TANYA PLIBERSEK
FEDERAL MEMBER FOR
The Albanese Labor Government has been really busy since being re-elected delivering for Australians. Here’s a snapshot
Renewable energy
Since 2022, we’ve approved more than 100 renewable energy projects – enough to power every home in Australia.
And since July this year, more than 80,000 households have taken up our cheaper batteries offer.
Expanding the EV charging network
We’ve delivered more choice of cheaper-to-run electric vehicles and now we’re making it easier to charge in the suburbs and the regions.
We’re kickstarting kerbside charging on poles to expand our EV charging network, providing $40 million to help deliver nationwide public kerbside and fast EV charge points as part of our Net Zero Plan.
Making the super system stronger, fairer and more sustainable
The Albanese Labor Government is making the super system fairer from top to bottom.
We’re boosting the low income superannuation tax offset (LISTO) to help deliver a more secure retirement for 1.3 million Australians, including 750,000 women and around 550,000 people under the age of 30.
We are increasing the LISTO by $310 to $810 and we’re raising the eligibility threshold from $37,000 to $45,000 from 1 July 2027. More than 750,000 additional Australians with incomes between $37,000 and $45,000 will be eligible for this benefit. We’re also delivering better targeted concessions on large super balances of over $3 million and $10 million.
Payday super reform
We are introducing legislation that will require employers to pay their employees’ super at the same time as they pay salary and wages.
Most employers do the right thing. But the Australian Taxation Office estimates $5.2 billion worth of super was unpaid to staff in the most recent financial year.
This important change – which takes effect from 1 July 2026will benefit the retirement incomes for millions of Australians, delivering more frequent and earlier super contributions, that will grow and compound over their working life.
For the average 25 year old it will add an extra $6,000 (in today’s dollars), to their super balance.
This improvement to super is on top of increasing the superannuation guarantee to 12 per cent and the payment of super on paid parental leave.
Labor built our superannuation system and we’re making it even stronger, fairer and more sustainable.
Baby Priya’s bill
Parents grieving the loss of a baby will be able to access their employer-funded paid parental leave entitlements, under our Fair Work Amendment (Baby Priya’s) Bill 2025.
Named after Baby Priya who heartbreakingly died when she was just 42 days old, this legislative change makes clear employer-funded paid parental leave cannot be unilaterally cancelled when a child is stillborn or dies.
Improving public transport for people living with disability
The Albanese Government is conducting the first major reform of transport standards since they were introduced 20 years ago. We’re updating the Disability Standards for Accessible Public Transport 2002 so that travellers can plan and undertake their journeys with greater certainty.
We want to: improve accessibility at stops and stations; make it easier to get on and off; make it easier to plan your trip; ensure public transport staff understand their responsibilities in assisting people with disability; and improve safety and amenity onboard.
To find out how you can have your say scan here
Consultation is open until 20 November 2025.
Finally, if you need assistance with a federal government related matter, please contact my electorate office on 02 9379 0700.
Newtown McDonald’s rejected after community campaign
(See p.6)
HUBARTS: RENT
Opera Aust's heartfelt, chaotic bohemian block party (See p.18)
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HubNEWS
Long-touted Circular Quay revamp quietly shelved
BY WILL THORPE
Along-touted upgrade to the wharves and promenade at Circular Quay has been halted, with the Minns Government withholding the funding necessary for its completion.
What began as a grand plan under the Baird Government remained in limbo for years. The Perrottet Liberal government planned to redesign the wharves and promenade, upgrade the train station and retail, add new green spaces and a pavilion, and create a pedestrian high line along the Cahill Expressway. Labor promised a lesser upgrade instead, and after coming to power, the Minns Government scaled down the project — and has now quietly put it on the shelf.
About $171 million had been spent on it before the end of the 2024 fiscal year, with most of that sum going towards planning.
MORE TALK THAN ACTION ON CIRCULAR QUAY PROJECT
There has been no update from Transport for NSW on the Circular Quay Renewal project since August 2024.
The agency referred to the quay as “the symbolic gateway to Sydney’s world-famous harbour and city, a significant transport interchange and a place with deep cultural and historical significance for all Australians.”
“It is one of Australia’s most visited destinations in the heart of Sydney, with millions of passenger trips to and from the area each year."
Transport for NSW expected the revamp to improve accessibility with new wharves and upgrades to the railway station, improve the experience of the public and staff alike, deliver local economic benefits, and reflect the significant “shared history” of the site.
The last notification for local residents regarding upcoming works was distributed in February 2024.
FEDERAL INVOLVEMENT IN RENEWAL
According to federal agency Infrastructure Australia, three out of five stages of the project had been completed. The last update was in 2022, by which point the agency had evaluated its business case.
Despite Circular Quay’s strategic importance… infrastructure is deteriorating, with the wharves and promenade approaching their end of life
As a result, the project was added to the Infrastructure Priority List as an Investment-ready proposal.
In a document which is publicly available — though marked as sensitive — the agency was emphatic about the state of Circular Quay.
“Despite Circular Quay’s strategic importance, transport infrastructure is deteriorating, with the wharves and promenade approaching their end of life. Amenity is poor and public spaces are disjointed and managed by multiple parties, resulting in safety concerns and diminishing visitor experience.”
“The Circular Quay Renewal proposal seeks to update the transport infrastructure and amenities, enhance and activate public spaces, improve retail offerings and increase awareness of and exposure to heritage assets and First Australians cultures and history.”
Situated on Sydney Cove, the wharves are close to where Sydney was founded by Governor Arthur Phillip in 1788.
MAINTENANCE OF WHARVES NEEDED
Grand plans aside, the wharves at Circular Quay are in need of significant maintenance going forward.
A planned closure of wharf two for essential maintenance has been postponed until after the busy summer period, with Transport for NSW saying that the decision was taken in order to “minimise impacts on customers” and maintain reliable services.
“This will allow further investigation of options to reduce the required closure period and ensure continued operation of the iconic Freshwater-class ferries.”
The ferries were expected to be temporarily removed from service whilst the works took place.
“The F1 Manly service, including the Freshwater-class vessels and Manly Fast Ferry, will continue to operate as usual.”
Photo: Will Thorpe
New Oxford St gay club issues apology after major backlash
BY LYDIA JUPP
CEO Michael Lewis and owner Kevin Du-Val of the new Oxford Street gay bar, Pink Pony, have apologised for "tone deaf" behaviour in an open letter to the local LGBTQIA+ community.
Du-Val’s comments incited backlash when he told Gay Sydney News on October 12 that the club, scheduled to open in December, would be “unashamedly … targeted” toward gay men, and that while all were welcome, he hoped that "90 per cent" would specifically be gay men aged 18 to 35.
Many members of the LGBTQIA+ community spoke up, feeling it was hypocritical to name a bar after a song by a beloved lesbian singer — Pink Pony Club by Chappell Roan— and then make the bar in any way exclusionary towards lesbians and bisexual women, as well as trans, gender-diverse and queer people.
“Firstly we would like to sincerely apologise for any hurt or offence we have caused members of our extended LGBQTI+ family with the announcement of our upcoming project," they wrote in a statement posted to the club’s Instagram.
"In our excitement to announce the launch of our new venture, our first thought was to let those in the community we envisioned would be the core clientele know we were building something for them, in hindsight our communication was clumsy and very poorly worded.
They also acknowledged their name choice was an “error of judgement”.
"Growing up as young gay men dancing to Dancing Queen, we selfishly considered the song another gay anthem completely overlooking the wider implications of using it.
"We can see the issue with using the song name as inspiration for what was expected
to be a predominately gay venue. We have taken the time to see from the perspective of others in our community, and see that we appeared arrogant & selfish, for that, we are sorry.
I hope this can lead to some much-needed change on that strip… This isn’t an isolated event
"We would like to reiterate that all members of our community are welcome at all of our venues, there never was an intention to have a door policy of exclusion targeted at any particular group. In hindsight we can see how our nomination of a preferred mix was tone deaf and hurtful and once again we sincerely apologise."
“Of course the girls will be welcome, but it would
certainly be our desire that it predominantly gay boys,” he added.
His comments reignited longstanding frustrations about the exclusion of lesbians, bisexual and queer women and trans people of all genders from gay bars and LGBTQIA+ nightlife venues, particularly in the wake of the number of lesbian bars and inclusive spaces shrinking significantly.
ORGANISERS MOVE FORWARD WITH "BROADENED PERSPECTIVE"
"At the end of the day the vibe of venue, the music and those it resonates with will dictate the crowd. Everyone is just looking to find their tribe and a place to belong," the apology concluded. "As announced already we will move forward with not only a new name but also a renewed and broadened perspective and sensitivity towards the views and needs of our wider community."
Responses from the community were mixed, with many highlighting the fact that the event was representative of a wider problem in queer Sydney nightlife.
"I hope this can lead to some much-needed change on that strip," wrote drag queen and noted Mug of Sydney, Space Horse. "I hope all business owners and venues managers take note. This isn’t an isolated event, misogyny thrives on Oxford St and I encourage all queer women to stay vigilant."
Many others, including Silas Again-Walker, called out Lewis and Du-Val for their behaviour in the face or criticism, asking, "so are they gonna unblock the people that essentially had to guide them to this conclusion or??"
Less than 48 hours after the backlash, the Pink Pony Instagram account had changed its handle to "new.name.coming" and deleted all their posts. On Oct 22, it was announced that the club's new name would be 'Tribe'.
Photo: Two 3 One / Instagram
Excessive force civil claim against Beau Lamarre-Condon dropped
BY CHLOE SARGEANT
Acivil claim of excessive force against former NSW Police officer Beau LamarreCondon has been withdrawn, with the November hearing being vacated.
The civil case was brought by a 37-year-old man who was arrested in Paddington in June 2020.
Lamarre-Condon was recorded on body-worn police video. The footage, later circulated online, appeared to show police ordering the plaintiff, who cannot be named, to get on the ground. When he and another officer were grappling on the ground, Lamarre-Condon deployed the Taser at close range.
The plaintiff alleged excessive force against Lamarre-Condon and sought damages, but a District Court spokesperson has now confirmed the civil action has been
finalised and no future listings remain.
It’s understood an internal police review conducted after the incident found Lamarre-Condon’s use of force complied with policy and training.
LAMARRE-CONDON’S COURT OUTBURST
The civil proceedings were separate to Lamarre-Condon’s ongoing criminal charges, which allege the former officer murdered
Jesse Baird and Luke Davies in February 2024.
During a recent appearance in court, Lamarre-Condon launched into a lengthy outburst, telling the courtroom: “I will not be silenced.”
He accused investigators and the Director of Public Prosecutions of “serious misconduct and corruption”.
He also claimed he had previously offered to plead guilty to manslaughter in relation to the death of just Baird.
“I want this noted on the court transcript so if I’m convicted of this offence at trial, it was known I did take accountability from the very start,” he said. “I am remorseful, and I’m also entitled to my early plea discount.”
The civil action brought by a man arrested by Lamarre-Condon in 2020 has now been finalised
He also voiced strong opposition to any suppression orders, insisting on his right to speak openly.
Lamarre-Condon’s trial has faced various delays, and the accused has changed legal representation multiple times since his arrest. The matter will proceed to trial in the NSW Supreme Court in September 2026.
Photo: James Gourley / AAP
Greens councillors to introduce AirBNB cap for City of Sydney
BY LYDIA JUPP
In a recent council meeting motion, the Greens moved to cap AirBNBs at 60 days per year.
A 2023 review found that over 5000 homes are currently non-hosted shortterm rental accommodation. With a vacancy rate of less than 2%, the number of nonhosted short-term rental accommodations continues to grow rapidly.
State and Council planning rules require any short-term rentals to be registered, and impose a 180-day cap per annum on those that are non-hosted — designed to discourage landlords from putting too many homes out as short-term rentals.
But City of Sydney’s research shows landlords make far more money from short-term rentals than long-term, even with the cap.
“There are thousands of homes in the City of Sydney that are sitting empty in the middle of a housing crisis," said Greens Councillor Matthew Thompson.
“Property investors are buying homes and renting them out short-term as AirBNBs for huge profits – even if it means those homes sit empty for a lot of the year."
Council rejects Newtown McDonald's after community campaign
BY LYDIA JUPP
The City of Sydney has officially rejected the application to open a new McDonald’s in Newtown, after community pushback.
The fast food behemoth was planned for a $1.7 million redevelopment of a real estate agency and clothing shop on King Street, which was fiercely opposed by locals.
highlighting the presence of the Stanmore McDonald's barely two kilometres away.
NSW Police also raised concerns, warning a 24/7 McDonald's could lead to antisocial behaviour, increase traffic congestion negatively impacting pedestrian and road safety, and lift the number of crimes in the area.
KEEPING NEWTOWN WEIRD
SIMILAR ACTION TO BYRON SHIRE COUNCIL
Councillor Sylvie Ellsmore says the NSW government refuses to take action, so local government has the "responsibility to do what we can".
"[A 60 day cap] would force property investors back to the long-term market, meaning more homes available to people who want to live in our neighbourhoods and build a life here,” she explained.
In the middle of a housing crisis… every house should be a home, not an expensive holiday rental
Last year, Byron Shire's Council introduced a 60-day cap, applying only to non-hosted stays, still allowing those who live in the property but rent out a room or granny flat to continue.
“In Millers Point there are even streets where most of the houses are AirBNBs: chained with lockboxes out front," said Thompson.
“In the middle of a housing crisis, when rents have never been higher and the vacancy rate never lower, every house should be a home, not an expensive holiday rental.”
SLR Consulting Australia lodged a development application in early July for a “24-hour Takeaway Food and Drink premises” at 212-214 King Street, with the proposed restaurant situated inside a renovated late Victorian building next to long-time community gem, Clem’s chicken shop.
Sydney resident Liam Coffey campaigned against the restaurant's construction, using social media to encourage locals to make submissions opposing the development.
More than 1,400 submissions were received, with some
The gallery applauded when the planning council rejected the proposal on October 15.
"This is one small step for Newtown, one big step for the world and using our voice," said Coffey in an Instagram video.
This is one small step for Newtown, one big step for… using our voice
It's not the first time the fast food giant has been opposed by Sydney locals.
A proposed McDonald’s restaurant in Redfern was previously rejected by the City of Sydney back in May, following opposition from the police and local Aboriginal organisations. Another proposal, for a franchise in Balgowlah, was rejected by the Northern Beaches Local Planning Panel in July.
A McDonald’s operated in Newtown from 1989 to 1998 in the building that now houses Kelly’s on King, until locals drove them out — a statement from McDonald's said the restaurant was "closed due to the changing demographics of the Newtown area".
McDonald's on King St, Newtown, 1983.
Photo: Janette Beard / City of Sydney Archives
Photo: Wikimedia Commons
Has a stray kitty stolen your heart?
The Cat Protection Society of NSW can help you with affordable options to get them healthy & safe, and to become a part of your family.
Don’t delay, call the Cat Protection Society today on 9519 7201 or visit catprotection.org.au
Cat Of The Month
Name: MAX | Age: 5 years (est)
Sex & Colour: Male White & Grey DSH
Make no mistake Max is a big softie at heart! He is partial to pats, in fact Max is quite the smooch once he feels comfortable, he just needs a moment to warm up to new people. Apart from snuggles and playtime Max’s other favourite hobbies include curling up on any available chair, watching out windows and lingering in the kitchen around mealtimes. This white and grey kitty is seeking a quiet home where he can explore at his own pace. He wants your undivided attention and would prefer to be the only pet in your life, but that’s okay once Max has claimed you as his human, he won’t mess around with the snuggles. Totally lovable, this guy will make sure your happiness level is always set to maximum.
INTERESTED IN ADOPTING?
visit www.catprotection.org.au
Rehoming Organisation Number: R251000224
Reconciliation NSW: Too Important to Lose
For more than twenty years, Reconciliation NSW has been a pivotal part of the movement towards Reconciliation and Treaty in NSW.
And yet, earlier this yearduring Reconciliation Week, no less - the NSW Labor Government advised the Board that the annual funding they had received for a decade would cease this year.
This loss of funding puts Reconciliation NSW at risk of imminent closure, which in turn would make NSW the only State or Territory without a dedicated Reconciliation Council.
The impact of this closure would be felt deeply across the community - from the almost 3,000 members who would lose access to support and resources, to the 26 local Reconciliation groups who would no longer be able to provide support in their communities.
This decision threatens to undermine the years of work invested in advancing Reconciliation, truth-telling and Treaty in our state.
A closure would also spell the end of the Schools Reconciliation Challenge, a popular annual art and writing program undertaken by students across approximately 100 schools in NSW.
As Reconciliation NSW Co-Chair and Worimi man Joshua Gilbert told the Sydney Morning Herald, the decision “really is a kick in the guts…there should be a requirement for governments to fund Reconciliation”.
The Greens call on the NSW Labor government to reverse these cuts and immediately restore core funding to Reconciliation NSW.
See what I asked the Premier during Question Time in October:
Jenny Leong MP Greens Member for Newtown
ICAC not consulted on complete Planning Reforms Bill
BY CHLOE SARGEANT
The Independent Commission Against Corruption (ICAC) has confirmed that it was never asked to review the sweeping Planning System Reforms Bill in full.
The revelation has amplified integrity concerns, particularly from Greens planning spokesperson Sue Higginson. In correspondence to Higginson, ICAC’s Corruption Prevention Division acknowledged that while its staff had provided probity advice on structural matters (such as the creation of the new Development Coordination Authority (DCA)) it was never asked to assess the full Bill, or the controversial Targeted Assessment Development (TAD) pathway. This stands in contrast to statements by Planning Minister Paul Scully, who had previously said ICAC had been directly engaged in shaping the reforms. Opposition and crossbench MPs have seized on the apparent
discrepancy as evidence of an “integrity failure” in the planning changes currently before Parliament.
“While there is no requirement for ICAC to review legislation, out of an abundance of caution, we sought advice on changes within the Bill and the ICAC has not raised any concerns with the approach proposed," Scully said in a statement to City Hub.
That is not a modern planning system, it is an invitation to corruption
“The Targeted Assessment Pathway will not be used for resources or large renewable energy projects, and I have provided this assurance to lobby groups and MP’s who have raised this with me.
“Large projects, whether resources, energy or manufacturing projects that have significant impacts require a comprehensive assessment and this will continue to be the case.”
THE PLANNING SYSTEM REFORMS BILL
The Environmental Planning and Assessment Amendment (Planning System Reforms) Bill is one of the most far-reaching overhauls of the state’s planning laws in decades.
While the Minns Government has promoted the Bill as a housing supply measure designed to “make the system faster and fairer,” critics argue it goes much further — affecting all classes of development across NSW, not just residential projects.
The reforms would establish new ministerially controlled bodies, including the DCA, which would have broad powers to coordinate planning and development under delegation, with no independent oversight or statutory requirement for public reporting.
The introduction of the TAD pathway allows the Minister to declare certain developments or classes of development as exempt from normal environmental or public interest considerations. Decision-makers would not have to consider the environment, site
suitability, or the public interest under section 4.15 of the Act — provisions that have long acted as essential anti-corruption and accountability checks.
GREENS RAISE THE ALARM
Sue Higginson has spoken out with her concerns about the Bill, warning that although the government frames it as housing reform, the draft legislation actually pulls back environmental protections and gives too much power without oversight.
“This Bill has been sold as housing reform, but what it really does is wind back environmental protections, applies to all development and hand extraordinary power to the Minister and a new bureaucracy … with no independent oversight," said Higginson. "That is exactly the kind of structure that has enabled corruption in NSW planning before, and it is happening again.”
She continues: “ICAC has confirmed that it was never asked to review or comment on the Bill. This is a serious integrity failure. I have written to the Planning Minister asking him to explain and release what advice the Government has received. They can’t claim anti-corruption credentials while refusing to release ICAC’s advice.”
Higginson also emphasised that the DCA and the TAD pathway concentrate massive discretionary power in the Minister, remove mandatory criteria, weaken transparency measures, and omit reporting requirements. She warned, “That is not a modern planning system, it is an invitation to corruption.”
“The public are right to demand a system they can trust,” she said. Those opposing the Bill are calling for immediate transparency and oversight before the legislation is allowed to proceed. They want the government to release all of ICAC’s written advice and correspondence, and that the Bill be referred to ICAC for a formal assessment, particularly focusing on the DCA and the TAD provisions.
Photo: Bianca De Marchi / AAP
Escape
Bring Inner West Buses Back Into Public Hands
Our community deserves worldclass public transport that gets us where we want to go, when we want to get there.
Disappointingly, since the former Liberal Government privatised the Inner West bus network, we’ve seen more late and cancelled services than ever before.
Each week I receive complaints from community members who are fed up with overcrowded buses, late buses, or buses that simply don’t show up at all. This has pushed more people to hop in their car instead - leading to worsening congestion on our roads. It’s clear that the privatisation experiment has failed our community.
The NSW Premier had committed to ending bus privatisation, noting that unreliable services were leaving our community stranded.
It has been incredibly disappointing to see the Premier walk back from this commitment, instead seeking t o offer contract extensions to the private operators until 2028.
This is unacceptable, and our community deserves better.
If the government wants to fix our Inner West bus services, they need to bring our buses back into public hands - not extend the disastrous private contracts for another two years.
We’re running a petition to the Minister for Transport calling on them to fix our Inner West Buses, and aband on plans to extend the private operator contracts to 2028.
Please use the QR code below to add your voice. Let’s fix our Inner West buses.
Kobi Shetty MP
Supreme Court rules anti-protest ‘place of worship’ laws invalid
BY LYDIA JUPP
The NSW Supreme Court has ruled that amendments to laws forbidding protest near places of worship are invalid.
Justice Anna Mitchelmore ruled on October 16 that the amendments "impermissibly burdens the implied constitutional freedom of communication on government or political matters".
Josh Lees, an organiser from the Palestine Action Group, challenged the laws introduced in February that saw a state-wide crackdown on hate speech under the premise of tackling antisemitism, giving the police the power to issue "move on" orders to protesters "in or near" a place of worship.
Lawyers for Lees argued that the amendments extended police powers beyond reasonable limitations, and that protests held in places including Hyde Park, Town Hall Square, and the CBD could be impacted.
Justice Mitchelmore found the evidence demonstrated a "locational overlap between places where people commonly seek to protest and places of worship."
COURT "DECISIVELY ON THE SIDE OF PROTEST”
Lees told the media outside the court that the court's decision was a massive failure for Premier Chris Minns.
"Thankfully, at least in this matter, we've been able to uphold the right of the people of New South Wales to protest," he said.
Greens MP and Justice Spokesperson Sue Higginson said the court had come down "decisively on the side of protest, democracy and freedom of political expression".
“Minns rammed these powers through the Parliament to give police more draconian powers, using false pretences and inflated statistics, and now they have been struck down. The Court has made clear that the Premier of NSW was wrong to punish people
exercising their right to protest,” she said.
Lawyers for Lees argued that the specific wording of the amendment – the the phrase "in or near a place of worship" – was a "a geographically loose phrase that is readily capable of satisfaction".
Thankfully… we've been able to uphold the right of the people of NSW to protest
Meanwhile, the state's legal team said the laws maintained their "obvious and legitimate purpose" of protecting religious communities, with the wording of "in or near" confined to those instances.
Mitchelmore's judgement rejected this argument from the state.
“[The law] is directed at protest activity, removing a limitation on police giving directions in relation to an apparently genuine demonstration or protest,” she wrote.
“Protests and procession routes in areas of civic significance will likely place protestors in close physical proximity to places of worship, and the marginal burden imposed by [the law] goes further than the constitutionally valid baseline in a meaningful way.”
Minns said in a statement that while the ruling was disappointing, it was still an offence to obstruct worshippers.
“This does not mean there is free rein outside places of worship,” he said.
“Although the Supreme Court has determined that a police power to ‘move on’ persons engaging in obstructing, harassing and other conduct as part of a public assembly outside places of worship is invalid, the decision has no impact on the offence introduced recently in the NSW Government’s places of worship laws that make it a crime to impede, harass, intimidate or threaten a person accessing a place of worship."
"DANGEROUSLY LIMITING FREEDOM OF SPEECH”
Minns was widely criticised for the legislation at the time, with civil rights groups calling the proposed laws "draconian", and President of the NSW Council for Civil Liberties, Timothy Roberts saying the government was "dangerously limiting freedom of speech and threatening any political dissent with serious jail time."
Findings from a review handed to the government last year also ruled against the laws, and warned that provisions like those suggested by the Minns Government were imprecise and subjective.
The law was part of a crackdown on hate speech in response to a series of antisemitic attacks, including an explosivesfilled caravan that police later ruled was an organised crime "con job".
An upper house inquiry into what Minns and senior cabinet members knew about the attacks prior to passing the legislation is yet to pass down its findings.
Photo: Dean Lewins / AAP
Government to claim $70m from unused Opal cards
BY SOFIE RASMUSSEN
Transport Minister John Graham has proposed a new Bill in New South Wales Parliament that is set to claim $70 million from unused Opal cards.
In a statement, Graham explained that there are an estimated 17 million unused Opal cards with positive balances across the state.
The number of unused Opal cards is believed to be largely due to interstate or international visitors who have purchased one-off credit on unregistered cards.
Funds would only be taken from Opal cards with a positive balance if it hasn’t been used in more than five years. The average balance on these cards is approximately $4.
The funds would be taken in 2026-2027, but there will be a
year-long campaign before the government's recovery of unused balances, and anyone with a card that has not been used in five years can recover their funds during that time.
Graham explains, “This Bill proposes to put those otherwise unused funds into Transport investments, particularly muchneeded initiatives that will connect people to transport hubs by better active transport
infrastructure and Opal-powered bike lockers”.
The main purpose of the Bill — proposed to amend the Passenger Transport Act 2014 — is to use the excess balances found on the unused Opal cards to improve and invest in public transportation.
The government has suggested using the funding to add or improve bike lockers to public transport stations, or establishing a better system for shared e-bikes
for the population in New South Wales.
“These are things that will benefit the people of NSW using the network every day," Graham explained.
This Bill proposes to put those otherwise unused funds into Transport investments, particularly muchneeded initiatives
Currently, Opal cards are used on all of NSW's public transport, which includes buses, trains, the metro, light rails, and ferries. While an Opal card was essential initially, now, commuters can simply tap on and tap off with their bank card or smartphone instead.
PUBLIC NOTICE
Proposed termination of Strata Scheme No. 85204 being property situated at 1 Hornsey Street Rozelle NSW 2039, also known as 34 Victoria Road, Rozelle NSW 2039.
Notice is given of an intention to apply to the Registrar General for an order terminating the above Strata Scheme and the consequent winding up of the Owners Corporation, pursuant to section 142 of the Strata Schemes Development Act 2015 (NSW)
Any person having any claim against the Owners Corporation of the above Strata Scheme or any estate or interest in or claim against any of the lots comprised in the Strata Scheme is required, on or before Friday 14 November 2025, to send particulars of the estate, interest or claim to The Secretary, The OwnersStrata Plan No. 85204 c/- Transport for NSW, Level 1, 181 Anson Street, Orange NSW 2800.
Photo: NSW Transport
COFFIN ED’S NAKED CITY
AI - A BLESSING? OR THE EVIL AYE-YE-YE?
AIor Artificial Intelligence, is seen as a blessing or in some cases, a complete revolution online.
It’s like an extra brain, enabling your computer to perform tasks assisting with learning, problemsolving, and decision-making.
That’s a positive side, but for a response from former Chicago Sun-Times reporter Mike Thomas:
“AI poses risks including job loss, deep fakes, biased algorithms, privacy violations, weapons automation and social manipulation… As AI grows more sophisticated and widespread, the voices warning against the potential dangers of artificial intelligence grow louder.”
Already sci-fi writers and filmmakers are dabbling with the idea that AI could be employed to generate enhanced pathogens, cyberattacks and frightening manipulation of people.
In 2001: A Space Odyssey, HAL (the Heuristically Programmed Algorithmic Computer) suggests that computers could eventually be designed to think like humans, be it for good or evil, and could also develop a mind of their own. In the dystopian vision of a Brave New World, society is controlled and conditioned through science and technology.
Today’s wretched smart-arse gadgets have taken over in so many areas of everyday life that they are driving some people nuts.
The mind boggles as to where AI will lead us. We know there are already AI programs that can detect where AI has been used in school and university essays, or any kind of written work.
Or what about those annoying videos online where you see a grandma wrestling a grizzly bear, or a wombat parachuting from a plane? You would hope most intelligent folk can now detect AIgenerated videos, but these fakes are forging a whole new reality that could lead to disastrous repercussions.
Recently, consulting and risk advisory company Deloitte admitted to bodgying up a report to the federal government with AI – all for a fee of $440,000. The report contained what Sydney Uni’s Dr Christoper Rudge called ‘hallucinations’, where specific areas were filled in by AI, often resulting in misinterpretation of data.
Appropriately, the last word should come from a schoolboy in the US, who was recently asked in class what 'AI' stood for. Apparently his answer was ‘arsehole infection’!
Photo: 2001: A Space Odyssey
BY LYDIA JUPP
Afew dozen eccentrically dressed people gather in a reserve in the centre of Redfern. They’re turning heads: someone is wearing a gold, sequined blazer with tassels, another in a keffiyeh and a white robe with Tom of Finland featured on the back, in all his chapped glory.
A clarinet player in a plumed marching band hat and a pair of fake breasts begins to play a mournful tune, leading the procession down the road to 183 Regent Street. The flock hover outside the venue, blocking the street as the choir, eulogists, and DJs enter the venue first.
There’s a quiet reverence in the air, people unsure how to act on such an auspicious occasion, but then — an old man pushing a shopping bag-laden pram splits the crowd, shouting, “Move out the way, you cunts! You’re cocksuckers, the lot of you! All cocksuckers!”
The congregation erupt in cackles and applause, absolutely delighted to be perceived so accurately by a stranger.
It’s the perfect start to the Bearded Tit’s October funeral.
The inner-city bar hosts its final party on November 1, after 11 successful years as one of Sydney’s most sacred queer and artistic venues.
Joy Ng started the bar with two friends, needing to create a space for their communities
AN ODE: THE BEARDED TIT IS DEAD. LONG LIVE THE TIT
The Bearded Tit is no more, with its last party happening on November 1. After nourishing the artistic and queer scenes for 11 years, the milk of the Bearded Tit will linger on Sydney’s lips forevermore, and its legacy will – hopefully – live on.
to meet outside of a club environment. A “lounge room for our communities”, as she describes it.
The trio lovingly pieced the Tit together from treasures they had lying around or foraged found objects: the timber for the bar and booths was repurposed from old fencing from a friend’s dad’s farm, the tiling all vintage, slotted together painstakingly from Joy’s own collection.
There’s a crocheted penis in a jar, embroidery framed in gold on the walls, and taxidermied birds displayed in a glass case, watching over the patrons from behind the bar.
Much of it has been gifted to the venue by artists who’ve performed at the space, thousands of creatives taking to the stage with shows designed to delight, energise, titillate,
confuse — some of which would make even the most progressive Inner West boomer a little uncomfortable.
I hope that the Tit is like a fire, and then the wind blows and there's spot fires everywhere
“I've always valued artists being able to have alternative spaces to experiment, and I'm really glad that this has been able to be that for other people,” Joy says. With the way the Tit delights in the unconventional, it’s no surprise that the bar has a
hefty queer patronage. One of the eulogists at the Tit’s funeral describes Joy as the “sharehouse mum of Sydney’s entire queer community”, and it’s a heartwarmingly apt description.
With the Tit, Ng curated a space that feels so comfortable, and so safe for so many people, letting people be, as another speaker at the funeral puts it, "positively and negatively ourselves”.
The Bearded Tit is a testament not only to the vitality of alternative, creative, queer spaces, but to the ability of a community to come together to make something good. There’s no reason why more places like this shouldn’t exist, and it might just take a Tit-shaped hole in Sydney’s heart to kick us into gear.
“I hope that the Tit is like a fire, and then the wind blows and there's spot fires everywhere,” Joy says.
The hearth of the Tit may have to be extinguished, but with any luck, those who love it will leave with embers in their hands, ready to scatter them someplace new. So when you see smoke, go and help stoke the flames — because Sydney needs places like the Bearded Tit.
Photos: Mark Dickson
Photo: Supplied
HubARTS
FEKEI
BY JOSH KERWICK
It’s not going to be an easy trip to visit family in Fiji for Akanisi (Melissa Applin). Between the anniversary of her grandfather’s passing, her girlfriend Sam (Natalie Patterson) planning a proposal and a grandmother unwilling to accept her for who she is, Sarah Carroll’s Fekei tells the story of a queer Pasifika woman struggling with duelling identities.
Owing to a strong script that makes its characters feel uniquely real, Fekei is a delightful piece of theatre. It varied wildly in tone but never felt inconsistent, effortlessly capturing the highs and lows of family interactions for queer people. It’s this sense of humanity that gives the show lifeblood, and
makes it both effortlessly humorous and heart-rending.
Though you might’ve seen stories before where queer people struggle with bringing their partners to traditional families, Fekei feels unique for its specificity. As a queer Pasifika playwright herself, the material feels close to home for Carroll. Because of that, it feels like one of the most vulnerable plays I’ve seen so far this year, amplified by some particularly punitive direction and lighting design, and the intimacy of Qtopia’s Loading Dock Theatre.
A truly wonderful cast of performers bring the characters to life with empathy and understanding.
There’s this underlying sense of
ROOFMAN
True crime comedy about notorious McDonald's robber is a gem (See p.21)
stress to Akanisi through the entire show, and the moments where it’s unwound are genuinely cathartic thanks to Applin’s emotionally resonant performance.
Patterson initially portrays Sam as a fairly stereotypical white tourist, but as the narrative progresses, makes a real meal out of the role of a woman thrust into an exceptionally difficult situation.
Naisa Lasalosi also shines as Akanisi’s queer cousin Fatiaki in an absolutely delightful performance that radiates a sense of joy and
self-acceptance. But the highlight of the show has to be Kikki Temple as Akanisi’s grandma, balancing really witty jokes with intense emotion that pays off in spades.
Fekei does perhaps end a little suddenly — only because you could spend more time with these characters — but it is nonetheless a great piece of theatre with a strong script and cast. A truly insightful, artfully realised look into the intersection of culture and queerness.
RENT: THE MUSICAL
BY NAOMI LAWRENCE
RENT: The Musical came back to Sydney with the raw, chaotic energy of a bohemian block party.
Inspired by Puccini’s La Bohème, Opera Australia’s adaptation follows a year in the lives of young artists navigating love, poverty, creativity, and the shadow of HIV/AIDS in New York’s East Village.
From its humble debut 30 years ago, Jonathan Larson’s rock musical grew into one of Broadway’s longest-running musicals, and Shaun Rennie’s revival captures both its grit and grandeur.
The plot can feel sprawling, but that messiness only adds to the show's authenticity.
The cast’s chemistry is electric. Henry Rollo’s Mark briskly narrates much of the story with dry wit, endearing awkwardness, and gentle vulnerability, landing most of the laughs. The show truly bursts
to life with the arrival of Maureen, played by Calista Nelmes, who transforms Over the Moon and commands the stage, even waving the audience into applause midsong.
Jesse Dutlow’s Angel and Googoorewon Knox’s Collins steal hearts and anchor the show with tender heartbreaking chemistry, while Imani William’s Joanne
emerges as a surprise highlight with her striking vibrato.
Rennie’s staging shines in big ensemble numbers. But the clear highlight is La Vie Bohème, a riot of clashing voices, tabledancing, and precise chaos. Luca Dinardo's choreography keeps energy high and always serves the story.
Seasons of Love soars with
harmonies and spine tingling runs from Theo Williams and Carmel Rodrigues. The audience swings between whoops and hushed awe. By the final scenes, sniffles echo through the theatre, proof of the show’s emotional punch.
The show isn’t flawless; pacing drags in spots, and the ending feels abrupt, as if the ambitious vision runs out of runway. At times in Joan Sutherland Theatre, the wall of sound tips into cacophony, threatening to overwhelm lyrics. But these rough edges feel true to the noisy world.
RENT is loud, messy, and moving. Fans will revel in its big numbers, and newcomers will leave hooked. But ultimately, Rennie’s revival reminds us why it endures: Larson’s message of living fully in the face of loss still resonates, and you’re reminded that community, art, and love are worth fighting for.
Photo: Defne
Photo: Neil Bennett / Opera Australia
BY SOFIE RASMUSSEN
Interested in art exploring the deep interconnections between human and environmental histories? Then the Museum of Contemporary Art Australia (MCA)'s major new exhibition by Sydney-born artist, Yasmin Smith, might be something for you to look out for.
Yasmin Smith: Elemental life zooms in on the deep interconnections between human and environmental history, explored through new ceramic sculptural installations.
Smith is best known for her past work with ambitious ceramic installations that are created through field research combined with community collaboration,
where she combines landscape materials to explore environmental themes, such as pollution and human impact on nature.
Her investigative approach was shaped by time spent in Hermannsburg, also known as Ntaria, an Aboriginal community in the Northern Territory, where she worked with local potters on a project exploring the mission era’s material culture. Earlier archaeological work in Spain’s Clunia also informed her practice, grounding her art in the patient, layered process of excavation — both literal and emotional.
Her main goal is to invite the audience to reflect on how the history of human and
environmental histories is evident in natural materials.
“I think it’s important to see there are other living things on this planet that have the ability to communicate information, the ability to absorb things and retain reservoirs of history," Smith explained.
"We can learn something that might help us be more closely connected to the Earth”.
Elemental life brings together both previous and new work from Smith. Some of Smith’s previous exhibitions and installations included at MCA includes Drowned River Valley (2016-2018), which references Sydney Harbour’s geological
formation and layered histories of salt production and maritime infrastructure.
These previous works are now part of this comprehensive Sydney exhibition and included in the new Australian exhibition is the premiere of two new works, Manchester Driftwood and Chicxulub, both from 2025.
The common theme through all of these works is the focus on how natural materials carry hidden stories about humans and the planet — either through pollution or previous geographical catastrophes.
Yasmin Smith: Elemental life is showing at the MCA until June 8.
Photo: Hamish McIntosh via MCA
DAVE GRANEY & THE CORAL SNAKES
BY ANGUS SHARPE
An electric guitar rings out with one single note. It hangs in the air briefly before a lounge-like riff swaggers in, providing Dave Graney a rhythm.
As slow drums, organ, and bass guitar join this riff, the Coral Snakes launch into their performance of the acclaimed The Soft ‘N’ Sexy Sound – the first full rendition of the album since its release in 1995.
I’m swept up by the lilt of this opening track, The Birds and the Goats, recalling the anecdote Graney had told me about it in an interview an hour earlier.
He was holding a cup of tea, visibly exhausted from hours of rehearsals. Yet, despite this, there was cheer in the way he spoke – glad to revisit these memories.
“Once, we played in Whyalla at 2am,” he laughed, “at a pub people only went to after everything else was closed. When they all started coming in like zombies, the band was saying, ‘we're not starting off with that fucking song are we?’ I told them, ‘We’ve got to be true to what we're doing. We've got to uphold the standards.’ So, we did... and it was great.”
It’s a perfect example of what
WAAKYA –ART GALLERY OF NSW’S ‘FIXTURES’ SERIES
BY ANGUS SHARPE
Nearly every month since March this year, The Art Gallery of NSW has invited guests to experience one night of free, boundary-bending music. Performed by local and international artists and set on the lower level of the new Naala Badu building, the final performance of the Fixtures series occurred October 8.
beneath our feet – slow, rumbling, and viscerally real.
the Coral Snakes are famous for – unapologetic subversion of norms. Outlandish, artistic music which can capture the attention of any audience at any time.
Never once did Graney shy away from ‘upholding these standards.’ From small pubs to Big Day Out, every set began with this slow, gradual introduction.
30 years on, he is still upholding these standards. Though to call his performance in Marrickville’s Factory Theatre merely ‘great’ would be an understatement.
The Coral Snakes made their way through the album which had won Graney an ARIA and cemented the band in Australian rock history.
The set was filled with racing solos and catchy riffs so ingrained into public consciousness I’d forgotten it was the Coral Snakes who’d written them.
As if flicking between TV channels, the band swapped rock n’ roll with lounge music with blues, and all the while –with cool cadence and tonguein-cheek lyrics – the maestro Graney swaggered out front.
This is an abstract –read the full review at cityhub.com.au.
Here, within the glasswalled Meers Hall, Waakya – the collaboration between Yolŋu brothers David and Daniel Wilfred and electronic musicians Martin Ng, Ben Carey, and Matt Mcguigan – provided a resoundingly beautiful conclusion to the themes addressed by Fixtures
Over a 45-minute set, the multicultural outfit delivered
In the centre, David Wilfred – the elder of the two – sat in a chair beside his brother. Occasionally he would raise a didjeridu to his mouth, offering the instrument’s distinct warbling tone to the electronica emanating around him, and towards the end of the set he performed traditional dance around his singing brother. Otherwise, he mostly sat in pensive contemplation of the stories Daniel Wilfred was telling.
The Manikay Daniel sang were a combination of 40,000-year-old stories from ancient Arnhem Land and compositions he had written throughout his own life, describing his connection with his land, his history, and his people.
music both ancient and original – tying audacious experimentation with Manikay — ceremonial songs passed down from ancestors, carrying knowledge central to Yolŋu culture and country.
Ng, Carey, and Mcguigan all stood on the edges, immersed in their respective instruments. The trio’s music ranged from waves of ambience to explosions of glitches and frantic jittering. Yet throughout, there was a distinct ‘earthiness’ to their sound, like narrating the movements of the earth
As he delivered these stories, their rich meaning could be clearly felt throughout the room. It worked its way inside us. It gripped hearts and held our breath. For at its core – even without understanding the language – it was clear that this meaning was built on love.
With music texturally grounded in land and environment, and words swimming with spirituality, this final performance of the Fixtures series perfectly encapsulated the themes addressed over the past eight months.
Photo: yoursandowls / Instagram
Photos: Traianos Pakioufakis
ROOFMAN
BY MARK MORELLINI
Crime comedy-drama
Roofman, directed and co-written by Derek Cianfrance, promises to be compelling viewing.
Roofman follows the true story of Jeffrey Manchester, a former US Army Reserve officer turned criminal. Down on his luck and divorced with three children, he asked a friend: “How many McDonald's stores do I have to rob to buy a house?” So commenced his criminal career. After robbing McDonald’s restaurants by cutting through their roofs, he was convicted for 45 years for armed robbery and kidnapping.
He then escaped prison, took refuge in a Toys ‘R’ Us store for months, and under a false identity, met another family who
he fell in love with.
But could Manchester stay in hiding long enough for the world to forget him? Would his new family discover the identity of this man they had all grown to love?
This film depicts how a ‘nice guy’ who did things lawfully became a criminal. Even his victims, who he locked away whilst robbing the restaurants, remarked that Manchester was a really nice guy.
In Hollywood, the silent rule is ‘three flops and you’re forgotten’. Channing Tatum, who’s in desperate need for a hit after his past few films have flopped at the box office (notably Fly Me To The Moon) has chosen a script that may rekindle his popularity.
Tatum must be praised for his portrayal of Manchester, perfectly balancing comedy and drama
to bring a brilliant mix of humour and heart to his performance, making it both laugh-out-loud funny and deeply moving. Kirsten Dunst as his love interest — an employee of Toys ‘R’ Us who has a key storyline twist — was engaging and added depth to the story. Also keep an eye out for the barely recognisable Aussie actor Ben Mendelsohn in the supporting role of a pastor.
The real life story of Jeffrey Manchester may not have had any comical elements. But for the sake of art and entertainment, the inclusion of humour in the story profoundly elevates Roofman ’s narrative from a true crime story to a more appealing, fun-filled feature film that should be suitable for all audiences.
1/2 Roofman is in cinemas now.
Photo: IMDb
AFTER THE HUNT
BY JOSH KERWICK
After the Hunt is a strangely empty and regressive film from a director usually so capable of meaningful provocation. It has all the ingredients of a great film in its fantastic cast and strong sense of visual identity, yet its musings are very shallow.
Alma (Julia Roberts) is an accomplished philosophy teacher at Yale, whose entire world unravels after her beloved student
Maggie (Ayo Edebiri) accuses her colleague Hank (Andrew Garfield) of “crossing the line” after a party at Alma’s. Torn between a protégé and a partner, After the Hunt depicts Alma’s fall from grace as she attempts to suppress her own troubled past.
Despite the many flaws of the film, the cast is not one of them. Roberts gets one of her meatiest roles in recent memory with Alma, a deeply uncomplicated and
BLACK PHONE 2
BY JOSH KERWICK
In Black Phone 2 there is more of everything from Scott Derrickson’s 2021 serial killer ghost film: dread-inducing imagery, strong character work, a surprising sense of aesthetics, and Ethan Hawke playing against type as a sinister murderer. Yet this isn’t a sequel content with resting on its laurels — Black Phone 2 is committed to raising the stakes in an ambitious way. The film picks up four years later, with Finney (Mason Thames) struggling from the trauma of his experience killing and escaping from The Grabber (Hawke). Meanwhile, his psychic sister Gwen (Madeleine McGraw) receives mysterious visions where she hears the black phone ringing and the deaths of young children.
This leads them to Alpine Lake camp, where their late mother worked as a counselor years ago. Upon arriving, they discover The Grabber’s spirit hasn’t moved on. It helps that Derrickson evokes a strong sense of place with Alpine Lake, an aggressively snowy slice of Colorado wilderness that feels appropriately creepy. The way that he directs Gwen’s visions is especially excellent, harkening back to the terrifying VHS visuals of Sinister Hawke is devilishly fun once more, with The Grabber given ostensibly more absurd work. He’s gone from a real person to an evil spirit with sway over the physical world, and both Hawke and Derrickson take full advantage of this. Sequences range from terrifying to occasionally campy
Maggie, the queer Black woman put under intense scrutiny for an assault that happened to her.
The way that After the Hunt presents its ideas about this significant, complex topic are, to put it bluntly, uninteresting and empty in their provocation, ranging from underdeveloped to properly headscratching. Even the often beautiful cinematography by Malik Hassan Sayeed feels totally shallow.
often unpleasant character that’s nonetheless a joy to see Roberts make a meal out of. Garfield is similarly great as the slimy Hank, while Edebiri does serviceable work but ultimately feels let down by the profound lack of depth within her character.
Yet it all means very little in the face of Nora Garrett’s muddled, confusing script. Indeed, it’s difficult to avoid wondering why After the Hunt is about Alma at all and not
Maybe its lack of easy answers is the point, but it so frantically tries to latch onto new Big Ideas that it forgets to be genuinely entertaining or provocative as it slows to a crawl in its second half.
There are things about After the Hunt worth celebrating, primarily Roberts’ performance. Sadly, it can’t save a film that feels misguided at best and genuinely regressive at worst. A totally baffling misfire from Luca Guadagnino, one of the best directors working today.
After the Hunt is in cinemas now.
— whoever decided The Grabber should be a gun at ice skating, I salute you.
Black Phone 2’s other cast members are similarly quite good. Thames and McGraw are excellent, building upon their characters in a meaningful way. Meanwhile, I was particularly compelled by Demián Bichir’s Armando, the supervisor of Alpine Lake, a character with an exceptionally charming presence. By virtue of its more
supernatural leanings, Black Phone 2 is certainly much less focused than the first film, and at times sillier. Yet that’s what I appreciated most; it meaningfully expanded upon its predecessor with a new angle, narrative setup and bone-chilling imagery. It’s hardly a massive breath of fresh air, but Black Phone 2 is a sincerely enjoyable horror sequel. Black Phone 2 is in cinemas now.
Photo: IMDb
Photo: IMDb
