ABSOLUTELY BRILLIANT
HATE CRIME LAWS
New NSW legislation aims to protect the LGBTQ+ community
(See p.4)
HUBARTS: VIVID'S BACK
Vivid Sydney returns with even bigger 2026 program
(See p.20)
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HubNEWS
Eastern suburbs councillor slams geotechnical reports
BY WILL THORPE
An Eastern Suburbs councillor has criticised “fantasy” geotechnical reports submitted by developers, as residents fear continued property damage.
Julian Parmegiani, a Liberal, represents the Vaucluse ward of the Woollahra Municipal Council. It includes part of Rose Bay, which alongside nearby Double Bay, has a delicate geology, with a high water table impeding large developments. The Minns Government’s planning reforms have nonetheless unleashed a raft of applications.
Such developments were a focal point in the latest meeting of the council’s Environmental Planning Committee – in particular, one proposed for Conway Avenue, Rose Bay. Parmegiani probed the council’s manager of development assessment, Nick Economou, on whether council staff can rely on figures in a developer-submitted report.
“Given the boundaries of our knowledge about geotech matters, number one,” the councillor said. “But putting that aside, given the experience that has occurred already in multiple underground car parks being built. To me, some of those reports sound good, sound defensible. However, in practice, they turn out to be a fantasy.”
Economou said that the council’s engineers are in a “difficult” position, “because ultimately we are reliant upon the accreditation, the skill and knowledge of these reports,” and because they are responsible for ensuring the accuracy of the information therein.
“But would they have the skill to further scrutinise that? The answer is no, because they’re not geotechnical engineers. Every time there is a specialist report that is provided by a technical expert, we
rely upon people’s integrity, their accreditation, and the council must accept that information in good faith.”
DEVELOPMENTS RESPONSIBLE FOR PROPERTY DAMAGE
In recent years, numerous properties in Rose Bay and Double Bay have suffered damage, a result of construction works disrupting the water table. Residents express concern that upcoming developments could cause more harm.
me, some of those reports sound good, sound defensible. However, in practice, they turn out to be a fantasy
One such proposal is a State Significant housing project planned for Dover Road in Rose Bay. A report commissioned by residents indicated that it could harm 40 close-by properties, increasing to 130 when the impact of other, nearby developments is also considered.
Parmegiani said at the time that the report “has more red flags than a May Day parade.”
“Building an eight-storey block on wet sand will be a challenge, if not impossible,” he added.
Merrill Witt is a Residents First
Woollahra councillor, another member of the Environmental Planning Committee who also represents Vaucluse. She is concerned that geotechnical findings are not being adhered to.
“Like Councillor Parmegiani, I’m worried that Council is approving DAs with conditions for dewatering that the applicants’ hydrogeological and geotechnical reports have indicated cannot be met.”
CONTRADICTORY GEOTECHNICAL REPORTS
Parmegiani asked Economou whether the council should employ a geotechnical engineer. In his reply, the latter noted that there have been “many” cases in which an applicant and an objector have each hired one. These respective engineers have then produced reports contradicting one another.
“And ultimately, the whole court process is, you can get two experts saying two different things, and it comes down on whose evidence or whose weight of information we feel is best suitable or closer to our control.”
Economou gave no definitive answer, noting that such a decision is the council’s prerogative.
Meanwhile, as the state government battles to increase housing construction across Sydney, residents here hope that their properties will not be adversely impacted.
Photo: WIkimedia Commons
New hate crime legislation protecting LGBTQ+ community
BY PATRICK LENTON
The NSW Government has introduced new legislation to toughen penalties for hate crimes following a series of disturbing attacks against members of the LGBTQIA+ community.
Reforms introduced into NSW Parliament on March 17 will expand "post and boast’" offences to cover serious assaults and robberies which have been committed against LGBTQIA+ people. The legislation will also create a new offence directed at offenders who lure victims on false pretences only to offend against them, including via dating apps.
The new legislation comes as a response to an escalating series of attacks against mostly gay and bisexual men, many of whom were lured off Grindr and other dating apps.
As reported in a two-year ABC investigation, many of these attacks around Sydney were motivated by young Islamic State terrorist sympathisers, while other reports point to radicalisation pathways such as the far-right and "manosphere" influencers.
Using freedom of information laws, they were able to discover that almost 200 incidents of antiLGBTQIA+ hate crimes have been reported in NSW since 2023.
“Recent attacks have been deeply confronting. These reforms are about making it clear that hatred has consequences and that the law will come down hard on those who seek to harm others," said Leader of the Government in the Legislative Council, Penny Sharpe.
"Violence against the LGBTQIA+ community has no place in NSW.”
WHAT ARE THE CHANGES?
The maximum penalty in NSW for publicly threatening or inciting violence on the grounds of a protected attribute such as sexual
orientation or gender identity will be increased from three to five years’ imprisonment.
An aggravated version of this offence will also be created, punishable by up to seven years’ imprisonment, where violence results from threats or incitement. Amendments to the Crimes (Sentencing Procedure) Act 1999 will also make it easier for prosecutors to prove an offence was motivated by prejudice or hatred.
The attacks we have seen targeting members of the LGBTQIA+ community are sickening and completely unacceptable
The aggravating factor which currently applies to offences motivated by hatred or prejudice will be deemed to apply when an offender demonstrates or expresses hatred or prejudice at the time of the offence.
The NSW government believes the new legislation will give police
and the courts stronger tools to pursue hate crime charges and hold perpetrators to account.
“The attacks we have seen targeting members of the LGBTQIA+ community are sickening and completely unacceptable," said NSW Premier Chris Minns. "These laws send a clear message that if you target someone out of hatred or try to lure someone into harm, you will face serious consequences.”
NEW LEGISLATION “STRONGLY WELCOMED”
NSW’s largest LGBTQIA+ health organisation ACON has “strongly welcomed” the announcement.
“Over recent years, the LGBTQ community has been experiencing a rising level of hate. We are especially concerned by robberies and violent attacks against gay and bisexual men who have been lured into unsafe situations through social media apps,” said ACON’s CEO Michael Woodhouse.
Sydney MP Alex Greenwich has also welcomed the new legislation, saying we need to
ensure we have laws that are fit for purpose to protect the community.
“In NSW, you should be able to seek a hook-up, coffee, or date on an app and not be met with violence, robbery, outing or intimidation. These laws respond to an emerging hate crime targeting gay and bisexual men, but the reforms will make NSW safer for everyone who uses an app to meet people.”
Equality Australia says new legislation to strengthen hate crime laws in NSW is an important first step, but warns a broader response is needed to address the rise in antiLGBTQIA+ hate.
”Laws should not only support people after they are bashed, but before they are,” Greenwich agreed. “We need to make sure our incitement of hatred laws protect the LGBTQ community, that access to justice is improved through a fully funded LGBTQ legal service, and we need to see the expert review on hate crimes from Justice John Sackar that could be informing and strengthening the government’s response.”
Photo: Bianca de Marchi / AAP
Government begins search for $100M film studio location
BY MICHAEL JAMES
The NSW Government has opened the search for Sydney’s second major film studio, with Western Sydney emerging as the preferred location for the $100 million project aimed at strengthening the city’s screen industry.
The Minns Government has identified three potential sites near Blacktown, Bungarribee, Eastern Creek and Prospect, about 40 kilometres west of the CBD, though proposals for other locations will also be considered if applicants can demonstrate landowner support.
The move comes amid growing pressure on Sydney’s existing studio infrastructure. The nine sound stages at Disney Studios
TANYA PLIBERSEK
in Moore Park are frequently occupied by large international productions, leaving limited space for other projects.
Industry figures say that lack of capacity is beginning to affect the state’s competitiveness.
We know the demand is there, and there’s a critical need for more studio space
In the 2024–25 financial year Queensland attracted $925 million in screen production spending, surpassing New South Wales’ $832 million.
Just two years earlier NSW led the sector with $1.16 billion in production investment.
The locations are also close to Parramatta, home to one of Australia’s largest Indian communities, and the government believes the studio could help attract more Indian film productions.
NSW Arts Minister John Graham highlighted the growing international demand for Australian filming locations.
“Beyond Hollywood, there is large demand for Bollywood films in Australia, with Indian filmmakers continuing to use the visually striking look of Australia in
their films. We know the demand is there, and there’s a critical need for more studio space.”
Interest in Indian productions has increased since Australia and India signed a co-production treaty in 2023, allowing eligible projects to access screen incentives in both countries.
However, not everyone in the industry supports the focus on Western Sydney. Some filmmakers have previously advocated for a more central location, such as the former rail yards at North Eveleigh near Redfern.
FEDERAL MEMBER FOR SYDNEY
Sydney’s Mardi Gras Parade Route added to the National Heritage List
We’ve added the Sydney Gay and Lesbian Mardi Gras Parade Route to the National Heritage List. Running through the heart of Sydney, the two kilometre route captures the history of the original 1978 parade and its role as an enduring cultural event in Australia.
Landmark legislation to combat violence and hatred against LGBTQ+
Australia is a proudly diverse nation. The Albanese Labor Government has passed landmark legislation that strengthens protections for the LGBTQ+ community. The Criminal Code Amendment (Hate Crimes) Bill 2024 creates new criminal offences for directly threatening the use of force or violence against a group or a member of a group identified by sex, sexual orientation, or gender identity. It is now a serious criminal offence to threaten to use force or violence where a reasonable member of the targeted group would fear that the threat will be carried out. This will carry a maximum penalty of 5 years imprisonment.
Renewable energy + net zero
We’ve approved more than 130 renewable energy projects. Together they will generate more than 43.5 gigawatts of power, enough to run every household in Australia. Our record renewable energy generation, lower gas use and more motorists driving cheaper to run cars helped to cut Australia’s emissions by 8.5 million tonnes in the year to September 2025. The drop represents a 1.9% reduction, one of the fastest rates outside of the COVID period. Overall, our emissions are down 27.4% on 2005 levels, the base year of our Paris Agreement commitments, keeping us on track to reach our 2030 climate targets.
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THE BOLLYWOOD OPPORTUNITY
Hindi Vindi poster.
Photo: IMDB
Two Mardi Gras Board directors stood down
BY LYDIA JUPP
The Sydney Gay and Lesbian Mardi Gras (SGLMG) Board have temporarily stood down Board Directors Damien Nguyen and Luna Choo.
In a statement sent to members on March 13, the Board said the motion was passed in a meeting the day prior, with a two-thirds majority of the directors present. Choo and Nguyen – who are affiliated with Pride in Protest (PiP) – were stood down as directors for a period of 28 days, effective from 4 March.
The Board stated the action has been taken as an interim governance measure, while a structured mediation and resolution process takes place to address the issues at hand.
"The Board has proposed a pathway to reconciliation that we hope can be progressed during the stand-down period," the statement said. "We are approaching this process in good faith and with the hope that it will allow all involved to move forward constructively.
"Our organisation exists because of the strength, passion and diversity of the LGBTQIA+ community it represents. The Board remains committed to working through this matter in a way that reflects our shared values - respect, accountability, and a commitment to community."
While some aspects of the process will be kept confidential to ensure fairness and integrity, organisers said further updates will be provided where possible.
On 2 February, Choo and Nguyen were formally censured for affirming their personal support of a trans rights campaign using SGLMG company emails. Choo, the only trans woman on the board, was repeatedly misgendered in the process, which Mardi Gras later apologised for.
“Mardi Gras is about uniting over
common goals, such as standing up to ongoing transphobia, police brutality, and genocide-complicity," said Nguyen in a statement.
"These are popular positions within the LGBTQIA+ community.
“I am concerned about the future of the organisation. Who would we be as a communityled organisation without the community?"
I am concerned about the future of the organisation. Who would we be as a communityled organisation without the community?
This is not the first time Pride in Protest-affiliated Board Directors have been stood down. In 2021, Charlie Murphy and Alex Bouchet were stood down, with PiP alleging the move was a punishment for their role in organising a protest march. At the time, Murphy was the only openly trans woman and out sex worker on the Board.
"This is the emergency tactic to shut down dissent when the leadership – unquestioningly backing the two major political parties and big corporate sponsors – feel they are losing control," alleged Pride in Protest spokesperson, Rohen Snowball.
“A majority of members backed motions at Mardi Gras’s last AGM to highlight trans rights and advocate for anti-discrimination reform. Faced with the opportunity to stand with our community, the organisation's leadership instead chose to ignore us."
A CHALLENGING FEW MONTHS
The suspension comes after a difficult few months for the Mardi Gras Board. On the evening before the Mardi Gras Parade, organisers removed the Pride in Protest float from the event, following a formal warning “regarding compliance with the 2026 Parade Entrant Terms & Conditions”.
The warning pertained to social media posts made by Pride in Protest regarding LGBTQIA+ Jewish group Dayenu, which
Mardi Gras organisers said "characteris[ed] Dayenu as 'pro-genocide' and alleging that Dayenu 'support genocide.''
“In 2024, Dayenu publicly opposed the SGLMG Board’s open letter calling for an immediate ceasefire in Gaza,” Pride In Protest said in a statement on 28 March.
“At the time, LGBTQIA+ Jews of Tzedek Collective denounced Dayenu’s “anti-Palestinian” statement and called them out for 'holding onto Zionist ideologies and the perpetration of genocide'.
The move was denounced by Member of the NSW Legislative Council, Dr Amanda Cohn, who said, "It’s an extraordinary act of censorship to exclude Pride in Protest from the Sydney Mardi Gras parade, especially when the organisers are happy to include the Liberal Party who have called for the parade’s funding to be reviewed and continue to vote against LGBTQIA+ rights in Parliament.”
City Hub contacted Sydney Gay and Lesbian Mardi Gras for comment, did not receive a response by time of publishing.
Photo: Supplied
NSW moves to curb property underquoting
BY NAOMI LAWRENCE
The Minns Government is tightening the rules on property underquoting, aiming to give NSW buyers a fairer chance at purchasing their next home. The reforms prevent property agents from listing a property for less than a previously rejected offer or the highest unsuccessful auction bid.
We are ensuring misconduct can no longer be written off as a cost of doing business, but as a meaningful deterrent
Every listing must now include a realistic price guide—a range showing what the property is likely to sell for—and provide a State of Information, detailing comparable sales and the
suburb’s median price, calculated under new, clearer guidelines.
Agents caught underquoting a property or misleading buyers could face fines rising from $22,000 to three times their commission.
Penalties for dummy bidding, or price pushing with no intention to buy, at auctions will also double from $55,000 to $110,000.
Serious breaches could require agents to publicly admit their misconduct or have their price estimates verified by an independent evaluator.
Agents who skip or fail mandatory training can also be penalised, while Fair Trading will now oversee and approve courses and providers.
PROTECTING BUYERS
Minister for Better Regulation and Fair Trading, Anoulack Chanthivong, said the changes will protect buyers from “unscrupulous real estate agents” and foster “a fair property market that works for everyone.”
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He added, “By significantly increasing penalties for underquoting, we are ensuring misconduct can no longer be written off as a cost of doing business, but as a meaningful deterrent.”
The crackdown comes after The Sydney Morning Herald and The Age’s Bidding Blind investigation, which tracked more than 10,000
auctions, revealing almost half sold for more than 10 per cent above the advertised price.
In some cases, buyers found themselves chasing homes they ultimately couldn’t afford, wasting both time and money.
Until now, NSW sellers could list properties without a price guide, leaving buyers to chalk up their own guesses.
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Photo: Wikimedia Commons
Burwood rezoning could see thousands of new homes
BY PATRICK LENTON
Rezoning in Sydney's inner west suburb of Burwood could see thousands of new homes around an upcoming metro station.
Burwood was one of the Australian suburbs to feature in Time Out’s list of the world’s 100 coolest neighbourhoods, ranking 16th thanks to its bustling nightlife and diverse food scene.
On March 10, the NSW Government released details of a proposed state-led rezoning for the Burwood North precinct. The latest plans for the precinct point to a significantly larger development than first proposed, with up to 18,300 homes now on the table.
The Burwood North Metro precinct was first announced in August 2025 as a “once-in-a-generation” rezoning that could unlock around 15,000 new homes in the growing suburb, and around 3,900 jobs, all surrounding the future Burwood North Metro Station.
A “NO-BRAINER” SAYS MINISTER
The updated plan expands on the proposal first announced in August last year, increasing the potential housing supply by more than 3,000 additional homes.
Questions over Tropfest film created with AI
BY CHLOE SARGEANT
Sydney’s most adored short film festival Tropfest has sparked robust discussion within Australia’s film community, after one of this year’s finalists was revealed to have produced their short film using AI (artificial intelligence).
The film, SYD CONFIDENTIAL, appeared among the 16 shortlisted entries screened at the 2026 festival. Created completely by using generative AI tools, some filmmakers
can put together,” Nash told ABC News
“I think many filmmakers have found that to be a bit of a slap in the face but also just like a strange choice."
DEBATE EMERGES AS TROPFEST RETURNS TO SYDNEY
Tropfest returned this year after a seven-year hiatus, and was held on February 22 at Centennial Park, where an estimated 35,000 people gathered to watch the finalist films projected on the festival’s outdoor screen.
"The previous proposal didn't necessarily take in the full opportunity that can come around a metro station," Planning Minister Paul Scully said.
"So while we're taking the efforts to match housing growth with that infrastructure, we've been able to find and allow for some additional housing."
Mr Scully said supporting growth in the region was a "nobrainer".
This is already one of Sydney's most vibrant areas
"This is already one of Sydney's most vibrant areas,"he said.
The draft proposal covers a 113-hectare area within roughly 800 metres of the new station, which will form part of the Sydney Metro network. Once operational, the station is expected to reduce travel time to both Sydney’s CBD and Parramatta, with a trip to these areas estimated at around 10 minutes.
“This precinct has the potential to deliver thousands of much-needed homes in a well-located part of Sydney, close to transport, jobs and the Parramatta River,” said NSW Premier Chris Minns.
have questioned whether fully AI-generated work belongs in a competition historically associated with grassroots filmmaking and emerging filmmakers.
I think many filmmakers have found that to be a bit of a slap in the face
Director Greta Nash, who previously won Tropfest, said the decision had been surprising to many filmmakers who entered the competition this year.
“Tropfest has effectively told them that their work and their passion is valued less to them than what, I guess, an algorithm
Since its beginnings in the early 1990s, Tropfest has built a reputation as a launching pad for emerging Australian filmmakers. The competition traditionally attracts hundreds of submissions, with finalists competing for industry recognition and a major cash prize.
Festival founder and director John Polson said the film had not breached the festival’s submission guidelines, which currently allow the use of artificial intelligence in entries.
“While we stand by our selection process, we also recognise the significance of this conversation,” Polson told ABC News
He said organisers were listening to feedback from filmmakers as the industry grapples with how emerging technologies intersect with traditional creative practices.
Photo: NSW Government
Photo: Tropfest
(02) 9517 2800 newtown@parliament.nsw.gov.au
jennyleong.org 383 King St, Newtown NSW 2042
For those of us who can recall the rhetoric of the Howard Liberal Government during the Iraq and Afghanistan wars, the current Albanese Labor Government’s messaging may seem familiar. At the time, the United States cited weapons of mass destruction (a claim later disproven) as a justification to begin sending troops to the Middle East, and Australia complied – was this also “collective self-defence"?
I was living locally in Darlington at the time, and I can still remember listening to the Greens’ leader Bob Brown speaking out against the war – and standing up for the humane treatment of asylum seekers and refugees.
This regular column is authorised by Jenny Leong MP. Funded using parliamentary entitlements.
It was at this time – and because of this – that I joined the Greens.
The Greens have always rejected the politics of militarism and war –peace and nonviolence is one of our founding principles.
It is a disgrace that Labor is backing in an illegal war initiated by Israel and Trump. Have they learnt nothing from Iraq and Afghanistan? Have they abandoned international law and human rights? How has the Prime Minister and Labor moved so far from the values of peace and respect for international law?
Our community’s commitment to peace might not have changed over the past decades – but it is clear that those who represent us on the national and international stage have chosen to abandon their principles to side with Netanyahu and Trump. It is shameful that the Albanese Labor Government is sending military assets to the region.
That’s why we need to make it clear that we in the inner city and inner west choose peace over war – and hope over hate.
You can not bomb your way to peace. This principle is more important now than ever before.
Let’s make sure our collective voice for peace is heard. Use the QR code or email our office at newtown@parliament.nsw.gov.au to order your free ‘No War’ sticker.
Jenny Leong MP Member for Newtown
Port facilities to be lost in Bays West Housing Plan
BY WILL THORPE
Beyond the promise of new homes in an upcoming suburb, the announced restoration of the Glebe Island Bridge has been welcomed — less so the loss of adjacent port facilities.
Bays West will extend from Rozelle Bay and the White Bay Power Station eastward across a dramatically redeveloped Glebe Island. It will join the litany of small harbourside suburbs, such as Dawes Point and Lavender Bay.
Before 1995, the heritage-listed Glebe Island Bridge carried traffic to and from the city centre. It now sits dilapidated and open.
Glebe Island is home to Sydney Harbour’s last working port, facilitating significant cement, gypsum and sugar imports. It also enables major festivities, including for New Year’s Eve, Australia Day, Vivid and SailGP.
Cement imports will be diverted to Port Kembla. A staging area for cultural events will be established in adjacent White Bay. A new home is also promised there for the Sydney Heritage Fleet, currently based in Rozelle Bay.
INNER WEST MAYOR HAILS BRIDGE RESTORATION
Inner West mayor Darcy Byrne said that the Council “has fought long and hard” for the reopening of the Glebe Island Bridge, and public access to the foreshore.
“This announcement is the culmination of that fight.
Connecting the Balmain Peninsula directly to the CBD with an easy ten-minute stroll is the key to bringing the whole Bays Precinct to life.”
“In order to make this whole development stack up, the Government needs to get moving on delivering this muchneeded connection. There’s no need to wait for the design and construction of the new housing for the bridge to be delivered.
We’ll be pushing hard to have it expedited and won’t stop until it’s actually open.”
Balmain Greens MLA Kobi Shetty said that the “commitment to re-open the Glebe Island Bridge is a massive win for our community, who have been pushing for this missing link for more than a decade.”
This port has supported Sydney’s economy, safety, and growth for more than 150 years, and its loss will permanently change the nature and function of our worldfamous harbour
“In the last year, we’ve had almost 1,500 people sign a petition supporting the return
of the Glebe Island Bridge, and just two weeks ago hundreds of people came together for a community day of action to push the Government to act.”
“Reopening the bridge will make it much easier for people walking and cycling between Rozelle and Pyrmont. It’ll really improve our travel options and should make more people comfortable to leave the car at home.”
PORT IS "A CRUCIAL PILLAR TO SYDNEY'S ECOSYSTEM"
Mary Osmond is the CEO of the Tourism & Transport Forum (TTF), part of the Sydney Working Port Coalition. She said that the forum “finds the decision to close Sydney’s last working port at Glebe Island a deeply disappointing outcome.”
“This port has supported Sydney’s economy, safety, and growth for more than 150 years, and its loss will permanently
change the nature and function of our world-famous harbour.”
“A crucial pillar to Sydney’s ecosystem, this was never an either-or choice. Glebe Island is a critical hub for jobs, major infrastructure projects, and iconic events,” Osmond said.
She argued that housing and port functionality should be balanced.
“A hybrid solution could have delivered both housing and a working harbour, and it is regrettable that this opportunity has been lost.”
Osmond added that the TTF will continue to promote “practical solutions that protect both economic activity and community interests.”
Major port operations are due to cease by 2030. The Government has pledged to spend $270 million on upgrading roadways around Port Kembla and investigating ways to increase railway capacity.
Photo Andy Mitchell
Alex Greenwich to contest 2027 NSW election
BY PATRICK LENTON
Independent Sydney MP Alex Greenwich has confirmed he will re-contest his seat at the 2027 NSW election.
"I feel a responsibility to confront the troubled political waters ahead, to negotiate and compromise, and to ensure fringe political forces don’t cause chaos in NSW," he said on Instagram.
Greenwich said he had been preparing to leave public life last year, but has been given a renewed sense of purpose.
“Various people have now been sentenced, multiple AVOs have been issued, and I’ve had rulings in my favour in the Latham matters. I feel like I finally have some clear air ahead and the chance to focus on getting things done again.”
Greenwich had been dealing with a high-profile defamation
case against former NSW One Nation leader Mark Latham, who was ordered to pay more than half a million dollars over a homophobic tweet.
Greenwich said the rising support for One Nation and other far-right forces had ultimately convinced him to run again.
As the only openly gay member of the lower house, I’m often reminded that if you’re not at the table, you’re on the menu
“I’ve seen how the far right can destabilise politics. In periods of minority government, a sensible centrist crossbench
plays a vital role in providing stability and keeping the focus on practical outcomes."
“As the only openly gay member of the lower house, I’m often reminded that if you’re not at the table, you’re on the menu. Hard-fought reforms like abortion decriminalisation, voluntary assisted dying and LGBTQ equality can, and have, come under attack.”
Greenwich said he believed the coming years would require experienced MPs, and a recent memorial for victims of the Bondi antisemitic terrorist attack had also reinforced his sense of responsibility.
“I looked around the crowd and saw fear in people’s faces. I’d never seen that before… I hope I can continue to play a constructive role in supporting stable
government and making sure the people of NSW feel secure about the future.”
COFFIN ED’S NAKED CITY
MELBOURNE, THE BEST CITY IN THE WORLD? HOW DARE YOU
Sydney and Melbourne have always enjoyed a strong and at times intense rivalry. We Sydneysiders love to slag off the ‘bleak city’, and over the years, some very memorable quotes have entered the lexicon of abuse.
Perhaps the most famous is originally attributed to Ava Gardner, during the filming of the apocalyptic drama On The Beach in 1959. She supposedly quipped: "On the Beach is a story about the end of the world, and Melbourne sure is the right place to film it!"
It was finally revealed the quote was the invention of cadet journalist Neil Jillett, who was unable to secure an interview with Ava, and as a kind of payback, contrived a headline based on the competition between our two biggest cities.
Nevertheless, Melburnians have had to deal with endless criticism of their beloved Yarra River such as “too thick to drink and too thin to plough," and the old chestnut deriding their lack of a vibrant night life – “they roll up the footpaths
at 6pm”. These days it’s too dangerous to enter a tobacconist down there without the entire shop exploding in a massive fireball, and the only thing that will ever bite you at their drab shark-free suburban beaches are the exorbitant parking fees.
For Sydneysiders it was bad enough Melbourne being ranked as the fourth most liveable city in the world for 2025, according to the Global Liveability Index.
Now we learn, to our horror and disgust, that they have been anointed as TimeOut’s ‘Best City In The World for 2026’.
Yes, it’s an outage – especially when you consider Sydney comes in at a paltry #21.
OMG – Clover Moore, what are you going to do about it?
Maybe you need to build that ‘Casper The Friendly Ghost’ arch alongside the Sydney Town Hall after all.
Admittedly TimeOut’s ratings are not the definitive accolades, and there are other rated listings for the world’s best cities. Yet those snooty Melburnians are surely thumbing their noses at the Harbour City right now, almost
choking down on their lattes on Lygon Street.
Sydney is often branded brash and vulgar by our southern counterparts, with the bleak city claiming a cultural and intellectual superiority. Maybe Melbourne’s long miserable winters marked by endless rainy days, force their artists and musicians to spend more time indoors.
Admittedly it’s Melbourne schools that regularly top the NAPLAN tests, but that does not signal a higher degree of intelligence, just an ability to add up, subtract and divide a darn lot quicker. A bad NAPLAN result does not mean you can’t become another successful businessman like Abe Saffron, Frank Nugan or George Alex.
And when it comes to the criminal milieu, Sydney is clearly the front runner. Our gangsters like "Mr Ten Percent" Lennie McPherson, Big George Freeman and Christopher “Mr Rentakill” Flannery all oozed charm and charisma – unlike the Melbourne dumbos Mark Chopper Read, Mick Gatto and Carl Williams.
Perhaps it’s in the domain of
popular and indie music where Sydney clearly asserts its cultural supremacy. It’s our inert sense of worldliness and self-effacing humour that flies right in the face of Melbourne’s almost quasi-religious chi-chi. Sure we have had our load of pretentious over-serious art bands, but Melbourne simply reverberates with them.
Sydney rock bands have a great tradition of taking the piss, whilst many Melbourne bands have it literally running down their legs in a kind of self-imposed purgatory. When was the last time the high priest of the metaphysical, Nick Cave, cracked a real smile?
We enjoy a happy, joyous and unashamedly boozy night out at the pub or club, not a preachy musical version of Dante's Inferno
Much has been written about Sydney/Melbourne rivalry, especially when it comes to securing major sporting and cultural events.
It’s a rather friendly contest, and Sydneysiders are by no means jealous – although I can’t help thinking there are still many Melburnians who drink their own bathwater!
Photo: Wikimedia Commons
PETS PALACE
MY BRILLIANT CAREER
A FIRED UP VERSION OF OUR MOST ENDURING COMING-OF-AGE STORY
BY CHLOE SARGEANT
Some stories never really leave you, and sit somewhere under your skin. That’s what My Brilliant Career was for me, after reading it as a teenager.
That’s the power of Miles Franklin’s novel, and why it remains one of Australia’s most enduring coming-of-age stories. It follows Sybylla Melvyn — a fiercely independent young woman determined to carve out her own path in a world intent on limiting her. It’s a story of ambition, class, gender, and the complicated cost of choosing yourself.
Now, Melbourne Theatre Company’s stage adaptation is arriving in Sydney after a lauded Melbourne run.
And while the bones of the play remain familiar, it’s louder and more alive than you might expect from a novel first published in 1901.
Director Anne-Louise Sarks says the story’s staying power lies in its universality.
“This story still resonates with audiences because it's about unlocking your purpose, being
struggles and questions that we all grapple with.”
With an actor-musician ensemble, live instrumentation, and a distinctly modern theatrical language, the adaptation has been described as a high-energy, all-singing, all-dancing rock ‘n’ roll version that feels as much like a gig as it does a period drama.
And that energy starts with Sybylla herself.
For Kala Gare, stepping into the role has meant embracing the chaos. “Sybylla is such a joy to inhabit, as she is the
discovering how she is feeling in the moment,” Gare says.
“She is… a beautiful representation of the Aries fire sign,” she laughs. “It’s this tenacity that makes audiences love her, as well as fondly recognise the beautiful chaos of teenagehood.”
Sylbylla is not polished, and not
Sybylla is such a joy to inhabit, as she is the epitome of
mature she is,” says Sarks. “I wanted to make sure we honoured Sybylla in her fullness.”
The creative team — including writers Sheridan Harbridge, Dean Bryant and Mathew Frank — have kept the emotional core intact, while building a world around it that pulses with immediacy. The performers sing, play instruments, move fluidly between roles; the play feels like a living breathing being.
And audiences are identifying with it all.
“I think a gorgeous surprise within this production has been its impact on such a wide range of audience members,” Gare says.
From younger audiences seeing themselves reflected on stage, to parents who studied the text at school, to unexpected emotional responses across demographics — the reach has been broader than anyone anticipated.
“I’ve had quite a few audience members come up and share that this made them feel deeply proud to be an Australian,” she adds.
That idea — of pride, identity, of who gets to claim space in a complicated national story, both historical and modern — sits just
HubARTS
LIFE ENDS HERE (I ZOI ETHO TELIONI) ENCAPSULATES THE MIGRANT EXPERIENCE
BY MARK MORELLINI
Alex Lykos discovered the arts later in life, but regardless, has enchanted audiences with his artistic contributions in many theatrical and cinematic productions over the years.
His latest production, Life Ends Here (I Zoi Etho Telioni), is a new Greek musical which he wrote, directed, co-produced, and also takes to centre stage in.
“The show has been inspired by the loss of my father two years ago. He loved music and he loved
to dance, so I thought this show could be a way to celebrate not only his life, but the thousands of Greeks (and other Europeans) who migrated to Australia in the 50s and 60s,” explained Lykos.
Lykos plays the role of Nick, the son who is grieving the loss of his father as the funeral is being arranged.
“The show is a mixture of straight theatre, music performed by a band on stage and dance. I’d say the show is evenly split between music and straight theatre.”
THE BRIDE!
Gyllenhaal's Bride of Frankenstein movie is sadly a trainwreck (See p.22)
He didn’t want this story to be a heavy piece about the loss and grief of a loved one, but more aptly the celebration of a triumphant migrant story, through theatre, dance and classic Laika songs.
It’s been a long journey of eight months from conception to opening night and especially a very personal experience for Lykos.
“We are trying to create a piece of work that encapsulates the bravery of the migrant experience, the challenges, the pain and the joy which comes from this generation who made so many sacrifices so their kids and grandkids can have
better lives than they did.”
When asked what he hopes audiences would absorb from the show, Lykos was quick to respond.
“I hope the audience become fully engaged, laughing, crying, singing and hopefully cheering on the generation of migrants that contributed so much to the community. I hope the younger generation get a better understanding of the challenges their grandparents faced when migrating to Australia and therefore gain a better appreciation for what has come before them.”
Life Ends Here (I Zoi Etho Telioni) is on April 3 & 4 at the Factory Theatre.
AMY LANE ANNOUNCED AS OPERA AUSTRALIA’S NEW DIRECTOR OF OPERA
BY CHLOE SARGEANT
Opera Australia (OA) announced Amy Lane will be stepping into the role of Director of Opera in September.
This appointment follows an extensive global search designed to bolster the company’s position on the international stage as it enters its 70th anniversary year.
“Amy is one of the most compelling leaders of her generation in the opera world,” Opera Australia CEO Alex Budd said in a statement delivered to City Hub
“Her international work as a stage director, combined with her strong relationships with executive and artistic producers, singers, directors, and designers, uniquely positions her to shape OA’s ambitious artistic plans for the future.
“I am delighted Amy is joining our team. Her deep knowledge of
the artform, strategic insight, and proven collaborative leadership will significantly strengthen our vision and drive our next chapter with confidence.”
Alongside Budd and Music Director Andrea Battistoni, Lane will be responsible for Opera Australia’s repertoire planning and production, cultivating audience and co-producer relationships, and realising the organisation’s
commitment to both accessibility and artistic excellence.
“Opera Australia is a company with extraordinary artists working across all disciplines and a distinctive national voice” said Lane. “I am excited by the scale of its ambition and its appetite for bold and innovative work, led essentially by strong narratives and vibrant storytelling.”
“My wish is that together, we
can create productions that both matter and inspire great artistic conversations,” Lane said. “Work that honours the extraordinary and much-loved canon, while speaking clearly to contemporary audiences. I look forward to building that future with Alex, Andrea and the outstanding teams at OA.”
Lane joins Opera Australia following seven years as Artistic Director of the Copenhagen Opera Festival, which expanded to 120 events annually under her tenure, and was awarded Best Future Project at the Oper! Awards in 2025.
Lane has also served in leading roles spanning major opera houses across the world, including The Royal Ballet and Opera Covent Garden, Royal Danish Opera, English National Opera, Welsh National Opera, Polish National Opera, Théâtre du Châtelet and Semperoper Dresden.
Photos: Westrup
BLEAK SQUAD AT THE FACTORY THEATRE
BY ANGUS SHARPE
Bleak Squad released their debut record Strange Love in August 2025 to critical acclaim, with The Guardian calling it “a quality set of songs tailor-made for those long, dark nights of the soul.” Now on tour with this record, as the icons strode onto the Factory Theatre stage on March 5, they were greeted with resounding applause.
At the fore was Adalita, the stoic leader of famed Geelong four-piece Magic Dirt. On her right, Mick Turner, the perplexingly beautiful guitarist of Melbourne three-piece Dirty Three. Brown took a seat behind the drums. And Mick Harvey –
founding member of Nick Cave and The Bad Seeds, who tonight would move between bass, guitar, drums and piano – placed his bass on his hip and, peering through tinted glasses, leaned into his microphone.
Ageing Australian rock fans, all dressed in black T-shirts of varying bands from the 90s, lined the barrier in wide-eyed wonder – teenagers at a pop concert. Yet behind them, the theatre was surprisingly empty. Whether this was the result of a lack of interest, lack of advertising, or the 10pm Thursday-night start time, barely one-quarter of the 800-capacity theatre was full.
So, as Adalita thanked the adoring fans for coming out, there was an added sincerity to her words.
Every song was like watching a storm blow in. An austere, clumsy chaos would slowly build beneath Adalita and Harvey’s often harmonised vocals. Harvey’s low tone rumbled beneath Adalita’s wavering pitch, emphasising the dark nature of their soaring lyrics.
“Let the world go to hell,” the two harmonised in one darkly beautiful moment, “it’s going there anyway…”
With more than ample room to move and breathe, each audience member was allowed to bask in these moments of catharsis. Swaying beneath its weight.
Treated to the entirety of Strange Love, as well as adaptations of songs from both Harvey’s solo work, and Magic Dirt, there was very little the audience was left wanting as the band departed the stage.
As I left the theatre, I overheard someone whisper to their partner, “How lucky were we to witness something like that?”
Photo: Angus Sharpe
MICHAELA GLEAVE'S NEW EXHIBITION WILL EXPAND YOUR HORIZONS
BY NAOMI LAWRENCE
One of Australia’s most compelling conceptual artists, Michaela Gleave has spent twenty years pulling from research, feminist theory and environmental thinking to create experiences that blur the line between science and sensation.
Presented by Artspace and curated by Katie Dyer, Event Horizon is Gleave’s first major solo Australian exhibition and
borrows the idea and moulds it into something more urgent, using it to map the edges of human and machine knowledge.
At a time when AI is changing what knowledge means, and climate change is rewriting the world as we know it, those questions feel pretty timely.
While it might sound heady, this is an exhibition where the theoretical becomes something tangible.
the chance for Sydneysiders to step inside one of her worlds, an immersive exhibition that stretches the limits of perception.
The show is as ambitious as it sounds. Five interconnected zones – Reading Room, Quantum Field, Organic Realm and Entanglement Field – fill the space. Each one draws from a different scientific corner, astrophysics, quantum physics and Earth sciences.
Gleave works with mist, recycled timber, shifting light, inflatable objects, glitter and sound. Four new bodies of work also sit alongside her ongoing performance series Universal Maintenance, and all together, it’s an experience that feels like another dimension.
By definition, an event horizon is the boundary around a black hole, the point beyond which nothing can escape. Gleave
Event Horizon urges its audiences to walk inside shifting air, breathe it in and feel it rearrange understanding in what feels like a passage from one reality to another.
“The freedom to let the work evolve over the duration of the exhibition has been liberating,” said Gleave, “marking an important moment for my practice.”
“Supporting artists at this point — when a practice is ready to expand, deepen and take risks — is at the heart of what Artspace does,” explained Artspace Director Victor Wang.
Strange, vivid and completely absorbing, Event Horizon is an opportunity to challenge the world around you, and experience a contemporary artist operating at the full breadth of her vision.
Event Horizon runs till 7 June at Artspace.
VIVID SYDNEY IS BACK WITH A HUGE 2026 PROGRAM
BY PATRICK LENTON
Vivid Sydney returns this May, lighting up our harbour with all the gorgeous installations, live music events, talks and other miscellanea we've come to expect from the festival. And this year we'll even have an amazing food experience, including an Ottolenghi-led dinner series.
For the first time, the festival will extend its reach into the daytime, offering installations, performances, talks, and food experiences.
Over 80 per cent of this year’s Vivid Sydney program is free to attend, including the entire 6.5-kilometre Vivid Light Walk, which winds its way through the harbour-facing side of the city each night from 6pm, and features more than 43 works by local and international artists.
Locations include the Opera House and Harbour Bridge, Circular Quay, The Rocks, Barangaroo, Darling Harbour, Tumbalong Park, and Cockle Bay.
Vivid has grown into one of the world’s largest light festivals since launching in 2009. Over 23 winter nights, Sydney’s waterfront precincts transform into a trail of illuminated artworks, performances and cultural events.
In 2023, the festival drew a record 3.48 million people,
and it’s expected to pull similar crowds again in 2026.
This year's highlights include Molecule of Light, a 23-metretall laser and sound installation, and Obstacle, a 45-metre LED corridor.
Keynote conversations will feature Academy Awardwinning filmmakers Sean Baker and Chloé Zhao, music commentator Zane Lowe, and Pulitzer Prize-winning art critic Jerry Saltz.
One of the big events is the regional dinner series, A Shared Table with Yotam Ottolenghi, which will see the celebrity chef bringing together ingredients and flavours from across NSW.
"It’s a fantastic opportunity to celebrate the outstanding produce and beverages of New South Wales and to share the kind of food that I love and that also tells the story of the region's creativity and generosity,” said Ottolenghi.
Vivid LIVE is the yearly centrepiece of the Opera House’s contemporary music program, with the 2026 lineup spanning global icons, local trailblazers and emerging voices, with international icons including Mitski, Mogwai, Jeff Mills, and UK R&B sensation Ella Mai.
Vivid runs from 22 May –13 June, 2026.
Photo: Supplied / Vivid LIVE
Photo: Document Photography
THE MOMENT
BY JOSH KERWICK
Brat was an unprecedented smash hit album for Charli xcx. But rather than simply take another victory lap, mockumentary The Moment –directed by Aidan Zamiri – asks: what if the Brat era was co-opted to become more generic, and ultimately catastrophic?
Thus, The Moment is an alternate reality tale where, in order to prolong Brat‘s lifespan, Charli’s vision is overtaken by cynical record executives and a music film director looking to thoroughly defang her vision. The end result is an absurd satire about the music industry, and its endless hypocrisies.
I don’t know if Charli’s a sensational actor, but her undeniable charm is on full
display here. But she’s far from the only star — the cast is a Hollywood who’s who.
There’s Patricia Arquette as seedy record exec Tammy, Jamie Demetriou as spineless manager Tim, and appearances from Rachel Sennott and Kylie Jenner, who are deployed to surprising effect.
Ultimately though, the show gets stolen by Hailey Benton Gates as Charli’s friend and creative director (and the film’s emotional core), and Alexander Skarsgård as music film director Johannes Godwin.
Skarsgård is a delight, perfectly capturing the vibe of a man working in the arts as a sycophant to his corporate overlords, spitting out faux-feminist one-liners like it’s nothing.
The Moment is entertaining, but it’s a chronically online movie, ultimately giving itself a short shelf life — arguably a bit of meta-commentary baked into the film’s concept.
But The Moment’s greatest flaw is simply: it’s not a very good mockumentary, compared to genre greats like This is Spinal Tap or What We Do In The Shadows
It actually barely recognises the fact that it’s supposed to be styled like a documentary.
BY JOSH KERWICK
Ever tried and failed
spectacularly to fit in at school? If so, The Plague might be one of the most upsetting films of the year for you.
It's 2003, and Ben (Everett Blunck) is at a summer water polo camp. A socially awkward pre-teen dropped into a team of seeming “cool kids”, he notices that all the boys avoid Eli (Kenny Rasmussen). When he asks, pack leader Jake (Kayo Martin) explains Eli has ‘the plague’ — and it can spread.
Torn between his sense of empathy towards Eli and a pathological need to fit in, Ben’s world becomes increasingly nightmarish, while the coach nicknamed Daddy Wags (Joel Edgerton) tries his best to cool the situation.
As a once socially awkward young tween, I found writerdirector Charlie Polinger’s depiction of young male relationships particularly horrifying. It perfectly captures that feeling of your social status being solely
Characters barely acknowledge the camera, and a good chunk of sequences practically cease to function in the film’s narrative as a documentary.
But if you can compartmentalise that odd filmmaking choice, and you’re at all a fan of Charli xcx, The Moment is worth watching. But if you’re going to see it, do it sooner than later — I can’t say how well it’ll hold up in a year or two’s time.
1/2
The Moment is in cinemas now.
THE PLAGUE
to fit in, yet knowing you can’t do that by being yourself.
contingent on someone else being more cringe than you.
Paired with some phenomenal cinematography from Steven Breckon and a properly eerie Johan Lenox score, The Plague is gut-wrenchingly scary, even for those with the most mild of social anxiety.
Part of that undoubtedly lies with the entire cast of boys being genuinely fantastic. Blunck is remarkably committed to the role of Ben, perfectly encapsulating the very tweenage angst of wanting
Rasmussen is delightfully painful to watch as the even more socially awkward Eli. On the contrary, Martin is perfect at playing that dirtbag every school had: a smartass that cracks jokes, and has a surprisingly fragile ego – but knows how to control the room. This is much to the chagrin of Daddy Wags, whom Edgerton inhabits effortlessly as the nice, if toothless, coach.
Although it transforms into something quite upsetting, The Plague doesn’t achieve this by colouring outside the lines of reality. Polinger’s film is so effective precisely because of its accurate observations about young men, and how much of the groundwork for toxic masculinity is laid in these formative years.
In that, it’s sure to be one of the most unsettling movies of the year.
The Plague is in cinemas now.
Photo: A24
Photo: IMDb
THE BRIDE!
BY JOSH KERWICK
Ido not besmirch Maggie Gyllenhaal for wanting to give the Bride of Frankenstein her due in a modern reimagining. But I will besmirch for the result, because The Bride! is an absolute trainwreck.
Frankenstein’s monster (Christian Bale) is lonely. After being alive for more than a century, he’s still yet to experience life’s carnal pleasures. Thus, he
seeks the help of Dr. Cornelia Euphronius (Annette Bening) –they dig up the body of a woman recently murdered by the mob, and she becomes The Bride (Buckley).
The pair get up to some strange Bonnie and Clyde-style adventures, all while running from the mob, inspiring a mass revolt and battling visions/possessions from… Mary Shelley herself (also Buckley)?
To put it simply, The Bride! throws a lot of ideas at the wall, but practically none of them stick. It doesn’t help that most of these ideas are generally asinine. There’s a couple of good ones, but it abandons practically everything great about the 1931 classic Bride of Frankenstein or Shelley’s text. The Bride!'s gender politics feel pulled right out of 2016: a “girlboss” vibe that wants to empower its female characters
without ever giving them anything to do. Despite its allusions to feminist and queer themes, the end result is surprisingly regressive. I don’t really like Buckley’s performance – it's possible I sort of hated it. But the strange accent switching and tics would be hard for anyone to pull off, and Buckley tries her damnedest to make this shocking material work.
And the material really is bad. The Bride! regularly boggles the mind with plot threads and characters introduced so recklessly that you genuinely wonder if anyone edited this script before hitting record.
It all makes The Bride!, without a doubt, one of the most frustrating films of the year. What's worse is that I can see a good movie somewhere in there –one that properly modernises the iconic 1931 film’s gender politics and queer readings.
Yet that would require someone having actually watched it, and I’m not entirely sure anyone involved in The Bride!’s production actually did.
The Bride! is in cinemas now.
GOOD LUCK, HAVE FUN, DON’T DIE
BY NAOMI LAWRENCE
Astarkly funny sci-fi adventure, Good Luck, Have Fun, Don’t Die (GLHFDD) is as urgent and anarchic as the doomscrolling agenda it shakes its fist against.
Back after a decade, Gore Verbinski drops us into a Los Angeles diner where a man — just shy of a tinfoil hat — claiming
to be from the future, takes a handful of patrons hostage to save the world from an AI harbinger of doom.
At its core, the film is a furiously maximalist rant about how much of our lives and precious attention we’ve already surrendered to machines designed purely to distract.
The not-so-distant world Verbinski paints is a satirical nightmare: teachers flounder in classrooms of tech slop-enslaved teens, VR hubs to waste away in.
But while GLHFDD lands some punches brilliantly, it often hits the same note too hard.
Sam Rockwell is, unsurprisingly, electric. Brimming with signature frenzy, his totally unhinged manon-a-mission drives the film.
The cast keeps pace. Hailey Lu Richardson grounds the film as quite a literal antithesis: someone physically allergic to Wi-Fi — nosebleeds and all. Similarly, Juno Temple brings quiet desperation as a mother navigating a world where grief has gone corporate — school shooting victims outsourced to endless cloning.
The film's structure of character chapters is clever, but the film’s glaring issue of pacing remains persistent.
Some moments drag quite a bit, already making what feels like a long, fantastical Black Mirror episode even longer. Starting as a sharp cultural provocation, the runtime sags under the weight of a director who has more to say than he has time left to say it in.
Technically, the film stuns. Slick camera work and restless editing keep the energy going for the most part, and Verbinski’s style flirts with Everything, Everywhere All At Once-like dystopia with a touch of Edgar Wright quirk.
Entertaining and eccentric, but occasionally overstretched with a few too many blunt thematic punches, Good Luck, Have Fun, Don’t Die runs rampant as a wild satire of digital dependency, delivering a resounding wake-up call — and serious reconsideration of screen time.
1/2
Available to stream on Prime Video now.
Photo: IMDb
