Gosling has perfected on-screen smouldering. He's the kind of actor who can utter few words and still convey everything, as movies such as Drive and Only God Forgives demonstrated so well. But Gosling is also exceptional at comedy, which Barbie reminded the world in 2023 with glorious ballad-crooning, beach-loving Kenergy. Next, cinema's baby goose is getting into action-comedy mode in The Fall Guy. Based on the 80s TV series of the same name, the film follows stuntman Colt Seavers (Gosling), whose career isn't what it used to be. After taking time off, he's back at work getting set on fire for a living — but the fact that his ex Jody Moreno (Emily Blunt, Oppenheimer) is directing brings chaos. That's just the first dose of the movie's mayhem. Also complicating matters: that megastar actor Tom Ryder (Aaron Taylor-Johnson, Bullet Train), who Seavers is meant to be doubling for in Moreno's flick, has gone missing. So, the stunt professional now has another task: work out what's going on by solving a conspiracy. If you're thinking "wasn't Gosling in the stunt game in Drive?", you're correct; however, The Fall Guy couldn't be in more different territory tonally. That said, when Ted Lasso's Hannah Waddingham tells Gosling "you're a stuntman — nobody's going to notice you, that's your job", in The Fall Guy's trailers (the first arrived back in late 2023), you'll already know that his casting means that's never going to prove true. As well as finding a missing actor, getting immersed in action intrigue to unravel a criminal plot, saving his latest movie and doing his regular job, Seavers is on a mission to win back Moreno — but IRL stuntman-turned-filmmaker David Leitch, who also helmed Bullet Train, Atomic Blonde, Deadpool 2 and Fast & Furious Presents: Hobbs & Shaw, puts stunts to the fore as much as rom-com banter in the initial sneak peek. Written by Fast & Furious Presents: Hobbs & Shaw scribe Drew Pearce, The Fall Guy co-stars Everything Everywhere All At Once Oscar-nominee Stephanie Hsu, plus Winston Duke (Black Panther: Wakanda Forever). Also a big feature in its trailers so far: its Sydney shooting location, including George Street, the Sydney Opera House and the Sydney Harbour Bridge. Everyone in Australia knows that Gosling was in the country to make the movie — and we all know that any flick shot here will show off that fact in its footage, as seen in the also Sydney-made Anyone But You recently as well. On the small screen, The Fall Guy ran for 113 episodes from 1981–86, starring Lee Majors after his best-known role in The Six Million Dollar Man. Check out the latest trailer for The Fall Guy below: The Fall Guy releases in cinemas Down Under on Wednesday, April 24, 2024.
Bali is a no-brainer for Aussie travellers. It's close, beautiful, and it's packed with the kind of beaches, spas and resorts that make you want to quit your job and move there permanently (kidding…sort of). If you're going to do Bali, you have to do it right – which means finding the best accommodation. Luckily, you've got some incredible options. And now, thanks to Visa, you can book your dream stay with 10% off through our dedicated platform, Concrete Playground Trips. Whether you're chasing waves and smoothie bowls in Canggu, planning a honeymoon getaway in Uluwatu or heading to Ubud for something a little more off-radar, these eight hotels will have you booking that flight ASAP. Simply book using your Visa card to score the discount, then start packing.
They say change is as good as a holiday, and a holiday with some leftover change? Sign us up. The little-known island of Bali is the perfect destination that feels worlds away without having to travel around the world. Flights are cheap, the people are a delight, the food is exceptional, and the beaches are breathtaking. It's no wonder it's an Aussie traveller's favourite. From lush tropical rainforests to terraced rice paddies to multiple surfers' paradises — sometimes even just a couple of nights away is all you need. To help you lock away a quick (or longer) getaway, our editorial team has curated some top travel packages for four distinct Bali locations. Find your preferred option and book it through Concrete Playground Trips now. EXTREME RELAXATION IN NUSA DUA For laidback luxury in between extreme watersports adventures, Sadara Resort on the gorgeous beachfront of Tanjung Benoa has your name on it. Tanjung Benoa is Bali's number one water sports playground, with activities from jet skiing to parasailing, banana boat rides and sea-walking adventures. But fear not, if your holiday is for relaxing and relaxing only, then our Nusa Dua travel deal has everything you need. Sink into your included one-hour Balinese massage before or after you sink into the ocean-facing pool, where you can sink cocktails at the swim-up bar. You'll also enjoy the inclusion of daily breakfast and afternoon tea plus a set menu lunch or dinner. LEGENDARY VIBES AT LEGIAN BEACHFRONT In among the action of iconic Kuta, enjoy a beachside break at AlamKulKul Boutique Resort. This is a prime location for exploring Kuta's beaches along the boardwalk and checking out character-filled laneways before heading back to watch a sunset and sip a Bintang on the beach. Check out our resort package, where you can enjoy true Balinese interiors and architecture, a thriving tropical garden and the on-site spa in between ocean adventures. Your daily breakfast at the restaurant will be an ideal start to the day before you make the most of everything the resort and surroundings have to offer. A GREAT RATE VILLA ESCAPE IN SEMINYAK Let's face it: we all want to be the people who have a Balinese villa and floating breakfast for ourselves — and with this deal, it can be you. The Bali Dream Villa is the ideal location for a getaway, with speedy access from the airport that gets you right into the buzz of Seminyak and its plethora of award-winning restaurants. Inclusions abound with return airport transfers, welcome drinks and daily breakfast and afternoon tea for two. It has everything you need for a private vacay away, with your own pool and kitchenette facilities to make yourself feel truly at home. LUXURY VILLA STAY IN ULUWATU Escape everyday life at beautiful Prasana by Arjani Resort – an all-villa resort perfectly positioned in Bali's beautiful southernmost tip, Uluwatu. This stop is a tad pricier, but it is worth it for what you get included in our exclusive travel package. Whether surfing or spa trips are more your speed, you'll have ample opportunities for both. Explore the famous beach club-lined Melasti Beach or surfer favourite, Padang-Padang, or stay in and enjoy the ocean view from your private villa, take a dip in your private pool or get a relaxing treatment at the Menaka Spa. It's a getaway for all to enjoy the best of Bali, and sometimes, that's just the thing you need to refresh, reset and recharge. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips to destinations all over the world.
"It's a hard film to Google," says Molly Manning Walker of How to Have Sex, simply due to her debut feature's moniker. "Everyone's always really loved the title, and it's been the title since the beginning. I guess it gets complex when it goes onto the internet and you get bots saying 'maybe I'll learn something' or 'they think they could teach me how to have sex'," the British writer/director continues. "The only thing I think someone once said was 'why don't we call it How Not to Have Sex?'. And I was like 'I think that's too obvious'. As it spends time with three 16-year-old British girls on a boozy Greek getaway to Malia, Crete — a Schoolies-esque rite-of-passage vacation where getting sloshed, soaking up the sun and slipping between the sheets are the only aims — How to Have Sex is as candid as its name. But Walker is never interested in being bluntly overt or neat; rather, everything about the movie is honest, raw and authentic. Premiering at the 2023 Cannes Film Festival and collecting the Un Certain Regard Award in the process, her picture resonates because it's so lived in, so ripped from reality and so familiar to everyone who has ever been a teenager. It isn't a slice-of-life documentary, but finding someone who doesn't recognise their own youth in its frames will be rare. Walker doesn't just understand that sensation, which she's seen firsthand among audiences after screenings; she's in the same camp. Amid its fluorescent colours, strobing lights and sweaty intimacy, How to Have Sex sports a doco feel because its guiding force's own teen experiences partly inform this tale of Tara (Mia McKenna-Bruce, Vampire Academy) and her best friends Em (debutant Enva Lewis) and Skye (Lara Peake, Halo) heading abroad to let loose, drink away their days and hook up. That includes witnessing fellatio on a stage in front of a heaving crowd, a scene in the feature — and in actuality — that couldn't say more about how cavalier that teen attitudes on sex can be, especially when aided by free-flowing alcohol. It also helps show the mindsets, plus the lack of thinking, that contribute to not taking an active approach to consent. How to Have Sex sees Tara lose her virginity in an inebriated haze of coercion and peer pressure. It also sees how and why a situation like this is so heartbreakingly common and recognisable, and unravels the aftermath. Walker's aim isn't to direct judgement at any character within the film, but to start conversations. Workshops also helped her gauge IRL takes on consent among today's teens. In England and Wales, How to Have Sex will now be shown to the age group it depicts as part of lawyer-led sessions run by the Schools Consent Project. With her first stint in the director's chair — she's also a cinematographer, lensing Scrapper, which debuted at Sundance 2023 — Walker has made an unforgettable feature. The BAFTA-nominee has also crafted a piece of essential viewing. And, as she always hoped, it is sparking discussions. "I think even without these holidays as such, these experiences happen when you're out and about in your local town as well. So I think as much as it was a comment on these holidays, it's a bigger conversation than that for sure," Walker says. Still, wanting that to be the outcome wasn't the same as knowing that's how people would respond. "It's been beautiful to see how people react to the film. We never expected it. When we were in the edit, you finesse over all these small things and spend so long stressing about how people might see it. So yeah, it's been pretty magical." Walker hopped from Cannes to the New Zealand International Film Festival and Melbourne International Film Festival with How to Have Sex last year, describing the period as "pretty hectic, just really full on". "We finished the film on like the Friday and we went to Cannes on the Tuesday, so I hadn't really had time to breathe or think about it," she also tells Concrete Playground. Her must-see feature receives a general release in cinemas Down Under from Thursday, March 7, 2024 — and Walker kept chatting with us about getting people talking, the movie's inspirations, those workshops, casting British Independent Film Awards' Best Lead Performance- and BAFTA Rising Star-winner McKenna-Bruce, ensuring that Tara wasn't just a victim and more. [caption id="attachment_944364" align="alignnone" width="1920"] Molly Manning Walker behind the scenes on Scrapper.[/caption] On What Inspired How to Have Sex, Including Walker's Own Experiences "I was very different as a teenager. I was like, when I was 16, long fake hair, fake eyelashes, covered in fake tan — and I went on loads of these holidays. I went on a holiday with some friends, and we were recalling some of the scenes from these holidays that we remembered, and I started to think it had a big impact on our perception of sex and how we navigate sexual experiences. That's where the idea sort of started. I guess it's all a combination of experiences and just imagination as well. The blowjob on stage is something I witnessed when we were on holiday." On the Research and Workshops That Helped to Shape the Movie "We lived in Malia for two weeks on the scout. We lived there in high season in the middle of a party town, so we were witnessing a lot of chaos all the time. Some of that, we were going up to people and saying 'we're making a film, can we take pictures of your outfits?'. And they were up for it. So it was all direct reference from reality or from memory. We went all around the UK doing some workshops, and it was just mad to see their perception on consent. Not many of them were wised up to consent. We would show them the assault scene and they would be like 'yeah, but, you know, they slept together the night before, so it's fine'. Or stuff like that. So it was really shocking, to be honest." On Giving How to Have Sex That Ripped-From-Reality Specificity "Every choice was to make it as authentic as possible, to ground it in reality. I would never have wanted it to feel like it was a film. So all across the production design, costumes, we chose a documentary cinematographer — everything was to ground it in reality. I wanted to really live and breathe it with them. The first half of the film is meant to be this really joyous party experience — and the second half, you start to see the underbelly of the party town. You see the glitter and then you see the darkness of it. It was split in two halves, both in every design, in production design, in lighting, in everything." On Finding Mia McKenna-Bruce to Play Tara, and the Impact of Her Performance on the Film "It was actually pretty early in the casting process. We got a tape of of Mia, and she's just so funny and her tape was so funny, but there was so much going on behind her eyes. I was pretty sure straight away that she was the one, which we were shocked at because we thought Tara would be the harder one to cast, considering how much she has to go through. But I was just really confident. I don't know what it is — when you see someone, you just kind of know. She's such a legend, Mia. She's a superstar, and she comes to set every day with energy. And often her first take, you'd be like 'so good', so you know where to go with that. But what it did mean was that we could experiment loads because she would always nail it on the first take, so we could bring some options to it. Sometimes, we would try a take with no words or we'd run lots of different experiments, which was really fun — and we could only do that because Mia was so good at nailing it the first time." On Ensuring That This Wasn't a Standard Victim Tale — and That Tara Was Resilient "With Tara, we wanted to not tell a victim story as we classically see it on screen. She's meant to be a bubbly character like all of us. We all go through these experiences and we're not just ruined for life as a film often shows it. So it's meant to show the resilience of young women. It's not that she's not affected by it, because of course she's going to be affected by it, but that she's resilient like people are. They carry on with all of their experiences." On Approaching the Film's Characters and Friendships Without Judgement "I guess they all have their own little stories going on, and the main thing for me was that we never looked down on them, and we never judged them — especially the boys. We want men to recognise themselves in them, in order to open the conversation up. We want it to be fun and for people to want to be on that holiday, but also to question what they're up to. So it was it was complex, for sure. The main thing for me was not to judge them, even though they're all going through their own stuff. But we've all been in those situations." On Starting Conversations with How to Have Sex — and the Reactions to the Film "We didn't really know to what extent people had been affected by this topic. Like, we knew that we wanted to talk about it, but we didn't really know how big the the impact would be. So many young women are coming out of screenings saying 'thank you for making this film, I feel seen'. I guess the quantity was unknown, but we were always hoping to to start a conversation for sure. I think one of the most powerful experiences was, it was like a 65–70-year-old guy pacing after the one of the screenings, and one of the distributors went up to him and said 'are you okay?'. And he said 'I've just realised that I've been that guy. I've been Paddy before.' That sort of blew my brain open because if we can do that for one person, then the film's done its job." How to Have Sex opens in Australian and New Zealand cinemas on Thursday, March 7, 2024. Read our review. How to Have Sex images: Nikolopoulos Nikos.
When you're fresh from donning armour and sparking an international frenzy in one of TV's biggest franchises, what comes next? For Ryan Corr, following up his stint as Ser Harwin Strong in House of the Dragon means sliding into a six-part Brisbane-shot ABC dramedy about loss and mental health. In its themes, tone, scale and budget, In Limbo is in another world to Game of Thrones and its prequel series — it's about a thirtysomething man struggling with the sudden death of his best friend and his mental health in general, and it's also a supernatural buddy comedy — but the Australian star wouldn't have that contrast of parts any other way. "I guess subconsciously, I try to get them as different as possible, like going from a bikie to a man in a suit," Corr says of picking his roles two decades into his career. "I think that I do that because I've done this since I was a kid, and I'm in pursuit of that challenge, and knocking down boundaries that I didn't think I could necessarily do." Corr has done plenty since earning his first screen credit as a teenager in Aussie series The Sleepover Club. Most homegrown TV shows since have featured the charismatic actor, from Blue Heelers, Neighbours, Underbelly and Tangle to Love Child, Cleverman, Hungry Ghosts and Wakefield — and, of course, his 60-plus-episode run on Packed to the Rafters. On the big screen, he made his movie debut in the film adaptation of Where the Wild Things Are, then added everything from rom-com Not Suitable for Children and horror sequel Wolf Creek 2 to biopic Holding the Man and bikie drama 1% to his resume, plus Ali's Wedding, Mary Magdalene, Ladies in Black and High Ground as well. Across a body of work with no shortage of highlights, his two most recent projects still stand out. House of the Dragon had Corr playing the strongest man in the Seven Kingdoms and, amid the global attention that followed, sparked an onslaught of 'Six Things You Might Not Know About Ser Harwin Strong' and 'Ryan Corr Has Gone From Blue Water High to Westeros'-style articles. "I don't see myself as a six-foot-five strong knight, and sure as hell not the strongest man in the Seven Kingdoms," he says. "But the challenge was how do I replicate that in my idea of what strength is and what the essence is? And can I portray that?" In Limbo, which is streaming now on ABC iView and airing weekly on ABC TV, swaps physical brawn for emotional vulnerability. After crane operator Charlie loses his lifelong best mate Nate (Bob Morley, Love Me), everything unsurprisingly changes, but Nate remains a presence in his life from the afterlife. "When I got the script, it really moved me. I found it laugh-out-loud funny, and really upsetting at times — and I thought it was really fresh. I don't think we've tried to deal with themes like this in quite this way before," Corr advises. There's a sense of responsibility that comes with a series like In Limbo, as well as that challenge that Corr is always seeking. Thanks to its subject matter, the show always felt personal while he was making it, too. Corr chatted with Concrete Playground about all about the above, having a profound reaction to the project, balancing In Limbo's tones and themes, his past year and his career highlights so far. ON MAKING A COMEDY THAT'S THOUGHTFUL AND WEIGHTY — AND IN LIMBO'S PERSONAL FEEL "There was a much longer rehearsal process than usual, where we just got to sit down together, weigh in and talk about what we were about to tackle subject-wise — and there were safety networks all around us while we did so — and also start to share and open up about our own lives and experiences, both direct and indirectly, to do with loss, so that we could develop trust together as people while we navigate these ideas. Because I think the series has to have heart. I found that everyone in the making of it — the crew all up in Brisbane, everyone that read this script — had a profound reaction to it and said 'I want to be a part of this'. I think you can feel everyone leaning into it in the final product. I hope so. I've, of course, experienced loss, as have most people that I know. I think it's a very personal tale. I very much based Charlie's relationship with Nate on some of my early childhood friends, who are a bridge past that now — we're not friends anymore, they're more like brothers and sisters, they are my family. So I very much know where that relationship lives, and the idea of losing one of them is the earth-shattering. We all actively worked through it, communicating with each other, personalising what we've been through and were going through, so that we could trust each other — and so you can invest the series with that heart and that meaning. I don't think it's possible if you don't." ON DRAWING UPON REALITY TO INFORM IN LIMBO'S MIX OF TONES AND GENRES "When I lost my grandfather, I was sitting around with a group of my friends and family, and we're all holding hands as he was literally leaving. And he did something funny in some of his final breaths, he made a funny noise or something. And so I found that my family were all holding each other and crying, and then laughing all of a sudden. We were saying goodbye to someone we love, and all of a sudden he made one of the funny noises and we laughed, and there was a wonderful lesson in that — it had both. And I think in life, it has both. And what In Limbo tries to explore is that — I think In Limbo is more about life than it is about death. Strangely, in the losing of Nate, Charlie discovers more about himself in the pursuit of trying to find answers about Nate. He becomes closer to his family, and it exposes things, it brings things to the forefront that he may have not been dealing with previously. And in a strange way, Nate guides Charlie through — in death, Nate helps Charlie through his life. And it's about the way that the people that are left continue to live, the way they come together, and the way they support each other and water those relationships and friendships, and help each other grieve and process. And that's what life is, you know? And within that, within this thing that we call life, there are often — at least I've found — moments of hysterical laughter, of mundane things that make you lose your shit laughing." ON PREPARING FOR IN LIMBO "Like with all characters, there are some parts that you research and some parts of yourself. I have some experiences with mental health myself personally, and with my family and with my friends. So it's not hard for me to go to places where I was in darker spaces with my anxiety and depression, and knowing what that felt like, and not being able to see the light. One the things that In Limbo brings up is that it's not always visible. In fact, it's very, very rarely visible. And I remember, just simply for me personally, that it wasn't until I was going through some shit for a couple of years until I was like 'oh, I don't think I'm happy right now' or 'I think what I'm feeling is muted. I don't feel the highs. I don't feel the lows'. I remember that being rather confronting, like 'oh [how long] have I felt like this for?". One of things that In Limbo tries to do is shed a bit of light on that. You ask more often if people are okay. When they say that they are, it's not always necessarily the full story. And it's about just trying a little further, it's about asking a little more and it's about checking on yourself. Everyone in In Limbo, we all have to pull from our personal worlds. This is an intimate story, and it's about family and it's about loss. So researching things like this, you have to draw from things in your own life, and then have an environment where you can leave that at the door and feel safe to expose it with other people and be safe going home afterwards. I think they very much made that environment for us." ON THE RESPONSIBILITY THAT COMES WITH TACKLING MENTAL HEALTH "It's not our responsibility to give answers or to hammer over the head any of our ideas around this — it's about starting a conversation, and I think that everyone in the creative process very much took that responsibility on board, and tried to keep that close through the shooting of it as our as our main drive. Our number-one prerogative was to take that responsibility seriously. You have responsibility to all characters you play. If you're doing it properly, it has to cost you something — and particularly with something like this, there's no phoning it in. So we made sure that being comfortable around dealing with these things, both as performers and as people, was right the forefront. And that we weren't trying to hand people any simple answers." ON WHAT CORR LOOKS FOR IN A PART "It can be a number of things, but usually something that challenges me or that I don't think I can do initially — something where I go 'all right, now we're gonna go over here'. It's about challenge and primarily it's about chase. It's about the pursuit of great writing and great directors. When you have language on your side, when you have great ideas on your side, that's the pursuit of this industry. It's raising to those writers and it's raising to those ideas — not making it about yourself and saying 'this is how it is when I feel', it's about trying to play your part in the whole of the narrative. It's really the pursuit of writing that excites me — and directors that, when you sit down and have meetings with them, the way they talk about their ideas gets you excited and inspires you, and you can see it as they talk. It's working with creatives who have a similar pursuit as I do." ON JUMPING FROM HOUSE OF THE DRAGON TO IN LIMBO "Obviously there's a difference in the scale and the reach, but honestly there's not a big difference between In Limbo and Thrones. There's more people, but it's ultimately always the same job. In fact, if anything, I find that the the bigger they get and the more expansive, the less personal they become, and the less involved with the people you're working with. You can shoot a scene over half a week [on House of the Dragon] — one scene of a sequence over half a week. On In Limbo, we're shooting 16 scenes the day and then waking up at 4am to do it again the next day. And we had bugger all time to do it in, like five weeks, so it becomes a completely different exercise in trusting each other. [With House of the Dragon] you just expand upon that. Instead of going into a house that we've decked out in Brisbane, it's a giant setpiece that is an operational castle — you can walk up the stairs, and there's 30 people teaching someone dance for next week, teams and teams of people. It's the same thing extended upon, obviously, because there's huge amounts of money involved, and because the shows are so big. I just tried to go in and fill Harwin's shoes the best way I knew how. There wasn't a huge amount of him in the book, so I had to fill in the lines. That part of it was exactly the same as sitting in the lounge room with In Limbo… working through these scenes, mining them for the best ideas, workshopping the best ways to do it, rehearsing it and then getting out there and trying to give it our all." ON THE PROJECT ON CORR'S RESUME THAT STANDS OUT "Honestly, every one — but two things. Kevin Jackson is my acting mentor who's just recently passed away — he was the acting teacher at NIDA for many, many years, and is responsible for framing the lives and artistry of many people that I know, including myself. I went at 17. I'd done teen shows, and I made the decision at that age — I was like 'I want take this seriously and I want to study it'. So I took myself out of the industry, went to drama school and that's where I met a man in Kevin that taught me what great writing was and how what we did was above ourselves. Like I say, he is 'the writer is God'. He's the reason that I pursue writing the way that I do. It's not about how you feel, it's not about bringing it down to you. It's about pain reaching these ideas. Can you make something of these ideas? And therefore it's universal. When I was growing up, I took a lot of my lessons, my understanding of emotion, my understanding of love, my understanding of grief, from a lot of the films that I inhaled. That was my go-to, that's what spoke to me and that felt important to me. And so, if I'm going to do it as my career, Kevin was very much a pivotal part of helping me understand what it is that we do. Also Holding the Man, I would say as an experience, as a film, working with [director] Neil Armfield, working with Tommy [playwright and screenwriter Tommy Murphy]. And having for the first time the yardstick of what I was doing, as my job slightly changed. It wasn't just 'here's my version of a character and I hope it's good' — it was someone's family. And I met that family, and I had them hand over their journals and their personal belongings, and I had his friends reach out from all throughout Melbourne. And we had the Victorian AIDS Council say, 'hey, can we can we do rehearsals here?'. I was just overwhelmed with the amount of compassion and the amount of love that reached towards us in doing it. And it made me realise that my job here wasn't to do a good job — it was to represent a real person's memory and their legacy and their love to the absolute nth degree that I possibly can. That felt important and, like with In Limbo, I felt a responsibility to the people that I was playing and to what it meant, and that really resonated with me throughout the years. It's not like you can have jobs like that all the time, but it really did entrench what this industry, what this thing that I call a job, what the arts can be and what it can do and how important it is." In Limbo streams via ABC iView. Read our full review. House of the Dragon streams via Binge. Read our full review.
Those without easy access to a yia yia insisting she "make you lamb" or who didn't quite make it Milos for a European summer are invited to Sunday roast at The Apollo. Because, as well as taking pity on Sydney-siders shivering through single-digit temps, the Potts Point restaurant with a reputation as one best for hearty-yet-hip Hellenic food, will also be bringing authentic Greek Granny vibes to the table, serving up a traditional spread every Sunday in July from 12pm-3pm. The Let's Roast Menu will dish up all of The Apollo favourites including marinated olives, pickled purslane, and the split pea dip with village crusty bread. But the superstar of the show will be Chef Marcello's roast porchetta, served with classic lemon rice, crispy roast potatoes and bitter greens (pictured above). Those who like to finish off strong with something sweet, should save some room for the semolina cake with blood orange and shaved halva for dessert. With a glass of house Greek red or white wine also included in the $70pp price, we think you'll find plenty of reasons to say Opa! to this meal. Walk-ins are welcome, however, due to limited availability booking are highly recommend. Visit the Apollo website to secure your seat at the Sunday Roast today.
It's a rare treat to see classical favourites performed by world-class musicians in a beautiful setting. And it's even rarer for that experience to be completely free, but that's exactly what's provided by Sydney Symphony Under the Stars. Each year, the renowned orchestra brings its rapturous performances to Parramatta Park, with the park's rolling green hills acting as a backdrop to a free program. Appearing free of charge and unticketed as part of Sydney Festival, the symphony is taking on a Lunar New Year twist in 2023, featuring a concerto from Tan Dun and both Chinese and Vietnamese folk favourites alongside big-hitting tunes of the classical world and classic film scores. [caption id="attachment_832879" align="alignnone" width="1920"] Victor Frankowski[/caption] Pack a picnic basket and your favourite rug before heading down early to nab a comfy spot in front of the huge stage located at Parramatta Park's The Crescent. You'll then be treated to a world-renowned performance from the Sydney Symphony Orchestra conducted by Benjamin Northey that will build to a grand finale of the night: a thunderous firework display lighting up the night's sky. Starting at 8pm on Saturday, January 21, the event is family-friendly — and spots are first-come-first-serve, with no online registrations. Top images: Jamie Williams
We take travelling seriously at Concrete Playground. Whether you're planning luxury getaways abroad, interstate camping trips, weekend jaunts to a city or bathing beachside, our team of avid travellers and destination-obsessives like to think we've got all the necessary tips for where to eat, drink, stay and hang out to get your itineraries in the best possible shape. But it has come to our attention that we've lapsed in our advice when it comes to what to put in your luggage. So, what must-have travel essentials should you be bringing with you on your next trip to make packing for your holiday a simple and stress-free task? In partnership with the folks at Kmart, we're going to share our top tips for packing, depending on what kind of adventure you are about to embark on. Carry-on Connoisseurs If you are attempting to eschew those ever-increasing checked luggage bag fees but aren't quite keen on stuffing a pillowcase with all your belongings, it might be time to assess what you are actually packing. If you've committed to confining yourself to cabin baggage alone, pack items that can do multiple jobs. A simple button-up shirt can be casual with jeans and a tee, a throw-on layer over swimwear, or be dressed up by buttoning it up and tucking it into your pants. Dresses are the ultimate outfit saviour if you favour a single-item outfit. With a simple hairstyle or accessories, a dress can take you from chill brunch to a luxe wine-tasting or fine-dining experience. Don't put yourself out, and ensure you are always looking your best, whether you are sipping on sparkling next to the Riviera or exploring food markets in Japan. Luxury Lovers There's nothing more luxurious than having options for everyday activities on your five-star getaway. But with all your outfit choices, how can you keep tabs on your belongings? Easy, get yourself organised with luggage organisers. Packing cubes are excellent for all kinds of travellers, whether you're hiking the Great Dividing Range or booking yourself into a relaxing retreat. Keep your items organised, from your electronics to your toiletries, your swimwear to your evening wear. With the right travel accessories, you'll never have to worry about where your perfect evening outfit or super luxurious sunhat is. International Explorers If you're that person who is constantly returning from an overseas trip and planning the next one, you probably need new luggage. All that travelling plays havoc on your baggage. From the usual wear and tear of being pulled through the terminals to the stress of being chucked around on baggage chutes, bus racks, taxi boots and more. Before you start planning your next vacation, make sure your bags are in good nick for overseas travel. You don't want to have to be scouring local supermarkets for duct tape. Get yourself sorted with a stylish new set, and you're basically halfway ready for your next adventure. Weekend Warriors Do you keep your eyes peeled for budget-friendly interstate flights or car hire sales for your next weekend escapade? Much like the Carry-on Connoisseurs above, you're only going for the weekend, so make sure you pack lightly (so you can fill your car/suitcase with all the local goodies you can). Whether you're heading for the hills or journeying to a dense metropolis, walking shoes are a must. No matter if you are a guy planning a luxe trip to the south Pacific or a gal heading to the mountains, the ratty trainers you've been rocking to the gym simply won't do (and neither will that stylish new pair you're yet to break in). Get comfy, versatile walking sneakers or boots that match your fave 'fit for city exploring or countryside wandering and wear them on the way to your weekend destination. Adventure Seekers If you love spending your weekends exploring the bush or hiking up mountains, it's important to be prepared and get your camping gear in order. A sturdy shoe, head torch and waterproof pack can make or break a weekend — so be prepared for every kind of weather and dress for the elements to change. Remember: it's cold at night, even during an Aussie summer. If you're a keen camper, stock up on gas fuel for your stove and a first aid pack (with sunscreen and bug spray). It's the times that you need it that you don't have it. Don't put yourself in that position and get prepped for adventure. Foodie Fanatics Do you spend your holidays sampling wines, tasting local produce and snagging the best dinner reservations in town? Dress to impress and pack a skirt that can bring you from the market to the restaurant in an instant. Whether you're more of a mini, midi, or maxi skirt kind of person, a stylish skirt can elevate your outfit for the perfect look for embarking on your epicurean adventure. Discover more of your must-have travel essentials over on Kmart's website.
Some say it smells like rotting flesh. Others detect a hellish whiff of sulphur or the unmistakable funk of cheesy feet. What everyone who has had the chance to smell the Bunga Bangkai — also known as the Corpse Flower — can agree on is that the odour is one of the rankest produced by any plant in the world. Its spectacular stinkiness aside, the Corpse Flower is also remarkable for its size and rarity. Native to the rainforests of western Sumatra, this endangered plant produces just a single flower every few years, which can tower to 3.5 metres in height — the largest of any plant. Once unfurled, the flower opens for just 24 hours before wilting, making it not only one of the planet's most striking botanical wonders but also one of its most fleeting. It is all but impossible to predict how long a Bunga Bangkai plant will go between blooms, but various specimens at Sydney's Royal Botanic Gardens have flowered in 2004, 2006, 2008 and 2010. Now, after a decade-and-a-half hiatus, a Corpse Flower is preparing to bloom once more for Sydneysiders. On Friday, January 10, the Royal Botanic Gardens released a statement saying its horticulturalists had noticed the tell-tale signs that one of its Bunga Bangkai plants — nicknamed Putricia — might be entering the flowering stage. Since then, the flower has sprouted and grown more than 40 centimetres, adding around 10–15 centimetres in height every day. Describing the plant's extraordinary stench, the Royal Botanic Gardens Manager of Volunteer Programs, Paul Nicholson said: "If you've got some wet teenage socks, throw that into a blender, then you get some cat food you've left out in the sun, whack that in your blender, and then get some day old vomit. Put that in the blender, blend it all up, rip the lid off. That's the kind of smell you're getting." And yet, despite this olfactory assault, there is an undeniable beauty to the mighty Corpse Flower, which has a leathery, arterial-red frill, known as a spathe and a large, pointed growth, the colour of bleached bone, at its core. The exact date the bloom will begin is yet to be determined, but the spadix (the large pale spike in the centre of the plant) is growing rapidly. Once this spurt in growth slows, in all likelihood within the next week or so, the plant will be moved to a public area of the gardens for Sydneysiders to see (and smell), but also so that insects, attracted by the scent of carrion, can pollinate the plant, completing its life cycle and resetting the countdown until another Corpse Flower gifts Sydney with its famously foul fug.
Located in World Square, Master Cow Hot Pot reimagines Cantonese-style hot pot with premium ingredients, playful design touches and a Hong Kong-style late-night buzz. It's been brought to life by restaurateur Howin Chui (Kowloon Cafe, Ni Hao Bar) and second-generation restaurateur Chi Zou, who are elevating the hot pot experience with prime cuts of beef and a range of expertly flavoured broths. As its name suggests, beef is the headline act here. On the menu, you'll find richly marbled cuts like chuck rib and oyster blade, as well as the likes of premium M9+ wagyu — and each slice is hand-cut to order to preserve texture and flavour. You can simmer your selection in one of eight richly flavoured broths, developed with the help of a Hong Kong-based master chef exclusively for the World Square site. A self-serve sauce bar, available for a small fee, lets you enhance each bite, with staff on hand to guide hot pot novices. The 68-seat space, designed by Darren Kong Studios, channels the vibrant energy of Hong Kong across an open-plan main dining room and three private dining rooms with TVs and service buttons. You can also score a small prize or voucher for your next visit at the nostalgic claw machine beside the entrance, adding a playful element to the experience. Master Cow Hot Pot is also making a play for the after-hours trade — it's open until midnight Sunday to Thursday, and until 2am on Friday and Saturday nights, giving night owls an after-dark option beyond fast food and kebabs.
It tells of gold rushes, of brave and dusty new worlds, and of yellow frontiers stretching out beneath shimmering and inky blue skies; however, the true colour of the western is and always will be red. This isn't a genre for the faint-hearted, because it's a genre that spins stories about power and its brutal costs — power over the land and its Indigenous inhabitants; power-fuelled in-fighting among competing colonialists; and power exercised with zero regard for life, or typically for anyone who isn't white and male. It's a rich and resonant touch, then, to repeatedly dress Emily Blunt in crimson, pink and shades in-between in The English, 2022's best new TV western. She plays one instance of the show's namesakes, because the impact of the British spans far beyond just one person in this series — and the quest for revenge she's on in America's Old West is deeply tinted by bloodshed. In her first ongoing television role since 2005 — and following a varied array of big-screen parts in the last couple of years, including navigating theme park ride-inspired chaos in Jungle Cruise, monsters that pounce on every sound in A Quiet Place Part II and bad Irish accents in romance Wild Mountain Thyme — Blunt dons such eye-catching hues as Lady Cornelia Locke. With a mountain of baggage and cash in tow, she has just reached Kansas when The English begins, seeking vengeance against the man responsible for her son's death. But word of her aims precedes her to this remote outpost's racist hotelier (Ciarán Hinds, Belfast) and, with stagecoach driver (Toby Jones, The Wonder), he has own mission. That the aristocratic Englishwoman arrives to find her host torturing Pawnee cavalry scout Eli Whipp (Chaske Spencer, Blindspot) is telling: the plan is to blame her end on him. Before the first of this Prime Video miniseries' episodes ends — all six of which stream from Friday, November 11 — Cornelia and Eli have rescued each other and notched up a body count. She's still determined to get her retribution, he's trying to head home to Nebraska to claim land promised for his military service, and they're each endeavouring to find peace in their own ways. This isn't the genre for that to come easily, either, as stop after stop on their journeys makes clear. The bulk of The English takes place in 1890, but to survey the way that rampant and engrained imperialistic violence and dehumanisation — of First Nations Americans, and of women — leaves scars that linger, the series also jumps backwards 15 years, and takes a flashback trip to Cornelia's native London. Writer/director Hugo Blick (The Honourable Woman, Black Earth Rising, The Shadow Line) charts pain that bakes as unforgivingly as the frontier sun: massacres of Indigenous Americans and non-English-speaking settlers alike, the ruthless money- and power-first mentality to staking claims and seizing everything in view, and the dark hearts festering inside abhorrent men who can only hate what they refuse to spend time knowing. The English is a show of shootings, scalpings, stabbings and slaughter, and blood is an oh-so-frequent sight. But Blick also makes a compelling and compassionate series about two kindred souls fighting for what they hold dearest, and against the kinds of horrors that everyone should battle, no matter the cost to their own personal survival. The tone isn't quite as unrelenting bleak, and the setting is on the other side of the world, but Jennifer Kent's Australian masterpiece The Nightingale springs to mind — and The English doesn't suffer in the comparison. As the iconic spaghetti westerns of the 60s and 70s, exceptional TV series Deadwood, and recent big-screen period-set westerns like The Harder They Fall and The Power of the Dog have all shown, this genre also serves up a gallery of rogues living, dying, striving and thriving amid such inhospitable surroundings. The English is no different; when Black-Eyed Mog (Nichola McAuliffe, The Man Who Fell to Earth) shows up, she isn't quickly forgotten, and nor are Gary Farmer and Kimberly Guerrero (both of Reservation Dogs) as a Native American couple getting by, or Rafe Spall (Trying) at his most operatic and nefarious (and with quite the accent and wardrobe). Including Stephen Rea (The Stranger) as a small-town sheriff in Hoxem, Wyoming and Valerie Pachner (Fantastic Beasts: The Secrets of Dumbledore) as another put-upon woman greeted by hardship in her adopted homeland, there's no weak link among The English's cast. Even brief appearances make a mark, as aided by banter that recalls Quentin Tarantino's Django Unchained and The Hateful Eight western-genre best. That said, Blick never lets his two stars slip from the limelight — from the golden beams that colour his setting with far more splendour than sites of such grim events deserve, to be exact. Traversing the birth of colonised America, his narrative does what the greatest westerns do, unfurling a clash between good and evil, right and wrong, and the outdated and the modern against landscape that lends itself to myth; his series is always about people first and foremost, though. Blunt's resume overflows with highlights, given that it spans My Summer of Love, The Devil Wears Prada, The Young Victoria, The Muppets and Looper through to Edge of Tomorrow, Sicario, Mary Poppins Returns and more, and her phenomenal efforts in The English slot in swiftly besides her finest work to-date. Spencer comes to the series with less fame (The Twilight Saga, Banshee, Sneaky Pete and Jessica Jones are among his other credits) but with just as much command and presence. Indeed, to watch Blunt as Cornelia is to watch a woman wield her strength, grief, heartbreak and empathy like no one expects her to, and keep picking herself up to do so again and again. She won't let her pain subside, or submit to anyone that tells her otherwise — and while the action-hero aspect of the series is nothing new to its best-known talent, she's phenomenal every time the camera peers her way. To watch Spencer is to watch a star-making turn, a part of brooding and swagger as well as deep soul and honesty, and a performance that's as riveting as Clint Eastwood and John Wayne ever delivered. In a TV realm that is welcomely starting to centre Indigenous American actors and stories (see also: Reservation Dogs and Rutherford Falls), as it should, he's a magnetic powerhouse. To watch The English is also to luxuriate in spectacular imagery, as lensed by Arnau Valls Colomer, that says as much as the show's stars and dialogue. The cinematographer arrives fresh from making every detail of every frame matter in stellar Spanish filmmaking satire Official Competition, and the same approach is pivotal here. One particularly glorious detail: the way that extreme long shots keep showing Cornelia and Eli galloping both towards and from their destinies, often in static compositions that let their horses storm in from each side of the image, then start being swapped for slightly closer vantage points in later episodes. It's a thoughtful move that mirrors its two protagonists' paths, and also never lets the world they're rallying against fade from view. It's also stunning and powerful filmmaking in a series that earns those terms several times over. Check out the trailer for The English below: The English is available to stream via Prime Video from November 11.
Did you know that over 1300 native plants are threatened or at risk of extinction? 1800 Tequila is highlighting this trend at The Greenhouse Bar by 1800 Tequila – The Bar Devoted to Biodiversity. The part bar, greenhouse and art installation is popping up in Sydney for one weekend only — from Friday, October 20, until Sunday, October 22. Guests will enjoy bespoke cocktails made with Aussie botanicals, a cheese platter and a small gift. This is a celebration of Australian botanicals — their diversity and fragility, as well as their place in cocktails. It is the latest conservation-focused event from the tequila brand after The Bar Saved From Landfill in 2022. Botanicals are integral to crafting distinctive flavours and aromas. Without them, many of the cocktails we know and love would not exist. We are fortunate to have access to some of the world's most unique botanicals in our native plants. Research from 1800 Tequila says that three in five Aussies are unaware Australia is facing a significant biodiversity decline. It's up to us to educate ourselves on how to conserve these precious native plants. Guests will receive four cocktails made with native botanicals — sip on a margarita spritz with lemon myrtle, garnished with saltbush air (sounds mysterious!). There's also an iced vovo punch with strawberry gum, an 1800 negroni with wattleseed bitter and lilly pilly vermouth, garnished with yellow kangaroo paw; and smoked bee pollen old fashioned, smoked with paper bark. Tickets to each session cost $25. 1800 Tequila will donate 100% of bar ticket sales to its charity partner, Botanic Gardens of Sydney and its Rainforest Seed Conservation Project. The Greenhouse Bar is taking place at The Elston Room, Carriageworks, from 20–22 October, with pre-booked sessions from 2.30pm until the last seating of the day at 7pm. Tickets are available to book now via the website.
